#They were literally (narratively) made to complement each other and change each other for the better I'm so okay

[fumifooms]

Marcille and Chilchuck’s interwoven character arcs: the fantasy of prince charming, idealization vs pessimism and loss

I’ve alluded to Marcille and Chilchuck being central to each other’s arcs so many times but the proper full analysis has been long overdue. I’ve made a post going into their differences and similarities and the many ways they’re foils for each other, but this is going to give more focus to a narrative rather than character angle this time around. We talk a lot about the importance of Marcille in Chilchuck’s arc, it's more obvious overall, but less so about Chilchuck’s importance in her own, so this is going to emphase on the latter. When talking about fantasy vs reality, usually optimism is associated with fantasy and pessimism with reality, but that's not the full picture either. Both situations and relationships can be layered and subtext can imply quite a lot, the reality of things can be more complex than we'd like or hard to reconcile, and that's exactly what we're talking about today and how that is a lesson both Marcille and Chilchuck needed to learn. Give this a shot and look at the manga pages alongside my reading and decide for yourself whether I’ve got a point or I’m going overboard~!

So, Marcille and Chilchuck are character foils in many many ways, and I think a particularly brilliant part of their arc is how they balanced each other out on idealization. On one hand, idealizing things means only seeing what you want to see through rose-colored glasses, on the other, being completely opposed to it usually means denouncing any optimism at all, refusing to hold any good faith or hope. These stances reflect both their backgrounds, as Chilchuck has lived through being discriminated against and taken advantage of consistently, betrayed by employers and eventually the person supposed to be closest to him, his wife, meanwhile Marcille grew up more sheltered and lonely, and books were a big way through which she experienced social situations & the ways of the world in her rural home before going to the magic academy as a researcher and getting more actual life experience herself.

I think it’s especially interesting to analyze the trope of— the idealization of— the perfect chivalrous prince on a white horse who is pure hearted and will make you swoon, in the context of their relationship and their arcs! It’s a recurring motif- you’ll just have to trust me and read further~ Obviously this contains spoilers for the whole manga, so beware! It's very long because I'm trying to cover the topic fully from the ground up, my apologies.

Table of contents:

How they start out

The Daltian Clan and its importance

Prince Charming vs Chilchuck Tims

Ideals vs desires vs wants

Deconstructing realistic romance & compromising between romanticism and reality

Princess imagery in Marcille

Conclusion

Let’s start with the beginning:

How the characters start off:

Their relationship is both familiar and strained (extra reading: analysis of their relationship pre-canon and early canon), they bounce off each other with the ease of coworkers who’ve been working together for two years and who share similar common sense. Because yes they’re both generally grounded and rational, and generally they respect each other’s input and perspective, but, they both have blind spots…

The biggest hurdle is the way Chilchuck refuses to open up. Marcille has made efforts to befriend him, and though he was open to developing a better workplace dynamic and, say, helping her out with shopping for a pouch outside of work, even if it ended up being counterproductive he’d refuse to even just say his age, let alone share anything about his family situation. Knowing he had kids and a wife would have pretty efficiently fully shut down that he was a kid, and yet he valued being closed off more. Chilchuck is often shown being pessimistic, assuming the worst intentions out of people and being wary of anything good happening, being the last person to trust something or someone, etc. (Quick summary analysis of him I made if you want here, beyond the character foil analysis I linked at the beginning.) He prefers assuming that opening up will only bring him problems to assuming that it'd bring about positive things.

Meanwhile Marcille is very… Honestly she’s hard to classify strongly. Because I could say she’s very open to people, but honestly it’s conditional? She emotes intensely but she’s not quite a befriending machine either, especially when we recall the magic academy days as well, she’s not unused to keeping people at some level of distance, herself keeping a lot of secrets too. She was very wary of Laios at first because she had misconceptions, she holds grudges and isn’t personable with everyone like Namari or Toshiro, when she’s introduced to the party she seems serious and doesn’t smile. While I don’t fully agree, there’s a good analysis not by me here showcasing what I’m talking about. Marcille’s more serious academic side often gets undermined and I think it’s an important part of her, but then the difference between her and Chilchuck comes down to theory vs practice: knowledge vs experience. I think something more fitting to say would be that she’s idealistic and easily swayed, for example the way she lights up whenever she can put a story-like twist on things, her mood can go from dread to hype and reverse in one second, like with riding a kelpie or with the conflict between Chilchuck and his wife, or again with Namari, where it becomes a sort of hero vs antagonist dynamic for her where justice and righteous thoughts should override everything else like needing money to live. She's very stubborn, like he is, but it's easier for her to come around in dramatic ways, on things big and small, mentioning for another example thinking better of orcs suddenly because they can cook well.

So sure on first meeting she isn’t exactly eager, but then we do see her enthusiastically trying to befriend everyone! Becoming very friendly once she’s done assessing them. She is social, and fittingly she’s very curious about people. And that said, aesthetics do matter a lot to her, and I mean this beyond just enjoying vibes, for example- and follow along the lingo I'm setting up here- if something ‘breaks’ an aesthetic like Chilchuck or Falin not being a child she’ll willfully dismiss and ignore it, if she can spin something into a story like Chilchuck’s breakup she’ll get carried away, she can get the wrong impression, be gullible for the sake of believing a narrative, such and such. I’d say she’s guarded around people at first, but then with time becomes an open book emotions wise, how she’s always loudly and unapologetically talking about her feelings and emoting. She’s not reckless, rather she’s bold and often has to make decisions quickly, like when the plan unexpectedly changed during the red dragon fight, but things like using dark magic can feel like thoughtless decisions looking from the outside, like to Chilchuck, who as per his pessimism dictates he sees all of this in a negative light, assumes the worst: that she’s just ignorant, naive and reckless. She’s easily worried and discouraged but still always perseveres.

He's biased against mages and elves because of past experiences and he projects that onto Marcille. And it makes sense because good faith is dangerous to Chilchuck- for his feelings in relationships yes, but more concretely and important for his life at work, the way an old party of his was going to sacrifice him to succubi for easy money. Like the way he constantly puts his non-work values down to the group so they don’t have high expectations of him, having high expectations for someone else is vulnerability he doesn’t want to or cannot afford. The result however is that he, too, put people into boxes to avoid having his preconceived notions challenged. He's very judgemental, which we see with Laios as well, and even with Izutsumi in the ice golem chapter, but by then he's learned to self-reflect more and be honest with his feelings due to Leed, meaning his social conflicts get resolved more often and more quickly, again like with Izutsumi in the ice golem chapter.

So in the end, there are things that stand in the way of them having true, equal respect for one another. She sees him as a kid despite everything else (being capable and mature, etc etc), and he sees her as a ticking bomb of a naive elf mage who’s gonna get herself into legal trouble if she doesn’t get them killed first.

And it takes an arc spanning the whole manga for them to get there, to truly see each other on equal footing, culminating with the bicorn chapter.

I'm going to be mentioning them a lot so in my mind, the most important Marcille & Chilchuck arc defining scenes happen in: mandrake chapter, mimic chapter, shapeshifter chapter, hypogriff soup chapter, changelings, bicorn, succubus, and Marcille dungeon lord. We're talking mostly about Marcille's discrimination and their narrative about loss here, but on the end of Chilchuck's discrimination the dark magic plot is very central so honorable mention to the red dragon chapters, the harpies chapter and the cockatrice chapter, the latter where Chilchuck airs out his beef particularly directly.

Interestingly enough, the mandrake chapter which is in VERY early manga, where characters and dynamics are still being set up, Marcille gets Chilchuck to say that she isn't a burden and that he's glad they have her and her skillset with them, so the question of "does he respect her at all" was answered before the audience could even think to ask it, and Marcille also makes statements shortly after showing she respects him in turn- more on that later. This has for a result that we do know there's a foundation of respect here, even when as said it's not complete... yet.

So let’s get into it! Early on we already get a lot instances hinting at their opposed core values of optimism vs pessimism. It’s perfectly summarized in the two panel excerpts opening this post: "Sounds romantic!" "Sounds fishy.", hope vs wariness. "Meeting you was fate!" "… Which means it’s fate for you to eat these monsters, too!", if good things happening to you is fate then you must accept that all the bad things that happen to you are fate as well. It’s "Things will work out!" vs "Things will not work out".

The issue here seems rather evident, it’s a balancing game. Compromising, adapting your judgement to the situation. Yes Marcille romanticizes things too much and it can cause her trouble, and yes Chilchuck being so closed off on himself gets him into trouble as well.

(Not telling there was a mimic nearby being maybe the most straightforward example.)

His refusal to hope for anything good happening to him ever is at the core of him not having even tried reconciling with his wife (more on that later with the bicorn chapter). Through the manga, Chilchuck influences her to be more savvy and to respect boundaries more (with himself and Namari for example), while she influences him to become more open and give things a go. It’s no coincidence that it’s Marcille that pushes him to try reconciling with his wife and gives him hope that it just might work out- that that chance even on its own means it's worth giving it a shot.

The Daltian Clan & its importance

The importance of fiction in some people's lives and their specific psychological relationship to it is a very complex human brain topic with many many studies and an infinite amount of subtleties, I can't possibly do justice to this section at its full potential but I'll go over my major points. But the complex and layered nature of this relationship is why, for example, the interpretation that Marcille is a lesbian despite her likely attraction/love for male fictional characters (if not even just simping or stanning separate from those), has legs to stand on and is a compelling angle!

The Daltian Clan, often shortened as Dalclan, is Marcille's favorite book series and is very very personally important to her. In an extra we learn that part of it is that seeing a half-elf character personally reached out to her and meant a lot. She feels seen through it. Even if it's notable that the half-elf haracter isn't her favorite, general Hagreus, but the one with black hair. It's a Cinderella type of romance & convoluted political intrigue series full with a lot of drama, reminiscent of stuff like Romeo & Juliette or Richard III.

I believe that books were developmentally very important for her, similarly as to how cartoons are important to the education and development of toddlers and kids nowadays, or how oral stories like fairytales have always been important to teach lessons. Fiction engages readers and provides emotional stimulation, which can often be a flawed substitute for actual human contact- but nonetheless a big factor in socialization. For Marcille who lived in a rather rural region surrounded by books and chickens, who couldn't fit in with kids of any age around, books were a major part of teaching her how to socialize, how people and social groups worked. This is also part of why the autistic Marcille angle can be very compelling and plausible, though personally I don't see it that way.

So yes I think that sort of upbringing shaped her a lot, and I think it's part of why Marcille has trouble not putting people into boxes... Why even though Falin assured her it wasn't like that, Marcille had made this whole narrative in her mind painting Laios as a villain that stole Falin away against her will/for nefarious purposes. Why she has trouble not thinking of/treating Falin as a kid, unwilling to process how she has grown up. Why Chilchuck has to be very young in her mind, and it was very very hard for her to reconcile the fact that he wasn't. (It's actually interesting to note that Marcille treats Falin and Chilchuck similarly in a lot of ways, overstepping boundaries, being dimissive and touchy- There's a lot to say about how the party dynamic changed a lot with during canon it becoming just Laios, Marcille and Chilchuck at first and Laios' monster interest reveal, notably that in Falin's absence that she may have latched onto Chilchuck and treats him similarly to Falin may be her finding it omforting to fall into habits or filling a hole.) I think complexity in fictional characters gets her gears turning, but there's always a film of impersonality to it right, where it's not real, there's a safe distance, if you want to form romantic narratives about how things went down and a character's angst, you can, but someone who’s real… Things are often uglier or harder to grapple with. And she doesn’t want Falin to have grown up, for her to so quickly have aged. I think applying this sort of storybook veneer onto her real life connections, pushing people into boxes, is a way for her to make social relationships more digestible. And she's a big gossip enjoyer too! Engaging in shallow retellings of people's interpersonal drama, eating it up with enthusiasm and curiosity. Part of it, like with novels, is vicariously living through others I think, experiencing making connections where she hasn't or couldn't, the way her relationship with the other girls at the academy besides Falin stayed distant and shallow despite being friendly. Gossip, like stories, are safe, distant from your own life, they're easy to judge, not unlike the irl popular interest in following others’ online drama. You’re not involved yourself, so you don’t have as much chance of getting hurt. So yes, easier to digest. Less complex, less unpleasant things and less contradictions that are hard to process. Sort of like a defense mechanism to not have your worldview challenged, dodging having to recognize these things by assigning them tropes. And I think part of it too like I implied is: she can’t experience actual loss through books and gossip. They give her emotional social stimulation she doesn’t fully allow herself to have with actual humans for fear of getting invested in a way that’s very raw and personal. Again, like how she pushes Falin away to ignore the more nuanced facets to their relationship! The intensity of what I’m speculating on here in her character is debatable but I do think it’s present at least in some amount.

In a similar way to dogs being important to Laios’ social life (I made something of an analysis on that if you're interested, but this one's not relevant to what I'm talking about in this post) books are her comfort zone. If she can compare a real situation to a story it brightens everything and, well, it does make her assume things wrongly often but it also makes her able to analyze people deeply, like the roleplay-theory-speculation about Chilchuck's wife and the way she hit bullseye on how Chilchuck felt in the aftermath. But like how Marcille only agreed to wear the frog suit when the party told her it'd look cute on her, or how thinking about riding on kelpies made her excited for what previously she saw as a tedious and dreadful journey. Special interest power blast.

And this is where comes in her coworker, a disillusioned embittered man.

A guy who knows all about how messed up the world & people can be and isn't afraid to say it how it is, who in every sphere of life has field experience rather than fictional one- with romance, work, and having dreams & ambitions. Someone flawed and real, someone who won't let her interpret him however she wants without confronting her about it & challenging her to change her perspective.

It took a looot for Marcille to fully stop seeing him as a kid, and in a way I think it was necessary for the dissonance to be both this hard to reconcile and this impossible to ignore: that he truly is a middle-aged man down to his demeanor and family background but that he looks like a teen at most to her. That she literally has to look beyond aesthetics to be able to first fathom then accept and internalize that he's an adult despite his looks. That it was so ingrained and took so long, so much that even while she recognized and said "He's usually the most mature one of us", so much that even as it's implied that she knew logically he's an adult before the changelings, as pictured earlier she still couldn't conceive it. It's like with her calling Laios and Falin's parents kids in a post-canon extra, it's not that she doesn't know it's that it's hard to wrap her head around. Necessary and important because, if Chilchuck was any less loud about being a man she could have gone on unchallenged in her assumptions. If it was an easier to dismantle misconception, something easier to digest, then her arc of coming to see him as he is would have had less impact on her character, afterwards she could continue to run with her own interpretations of people like Falin and Namari without her confidence in being able to pin down people into simple roles being so fundamentally shaken. And it's notable too, that Namari's choice to leave the party to look out for herself situation was decidedly unheroic, but it was Chilchuck who spoke to Marcille about why her decision was both reasonable and had a lot of thought behind it, making her accept that it doesn't make Namari a bad person or even a bad coworker or friend.

Chilchuck is someone who knows that sometimes, bad things happen for no reason, and it's not meaningful or part of a grand narrative, it just sucks and you have to deal with it.

As the foil to her very emotional black and white interpretations of things, Chilchuck represents nuance, and he's impossible for her to ignore.

Prince Charming vs Chilchuck Tims

Chilchuck is so obviously not a prince charming. He doesn't have the looks, the attitude nor the lifestyle. Does he have the virtues for it? Well, no... But also, yes. More on that in a bit. It's also interesting to think of the status aspect to it, because being from an impoverished oppressed class/community is so central to Chilchuck's character, something usually far removed from prince charmings and white knights, and not only status wise but on the topic of virtues... It’s an interesting thread to explore, the way one may have the means to remain chivalrous rather than becoming distrustful and embittered: sometimes optimism is a sign of privilege, being able to be or remain optimistic through life. I'm sure Marcille would be the first to jump onto the aesthetic and narrative allure of a pauper in love with a princess, of a hero of the people à la Robin Hood, but it's still interesting to think of that as another facet of the contrast Chilchuck makes. Alright, tangent done.

But obviously, despite this all they have a great work dynamic and respect for each other's capabilities. It's not like Marcille is mean to people who don't fit these fairytale high standards, no that’s only when she feels wronged or if there's injustice, rather she becomes dismissive of people’s complexity, wether they become an angel like Falin or Marcille’s shapeshifter of Chilchuck or a villain like Namari and Toshiro or Laios when they met. But my point, my point: she actually thinks very highly of him!

"He’s usually the most mature one of us" "He’s dependable, we’re counting on him" "No, chilchuck is definitely virtuous."

And I think the ways in which that shows are very interesting.

^ Ok so this happens, in the Namari chapter I keep talking about. Look at his expression in this last panel. He's always teasing her, but doesn't this here feels a bit... Suggestive? Like he's implying things, not just talking about it in a work setting but also giving her general life advice. Maybe even making an innuendo for womanizers, gentlemen who flirt without meaning a thing and have some hidden agenda. Warning her about smooth talkers that seem too good to be true. It’s honestly a very easy to overlook but defining interaction for them. It’s a quote that’s on his Adventurer’s Bible plus his anime quote keychain merch!

I love his implication that "I say what I’m about straight up, money, so you can trust me"- and isn’t that just the exact thing… Because that is what this is, he’s pitting himself against these people who help without asking for anything and he's saying he’s more trustworthy and reliable than them, driving a wedge between him and those people to prop himself up by comparison. His words tie a lot here into his general worldview too, of course here he's ✨Imparting His Wisdom✨, but it also ties into his self-image issues I'd say, where he’s hard on himself and calls himself a coward etc: if no one has positive expectations for you on an interpersonal level, then you can’t disappoint them. It only goes up from here if you start at rock bottom, can't have unpleasant surprises.

But the meaningfulness of this moment doesn't start and end there: That moment happened in chapter 20, but then this happens in chapters 36-37...

I was always puzzled by the split second interaction between Marcille and Kabru. Marcille blushing is the point, it’s in the anime too and it’s the focus of the panel. That moment of hesitation before she goes back into business mode where she looks at him back, and blushes. And idk I always felt like it was weird timing, like it was a weird beat Kui chose to put emphasis on, why the story even had them make eye contact in the first place, what point it could be making besides "Kabru is handsome and charismatic" which was already made with Hien and Benichidori below, otherwise it's not even like Marcille and Kabru ever interact. Like, maybe it's for it to be a callback when she glances at him while the canaries interrogate her at Thistle's house? Regardless, she blushes, but her expression is more akin to a "Uuhh he smiled at me why’d he smile at me like that. Oh he’s kinda pretty. Well anyways-" rather than swooning or truly checking him out. She’s frowning, even. And like I said, being very naturally charming was a point already made previously.

But then… This repeated reminder that Kabru is a lady killer IS the point, Marcille reacting to him in that way IS the point. Kabru is the epitome of ‘will say they help you but has hidden motives and might betray your trust if it serves their interest’ (not a diss on him tbf he has understandable goals), he is the epitome of looking noble, welcoming and chivalrous but actually being dishonest and manipulative, and what’s important here is… Marcille turns away and sticks by Chilchuck. Of course this is logical, no one would expect her to go running to Kabru lol, but I implore you to think of the thematics of it all, a princely guy, the closest character of the cast in the flesh embodying the prince charming persona, is giving her some positive attention, and it does affect her a bit but nonetheless she turns away, and strategizes with Chilchuck instead of trusting or giving good faith or getting carried away. She chooses Chilchuck. Unlike so often, she doesn’t let aesthetics sway her here, get in the way of her better judgement, distract her from the point. She chooses not to give good faith, even if he seems charming and friendly and smiles. Marcille is serious when the situation requires it that's now new, but this is in line with the lesson he instilled earlier above. And if nothing else, Marcille has a good memory, exhibit B to come later. Here we see part of why Chilchuck was afraid of Laios or Senshi but not Marcille blurting out the wrong things with Toshiro and is party, when push comes to shove they're often on the same wavelength. Marcille and Chikchuck do strategize with specifically each other regularly, they do tend to pair up a lot after all, so this isn’t especially new, but it’s the first time there’s this sense of us vs them imo. Like how earlier Chilchuck was saying that he’s better than the smooth talker type, here we see Marcille implicitly agree.

She just has a passing glance & thought for Kabru but she knows her true allies and true values, and she wants to strategize with Chilchuck. What I am saying is that if she was given the choice to think through going with a guy that seems perfect and chivalrous like her succubus, if she was logical about it she’d pick Chilchuck over that guy actually, yeah. At the end of the day, no matter the pretty smiles, she knows who her actual friends are. Whiiich on that topic, next section!

Ideals vs desires vs wants

It's succubus analysis time

Her succubus is quite direcly a prince figure, a knight on a white horse who's come to whisk her away. He calls her princess, even! She's taken the role of Daltian Clan's protagonist, essentially. He kisses her hand, nothing short of the most classic courtly romance tropes. He's even drawn in a noticeably more shoujo style, not unlike the characters' faces in the aftermath of getting their energy sucked by succubi.

I made a whole analysis on specifically Laios’ succubus but it covers some stuff that could be interesting for this analysis as well, I’ll repeat the essential stuff tho: Their succubus all show what type of social connection they desire. Izutsumi’s is familial, Marcille wants someone she can emotionally connect with, seemingly romantic, Chilchuck wants something physical and sexual so he doesn’t have to think and worry about anything deeper (betrayal, insecurities, etc, the difficulting that come with a committed romantic relationship- also likely related to his senses & stress), and Laios wants people and friends who’ll accept him and his monster interest- platonic.

But more interesting for this analysis is how succubi work. The goal isn’t to beckon, but to incapacitate. The succubus doesn't work on the basis of rationality, it’s not a factor they go for and it’s not one they need to appeal to either, as we see. (Laios is a special case -gestures to the linked analysis- but the succubus doesn’t appeal to his rationality as much as it soothes his worries, his friends judging him etc etc, and the reason Izutsumi could remain unaffected is that there is always a half of her not enthralled by the succubus because she essentially has two souls.) Neither Marcille, Chilchuck or Izutsumi could realistically expect any of the people they saw to be real and not fake succubis. They KNOW that, they were actively preparing for the succubi to jump on them and fight back, rationally they know they're monsters! But how this monster works is that it targets deep desires within you that when face to face with it'll make you hesitate, make something in you unable to fight or flight and instead do the third instinctive option: freeze. Or especially in Laios’ case, the form gives the victim just enough confliction on the matter for them to want to believe it’s real. All they have to do is just not move, stay passive and accept the attention, so it’s not an issue of wether they reciprocate an action or run away. It's so that it shortcircuits you and leaves you open to pick like a fruit.

If this wasn’t the "reads your heart so deeply that it freezes you to the spot" monster, Chilchuck WOULDN’T be doing anything with these women. He’s been devoted to his wife even 4 years after separation on bad terms, you think he’d ever cheat on her? If this was a decision he were to make, instead of just freezing, he would reject it. In that similar way, Marcille’s succubus might not be what she’d rationally go for. You think if this was what Marcille had to choose, the person she wants most to see and at her side, her most alluring form wouldn't be Falin, alive and well? You think that wouldn't be the thing Laios truly wants most as well? And before people say that canon proved that the latter wasn't with the curse the winged lion put on him, THAT'S THE POINT!!!! You can irrationally desire things, you can desire things to degrees so deep you can’t change it even if you wish you could, but if it was truly a choice up to you, you'd choose otherwise. Laios decided to become king, even if that's a lifestyle so far from what he truly wanted, even if it is duty more than fun for him. Like how Chilchuck would choose faithfulness despite for sure having come into contact with many beauties through his four years of separation.

Ideals vs reality are a big Dunmeshi theme in general, same as wants vs needs, and you can see Marcille’s daydreams and novel themes make it an especially relevant throughline and theme for her. Not unlike how in my opinion General Hareus and Mithrun intentionally look very alike to contrast reality vs fantasy!

Marcille never reacts any particular way to Mithrun’s appearance despite the blatant resemblance, so that makes me think the point/joke is meta rather than character focused. The romanticization of elves and their societal drama in their fiction contrasting heavily with a very real and imperfect product of their military system. The canaries certainly aren’t glamorous next to whatever military Hareus is the general of. There’s even the fun little details like Hagreus’ lips being drawn with extra details because they’re full and pretty while Mithrun’s lips are drawn with extra details because they’re chapped and dehydrated. Hence the fantasy vs reality theme, both in that fantasies can be very disappointing when realized and in that they may not be what you actually want past your mind palace. Marcille doesn't even react to him- which we could almost directly parallel to how pretty young blondes is Chilchuck's type but he never seems to make a big deal of Marcille- he still wants his wife.

So yes, themes of what you actually want vs irrational cravings. Base desires vs actual wants. Needs are also separate, but not relevant for this discussion. To get to the specific definitions I’m using for the words in this section’s header, ideals vs wants vs desires: ideals are your ideal of something, the best degree to which a thing could be tailored to you, and it can be derived from both wants and desires, usually a mix of the two, but for example: I’d say the succubus is a type of ideal (the platonic ideal of allure to the victim) derived solely from desires, because a want is active rather than passive, acted upon rather than suffered, because a want unlike a desire involves thinking things through. So a want: something you want, you take actions towards getting or achieving it, it can be a very strong feeling but it’s something you pursue or wish to pursue. Finding a cure to death is a want, not wanting to be alone is a desire, see, I’m assigning desire this more primal or unchanging subconscious nature to it. On the flipside with Chilchuck, sex without ties, easy pleasure, is a desire, but the want is not having to think about his marriage situation because it’s painful, not wanting an emorional connection because it’s all the easier to be hurt with, just wanting to take his mind off of everything for a while.

Thus the succubus targets Marcille’s wish for a perfect knight who could cherish her forevermore, someone safe and known and fantastical, just hers in a way, free to see and construct however she wants because he’s a character to interpret, and it targets Chilchuck’s wish for pleasure that’ll whisk him away from the stress and pressure and reality of his life, something that’ll make him feel both good and desirable and emotionally uncompromised, not unlike what alcohol does, as he says he likes having his fine senses dulled in the changeling chapter. Idealization is twisting the image of something in your mind to be closer to what you want, but usually mostly desire on a more subconscious level, to be true, almost a wish, sometimes but not always hand in hand with idolization which is to put something on a pedestral. Idealizing things that are easier to reconcile with mostly, in Marcille’s case: it’s easier to believe that Chilchuck is very young and it’s easier to stomach that Falin hasn’t aged much, it's easier to believe Falin is an angel who can do no wrong and if she left with Laios it's not that she chose to leave Marcille, and it's easier to believe Chilchuck is just a moody closed off youngster than an embittered old man. It can be done to people as much as concepts, like the idea/plan to give everyone a 1000 years lifespan, surely that'd do really well and everyone would love it. Wants and desires are both very often about changing reality after all, wether it be your situation or an event in your past or a law of the world like death, but wants are mostly through actions and since desires are more subconscious it can lead to self-delusion easily. Like with succubi, wants engage with your rationality so they target desires instead. The demon's strategy isn't too far off, either, feeding into both and using underlying desires to manipulate its victims. Dungeon Meshi is in part yes about resisting desires, the irrational cravings, mostly through the character of the demon. I mentioned needs earlier, and to ideals vs wants we also add vs needs, both emotional and physical, and needs alongside wants are what Dungeon Meshi wishes to promote for a healthier person, Dungeon Meshi which illustrates very well with the dungeon lords that you can be a slave to your desires.

The parallel between succubi and demons is intentional. The demon is in fact the origin of the succubus myth in-world. No wonder they operate similarly in many ways- the succubi are in a way a more simple straightforward version of the demon, with less convoluted strategies and less intricate manipulation.

Of course the succubus each character sees does say something about their characters, but what I’m saying is we shouldn’t assign choice or morality to it as if it wasn’t an ethereal monster whose whole biology is focused on being able to freeze people through appealing to desires, much like how we can’t fault people for falling for demons’ manipulations. Like that’s their WHOLE thing and they use mind control through enticement shenanigans. I know people sometimes fault Chil for his succubi and if you want here’s my stance.

Point of this whole thing is, people can rationally choose things that are different from their deeper desires, like in truth Falin’s safety being more important to Laios than becoming a monster. Like how Marcille stayed with Chilchuck to strategize instead of wanting to give good faith to Kabru. Yes, this is the main point I'm coming at with this section lol. Marcille idealizes and idolizes the figure of a perfect prince charming, undoubtedly! But when it comes to what she actually wants, not in some ideal fantay world but in reality, she knows Chilchuck and her imperfect friends are some of the best she could ask for. She's content with them as they are. She would choose a flawed reality over a perfect fantasy.

That's a big part of what her dungeon lord arc is about too, all her tendencies to ignore what others want for what she thinks is best for them or thinks is a perfect course of action: accepting that people are complex with different wants, and that something that's a no-brainer to her like wanting to live for a long long time is a solid no for many. And Laios and the party confront her about it, and Marcille, even under the influence of a demon, chooses to accept reality. Chooses to accept that there are some things that, even were she to be able to, she shouldn’t change after all (even for stuff that’s not forcing everyone to live for a millenium, like bringing Falin back from the dead is something that the party and Marcille had to come to terms with maybe not working and the way they went about it was self-centered). She chooses to come back to herself and the party, to accept the world as it is even if flawed and sometimes hurtful.

And hm, I wonder if Chilchuck had any role in the lead up to that particular decision... I wonder if Chilchuck was a major influence in teaching Marcille that the world isn't perfect and her internalizing things that were outside of her bubble!! I wonder if Chilchuck was directly what made Macille turn towards her party and thus start thinking of giving up on being dungeon lord!! Joking, joking, of course it does. To be continued, see you in the princess imagery section at the end of this essay.

Essentially, this section is to show that: 1) despite what her succubus may suggest, she has indeed grown by that point in the manga compared to pre-canon and her overly idealistic simple black and white vision of things, and it doesn't prove the ‘choosing her friends over a prince thing’ wrong, and 2) despite how deeply ingrained romanticism is in her and how it calls out to her, she still has chosen and continues to choose reality and her friends over it. How fantasy is important to her and how much she loves it, and her having the will not to mindlessly succumb to it coexist and it's that resistance against fantastical ideals that speaks of her as a character so much.

And what does that mean, for Chilchuck? For him and Marcille?

Deconstructing realistic romance AKA compromising between romanticism and reality AKA Chilchuck Tims vs Prince Charming part 2

So what we’ve covered so far is that 1: idealization is something that Marcille does a lot, including concerning Chilchuck, 2: the prince/knight figure is meaningful & important to her, 3: Marcille isn’t a lost cause on it, and for instance, much like how she stops harping on Namari after Chilchuck explains to her how professional reputations and networking work, he can change her mind on things.

Let’s get back to their prejudices of each other for a bit. You might have to zoom in for this one.

Her shapeshifters of both Chil and Laios are influenced a lot by looks and impressions. She’s very adamant about Laios and Falin not looking alike at all, for one. Marcille’s view of Chilchuck’s lockpicks are surprisingly accurate. Meanwhile, despite their first big relationship moment during canon being about how he’s glad to have her and her skills for the dungeon dive, he still ridiculizes her magic somewhat with the crude spellbook. She’s still silly and tease-worthy to him, even while he praises her like in the good medicine chapter with Leed he says it himself in the same breath. Silly, or "ridiculous" depending on the translation, is somewhat ambiguous, but I assign it the meaning of 'thoughtlessly reckless', like how again in the good medicine chapter when he's saying this he's referring to Marcille's future job prospects, because law and career are important to conform to for him. Despite this, their shapeshifters’ behaviors are accurate, although Marcille’s Chilchuck is nicer and less bitterly reclusive. Note how it's Marcille's chilchuck that makes it furthest and how why she thinks hers is the true one is that her Chilchuck "looks less mean"- this is what I mean when I say she idealizes him and sees him as a little angel, along with his fluffier hair it gives us the perspective of why she'd find him so hair-ruffable and why she likes sticking to him so much, I suppose.

Marcille's arc of not seeing Chilchuck for what he is has steps, it's not like Senshi who does an 180 seeing his changeling. There are a couple of important moments for it that tell us her progress and changes her perspective: Him telling his age -> the shapeshifters (our best look into an objective assessment of her perspective) -> reveal that he has a wife and kid(s) (fully shattering her denial) -> seeing him as a changeling (true reckoning. Putting the nail in the coffin of what reality is) -> bicorn chapter (acceptance. Internalization)

You might notice that the explanation for Marcille’s Chilchuck is "Even though she’s been told he’s an adult, deep in her heart she still doesn’t get it", and a fantranslation translates it as "Understands he’s supposed to be an adult, but hasn’t quite come to grips with the fact internally". This definitely implies her arc of growing to see him as an adult had already started by then. Especially if we compare it to Senshi’s more intense babyfied Chilchuck. This goes back to what I was saying about Marcille watering down people for the sake of aesthetics, some rational part of her knows he’s an adult, but it’s emotionally that she struggles to reconcile the fact with her perspective. It’s actually pretty ambiguous when she first starts considering he might be an adult. If by this point she was already digesting it, then I think it must’ve been when he told the party his age. It’s not unsimilar to rationally knowing Falin is an adult at 23 even if it doesn’t feel like it to her, or post-canon calling the Touden parents kids even though obviously she’d know they aren’t actually, it’s classic longlived race patronization. He’s older than Falin, by 6 whole years, and even Marcille isn’t that blind to what that'd mean. Wouldn't marcille also have a problem with child labor otherwise? There's also how Marcille pre-canon shortly speculated Chilchuck was in love with Namari in her Adventurer's Bible extra. She for sure has witnessed a lot of half-foots walking around, probably even drinking at taverns. She knows, on some level. Chilchuck even does a whole rant after they react going on "this is why long lived races are condescending assholes". So that’s my bet, "Is he an adult?" "Well yes but actually no" (Chilchuck), "I’m an adult now I’ve grown" "Awww you’ll always be like a kid to me!" (Falin) Depending on the dub and interpretation, I know for example that when I made my family watch the anime they thought Marcille "See? You're just a kid!" after he said he was 29 they saw it as teasing and playful, unserious, or even disappointed, implying she'd have thought he was older than 29. It's actually ironic how someone as developmentally atypical as Marcille, whose physical and mental growth was unpredictable, unsynchronized and messy, would judge others by appearance and age so much. But well imo appearances are important to her so in that way, she especially judges those because she had to live through being judged by those standards as well. She puts elven standards on everyone the same way she does with beauty standards, so age is included in that.

Marcille here is struggling with dissonance, it's why she "hasn't come to grips with the fact internally". And this all makes sense for the arc that sharing things about himself is what opened the gates of being understood better. Point is, her vision is influenced by her own feelings of how things should be like, veiling herself to the reality of things.

And notice the point that the problem her lack of rationale when it comes people- Chilchuck regularly makes her prioritize rationality over feelings, and well that’s somewhat his whole schtick when it comes to debating philosophy. With Namari and how her leaving the party and not returning is reasonable even if it feels wrong, just like the "don’t trust someone just because they seem well-meaning and generous, strategize instead of swooning", and ironically also the "it's important to take in mind how things like touch when healing can affect parties and create love triangles" lol, "don't be emotional, and also remember people being emotional will stirr up shit". Since she’s someone pretty swayed by feelings, it balances her out. Ultimately, if we consider the Dungeon Lord arc her culmination, it’s Chilchuck who ends her arc by meeting her halfway through appealing out to her feelings, but that’s the flipside of the coin of their arc, and it’s her willpower to face reality that saves them so I don’t think that contradicts that Marcille had to do her half of the journey & comprise.

I would argue there are many hints of Marcille knowing on some level he's an adult throughout early canon. Not just seriously calling him the most mature of the group, but her behavior at the Golden Kingdom's too for example. Would you act all shy asking a kid to sleep in his bed, especially one she's always felt so comfortable trampling the boundaries of and touching casually? Idk that's weird. She's asking to sleep in his bed because by her own admition it'd make her feel more comfortable. Chilchuck is safe to her and she feels shy implying it and asking for a favor like that. Shy that he'd find her silly for it, and/or shy that this might be inappropriate according to etiquette and in other contexts. To me this feels much closer to two peers, like how in the mandrake chapter she wanted validation from him too, and yes she still infantilizes him and emasculates him into someone who's harmless in her mind- not just someone who wouldn't hurt or take advantage of her, because she knows that, because Chilchuck does protect her (more on that later!!).

He's not heroic, but he's brave, when it matters. He's mean and rude, but also caring. He's responsible, even when it means going the unpleasant route. The aesthetic doesn’t fit the role, but the actions do.

He keeps claiming he’s a selfish coward who’ll be the first to dip in a fight, and yet he’s always, consistently pulling her out of danger, or specifically calling out to Marcille when danger strikes. And I think it’s because of the nugget of info we get in the adventurer’s bible that her stamina and athletics are bad, in canon he does call her clumsyhead like once but it never felt enough for me to deduce that on its own personally. So then the reason why he’s always targeting her, beyond the reasoning that she’s the healer thus the most important to keep alive (which he brings up in the rabbits chapter), he takes it upon himself to help her, save her and pull her away from danger because she’s clumsy. She’s not defenseless, she’s known to use explosions, and still he feels the need to save her and through the manga he’s even died trying to pull her to safety one and a half times: dungeon rabbits + the drowning- they didn’t die in the latter though it’d have gone that way if it weren’t for the water bursting out just after, and that situation was especially hopeless regarding Chikchuck being able to do anything to save her at all, yet he still tried.

A little knight in shining armor, a little noble hero, a little prince charming innit?

Chilchuck IS all show and no talk- and she knows the value of that!!! It's why despite all his sour demeanor she respects him both professionally and as a smart guy she can trust, why she feels safe with him and wants him by her side when strategizing or even sleeping. The aesthetic doesn’t fit the role, but the actions do. Fantasy vs reality!!! He teaches her how to face reality both with his words and actions, through the contradictions of him, his caring behavior and bitter words, his old manners and young looks!

And actually let's TALK about that drowning scene hello. There, in the collage above, in the bottom left. The context of that is: This is after the demon leaves when the dungeon collapses, the dungeon gets flooded by water and they go under, with no sense of where or how there could be an exit to this. 1: Since the dungeon is collapsing and reviving someone only works in dungeons, there is no guarantee that Marcille or anyone would be able to revive someone during or after this, NONE. 2: He is risking his life for her, he is STRAIGHT UP playing his life on this choice, action hits and shit gets more serious than it ever has, and he yet does it anyways. Perhaps it's the gravity of it that pushes him to make this choice, that this time if someone dies it's for real and he can't accept that, but either way his choice is made in a split second, he prefers dying trying to save her than living without saving her. He is fighting for scraps of hope, seconds more of holding onto life. Which, 3: This situation is HOPELESS. In the end yes they end up being spat out by some exit out the dungeon with the strenght of the flood, but there was no way to know this would happen, and like we see in the third panel Chilchuck and the others actually lose consciousness. That's for "a way out of this", but even moreso, what is he hoping to accomplish? He's small and weak like he always reminded the party in fights, he CANNOT PULL HER UP TO SAFETY, HE CANNOT PULL HER AT ALL, WE SEE HIM STRUGGLE TO AND FAIL. HE CAN'T DO ANYTHING BUT HE STILL TRIES DESPITE THE RISK. You might also say- haha!! You might also say that this is a show of optimism from him!! You could say that after Marcille changed him, pushed him to have more hope in him, he now has the strenght and will to hope that this might do anything, that this might save her! A little similar to the situation with his wife actually, the point is that the chance is worth taking even if it might not turn out like hoped for- the point is that it's always worth trying and keeping hope to fight on, there is risk in being vulnerable and reaching out to his wife yes, there is risk, as with jobs, as with finances, as with anything- It's not that you'll never fail, but you have to not give up when you do- there's a risk but you can't just shut yourself off to the world and to relationships, you can't suddenly care about nothing! That's Chilchuck's arc! And maybe it's because his arc of becoming more hopeful and open yourself to caring centers her that it's her he latches onto here and not Senshi and Izutsumi who are equally in trouble here, maybe it's because he knew her longest or because he still feels this sense he has to look out for her like always, or because he trusts her to breathe underwater least, I don't know, but it's what happens! And listen, by all intent and purposes it was a hopeless situation, they were on the verge of drowning but he still fights to save her, and everything looks lost for a sec, but then the water current miracurously spits them out of the crumbling dungeon. He gets up and he runs to marcille fearing she's hurt but no, they're saved, she's fine, they're all alive and out of danger. It worked out. Having hope was right.

They make me ill I tell you. Like what the HELL, am I supposed to NOT go crazy when this happens??! What if they were the meaning of life what if their arc was about cracking the balance of living and loving healthily and cracking the code of life. Okay. Okay okay okay so anyways so

He can be quite self-sacrificial and noble! Always looking out for others, and giving Marcille particular attention in that regard, likely in part due to her being clumsy in his eyes and her being the healer aka their token of safety.

Sit your ass back DOWN you are in no state sir. Despite her biases Marcille is still observant, she still loves dissecting people like in that pre-canon party relationships chart in her extra, she's still the one to say "Chilchuck is the most mature here". Marcille still notices things! She has an interest in people and Chilchuck is someone she especially likes to "study". She read him like a book in the bicorn chapter, and if she was able to it’s that she looked, she remembered, she saw. The way he doesn’t like waiting on people, that he’s very reserved with feelings, the way he often doesn't pick up on others' and even his own- It all comes through in her quote unquote analysis of him, what married life with him would be like and how he reacted to his wife leaving.

Point is, Chilchuck is very harsh on himself, but there are gems inside of him, there is gold hidden away if you dig at his heart. And point is, Marcille is good at highlighting those. And besides, isn’t humility a mark of heroes?

Okay. Sooo there's not that much to say about the changeling scene actually, for both Senshi and Marcille, the chapter just previous where Chilchuck reveals he has a wife and kid is what fully reckons them with how Chilchuck is a fully fledged adult, and for both of them seeing Chilchuck as a tallman is the final nail in the coffin. With Senshi it's a rather fast 180, and he mourns the sweet kid image he had of him where he poked his cheek and ruffled his hair, but for Marcille it's just an extra "he's really really REALLY really not a kid. Really". It has a bit of a reversal of Marcille and Chilchuck's dynamic, since now he can manhandle her instead of her manhandling him. This is a rather pleasant experience for him from what we can tell, whereas Marcille is struggling to keep the party's walking pace and complains about the heat implying half-foots are more sensitive to temperatures, Chilchuck finds having his senses dulled relaxing, has no problem of the sort Marcille is having AND! And! He can pull her around. The fight with gargoyles happen and he's pulling her arms, picking her up, he even throws her both before it and during the fight, he has the physical power to push her away if he wants to and also to pull her out of danger- the way he later tries to in the rabbit chapters and with drowning, but also when the Faligon reveal happens. He still doesn't look like a knight in shining armor, and he still doesn't have the demeanor of one, but he has the most power to protect her than he ever has. Anyways so yes, further "oh Chilchuck is an adult. And he's kinda knightly and can protect me wow. And also ugly not at all like elven beauty ewwwwww. I won't be able to unsee it now if I try to ruffle his hair after this".

It’s always a question of seeing more facets to someone and slowly digesting them and internalizing them, like Kui puts it herself in the shapeshifter explanation for Marcille's Chilchuck. And this illustrates a bit what I was saying in the section about Dalclan and tropes and people being "digestible" to her. She has to get used to the idea first and it's a slow process.

And during the succubus chapter as well, right after the bicorn chapter where she fully accepted Chilchuck as an adult, Marcille doesn’t falter when she’s confronted with seeing Chilchuck as, for a lack of a better term, a sexual being. She even cracks a (albeit sfw) playful quip about it, about them being all blondes. I suppose with the crass jokes he made like during the frog comic that might have prepped her for it lol.

And on that topic... We're here guys. The holy grail of Marcille and Chilchuck.

🔥The bicorn chapter🔥

The chapter finishes both Marcille and Chilchuck's arcs about harmful idealization vs not being a doomer, so to speak. It's the culmination, the ultimate balance found, the moment where the lesson gets fully internalized on both sides at the same time. It is a MASTERCLASS in how to do relationships arcs and character studies.

Chilchuck starts the chapter being dismissive of Marcille and her interests again, it opens with a narrated bit about his bad experiences with romance in past parties and he admits he has contempt for people who find the topic of love fun. He sees her still a bit as both a fly circling around him and a venus fly trap waiting for the opportunity to pounce on him and not let go until he spills everything. He ends it though, willingly giving up information on him in conversation with her, opening up, and appreciating her perspective on his romantic troubles.

Marcille starts the chapter having mostly processed that he's an adult, asking him about his wife, but she's still Weird about him and his personal life- and okay, that doesn't quite change, but something does change- everything changes for a moment, in fact.

And what's the catalyst? The cataclysm, even? Chilchuck lies and says he cheated on his wife.

[Okay guys I am officially out of pic space, sorry but I'll have to start recurringly linking to images instead: page]

We get to see live Marcille's esteem for Chilchuck plummet and freefall to the ground. And Chilchuck often acts like hassling and teasing between them is onesided, that she's always the one harassing him, but since early manga Chilchuck has always liked to tease her every opportunity he gets, often initiating interaction just for it... During half of this chapter Marcille is giving him the cold shoulder and we get to see that he misses her, we get to see her fully shut down the (racist) joke he throws at her and see him be SHAKEN over it. He wasn't expecting his lie to tank his reputation and relationship with the party members this much, maybe because before whenever he called himself selfish and cowardly no one seemed to think less of him for it, and he's at a loss for what to do like we see here. He misses their friendship. He's always said he didn't care for having a friendship with them all and whatnot, but here we see him grapple of the aftermath, of knowing what it would be like without them as friends, without them at all.

[page 1, page 2.]

And like with his wife, he has a choice to make. Be passive and spiteful and do nothing, or be vulnerable and communicate to win them back over. And this time, after a manga's length of learning little by little to be more open (and literal coercive torture) he chooses to do it, to try and clear up the misunderstanding.

And listen, on Marcille's end this was NEEDED. He DROPS in her eyes to deserving no respect- but even in these times we see her be jealous of Chilchuck opening up to Senshi, implicitly still caring about what he thinks of her, and most importantly that she does still care about him himself when the bicorn breaks his arm and she runs to his side to heal him, worried. Why was this needed? Because Marcille was forced to have her full, complete vision of Chilchuck shattered. Not only is Chilchuck not little in her eyes anymore, but he's also no angel. He can MASSIVELY- borderline unforgivably- mess up. He is an adult who can royally fuck up, even be immoral. She calls him a depraved adult man.

It sounds negative, but what this does is actually strip him from any idealization and infantilization in her eyes. Is there something more adult than adultery? Is there something less honorable, less wholesome? In this chapter Marcille is forced to reconcile the Chilchuck she knows with this man who did something vile to his wife, even the mother of his child.

And then Chilchuck clears things up, he takes the risk of an argument and actual rejection and sacrifices the secrecy around his family situation to make up with her. And it works. Instantly.

And so he goes "Okay so one day she left me and I have no idea why, probably for no reason. The end. What a petty thing to do am I right. We'll probably never talk again." and she's like "Bet? Actually I have several ideas as to what could have happened and you WILL listen."

(For a Chil & Chilwife analysis go over here instead btw.)

She was always perceptive, but she always had a bias that made her vision of others flawed. Her lens of novel worlds and narratives. Remove, or at least shift that bias in a productive direction, and you get a strength rather than an hindrance. The skill of self-inserting (literally. The half-foot depicted as his wife is even literally Marcille a a half-foot, and his child looks just like him, to show just how good her imagination is lmaoo) Marcille is such the "If I wanna hit the ball… I must become the ball" type. As proven by how she controlled her familiars in the hypogriff chapter. "If I were your wife I’d be overjoyed to go out with you and would get myself prettied up while you complain about me taking a long time, your friends would tell me that I’m cute and nice and that’d make me happy, but I’d also be sad because you wouldn’t tell me that you love me enough. Then I'd leave to test your love, and you're failing that test rn but if you came back to me even after a long time I'd take you back for sure." And see these! See Chilchuck frowning there in how she thinks of him, how he gets peeved when she takes time to get ready.

No because, this means everything. Marcille started out the manga thinking he was just a kid with a party pooper attitude and even in the shapeshifter chapter where she’s more coming to terms with her having been wrong about him, her shapeshifter of him is sweet and cute and nicer like "No the REAL Chilchuck is much less nasty! ☺️". But in the bicorn chapter it all comes to a head!! Learning that "Chilchuck cheated on his wife" made her esteem of him tank to rock bottom almost, finally acknowledging that Chilchuck can both make adult mistakes and be significantly flawed. But then! The chapter ends by him opening up which in turn make her esteem of him comes back up, but things have changed, still. What she does with her "virtuous husband" bit might seem like idealization again, and she is being optimistic about the wife'smotives, but she’s not making him into something he’s not! She recognizes his flaws (embraces them even.) Like how as the wife she thinks of an angry/frowning chilchuck, how he complains about waiting on her, which he's also done to Marcille before...

Even the way she says "he wouldn't say that he loves me enough" IS DIRECTLY SOMETHING FROM HER OWN EXPERIENCE FROM THE MANDRAKE CHAPTER. Because then she wanted to hear from his mouth with his words that he does value her, that he does appreciate her, that she's not a burden to them! She knows how it can feel like he doesn't appreciate you even when he does, and how insecure it can make someone! Now when she flavors things, she takes the embellishments from her own experiences instead of from novels! Reality, too, can be romanticized without becoming pure fantasy. Fantasy doesn't have to be dry and bitter, it can be beautiful and fun, too. Her "if I was your wife, life would be something like this and I'd feel like this" is truly based on her own perspective and feelings- her empathy and interest in others is not a weakness like Chilchuck thought, it's borderline a superpower.

She doesn't just keep his flaws in mind, she also hypes up his qualities!! He is virtuous, bicorn approved, devoted even after separation!! And that hyping up, and optimism that things wouldn’t necessarily go bad if he tried to mend things with his wife, really gave him hope, and also finished up his arc about optimism not always being bad, sometimes even being necessary.

She inspires him to think that things can work out, that he can still be pleasantly surprised even with all his bitterness. After all, he opened up to Marcille and they talked just now, and she forgave him and they made up, didn't they?

And he must have never quite let go of all hope, must stil lhave some left in him hidden somewhere, because in all those four years of separation never has he stopped calling her his wife in present tense, because even after all of them he has stayed faithful and never moved on.

And all of this with the chapter ending with Chilchuck eating a sweet and savory sandwich, which he thought would be bad and inspired disgust in him at first, and being like "Huh, the sweetness actually complements the bitterness pretty well."

THE SANDWICH IS THEM. "Syrup in a sandwich? Sweetness has nothing to do in a meal." IT'S OPTIMISM AND PESSIMISM COEXISTING. IT'S SWEETNESS AND BITTERNESS BOTH HAVING THEIR PLACE IN A DISH. IT'S MARCILLE AND CHILCHUCK COMING TOGETHER TO HAVE THE RIGHT BALANCE FOR HIM TO BE ABLE TO SAY "It might not go well like in stories, but I'll still try".

Remember what i said about compromises earlier, balance of optimism and pessimism? He tries it, and it works out despite having no faith that it’ll be good, and he’s pleasantly surprised. SURPRISES CAN BE PLEASANT! They're not just life-shattering, not just dangerous, it is possible to be pleasantly surprised! And this is why Kui is a goddess of telling stories through food.

He’s opening up to her, as he takes that last bite of the sandwich, he willingly and easily gives up an information about his family for the first time <3

And this isn't only chilchuck adopting her perspective either, it's him completing it. Marcille still simplified the conflict between him and his wife, still couldn't have the whole picture, still put a positive and hopeful and romantic twist on it all, but she did have a point. Chilchuck reaches her halfway, is inspired by her, but he also complements her, says okay, but also this, also it might not go as well as that, not going against it but building on top of it, not trying to replace it but instead this optimism and cynicism coexisting, joining together. Marcille brings him back to the reality that he doesn't suck as much as he thinks and things aren't doomed, but he also brings her back to the reality that that may not be enough, and in that uncertainty called life they're learning to be okay with it, to smile about it, to want to be part of it, hearts open.

Notice how she defends his virtues directly taking from Daltian Clan for her reasoning, as well! Comparing chilchuck to her novel characters to explain him, rather than overwrite him.

She’s such a wingwoman. Such a cheerleader. Couple therapist. Emotional support friend. 10/10.

Marcille: "he has a shitty personality sometimes but if he was my husband I’d still cherish him" Chilchuck: "damn I needed that" /hj

So this neatly ties the last bits of Chilchuck's reluctance to care about others and being cared about in turn, yes yes Marcille reads him like a book so well that he's left shaking, and this is it, really, their arc is about the balance in loving too much and loving too little, in stifling others with that love and care and interest the way Marcille does vs showing it so little that others don't even know if he cares at all, à la “if we want the rewards of being loved, we have to submit to the mortifying ordeal of being known.”

Marcille has a whole theme with the prince charming trope, with her idealization and storybook motif and this is sort of the "Well someone perfect like that isn’t very realistic and romance is usually more complex- and that’s ok and good, and flawed people can still be ✨virtuous✨" conclusion. Again, fantasy doesn't have to be perfect to be worth it, to be valuable and lovable and great and precious.

He’s the devoted virtuous man that she wants not the storybook prince that’s unrealistic and could crumble like a script at any time. He’s the perfect example of a flawed realistic but virtuous and devoted and loving family man. Far, far from a prince charming, but not fully detached from it either. Something worth fighting for despite the flawed cracks.

Marcille has this grand fantasy, this ideal of prince charming, a chivalrous gentleman knight, but through canon especially with Chilchuck she learns to not idealize people so much. That acts are more important than aesthetics. The bicorn chapter is all about Chilchuck’s romance being realistic: flawed. And it’s no coincidence that this is what ties their interwoven arc closed, because they learn to compromise, his pessimism and her optimism. Marcille sees and recognizes a romance that is both flawed and beautiful and is able to balance the two decently, meanwhile she convinces Chilchuck that yes it is worth fighting for and having hope for. Repeating myself but it’s easy to think she’s still idealizing Chilchuck during the bicorn chapter, BUT it’s important to notice the differences with the shapeshifter chapter, where her shapeshifter of him was "cute/sweet" "not nasty", an angel who could do no wrong. In the bicorn chapter, not only does he fall from her esteem a lot because she believes he cheated for a good part of it, thus acknowledging that he can be flawed and adult enough to commit adultery, but also! When she roleplays as his wife, she doesn’t erase his flaws!! She knows he has a short fuse and isn’t always pleasant, but believes that he’s worth loving anyways… 

And see this is the point!! She romanticizes his life, not idealizes it. The difference may be subtle, but it's there. In romanticization there's how Ghibli depicts mundane scenes of daily life, portrays doing chores like cleaning clothes as something that feels good, something worth doing that doesn't have to be miserable. In Chilchuck's life, in his flawed relationship with his wife, she sees the beauty and light and love to highlight so even if the lifestyle is humble and even if the relationship is tense it seems nice, it seems worth fighting for. She's using aesthetics again, but to inspire instead of stifle, the way she uses them to hype herself up sometimes too.

This is it this is the thing! Her worshipping and idealizing the image of perfect prince charming that will whisk you away on an ethereal romance becomes her romanticizing a realistic flawed middle aged dad with personality issues and a failing marriage, that he still is worthy of love and having his cute grand romance story and his happy ending!!

Marcille has a very hard time conceptualizing a point where love can’t conquer all, right. She’s optimistic and if there’s a will there’s a way etc etc etc. Notably when Marcille speculated about Chil’s wife, she centered around the theory that his wife wanted to "test" him by leaving, that she didn’t feel loved and left to see if he’d chase after her. She believes that his wife would be ecstatic to see him again and reaching out would make them reconcile and happily get back together, no problem. Chilchuck and his wife have been separated for 4 years. When Falin left the academy she and Marcille were separated for 4 years. Marcille has to believe Chil’s wife is waiting for him, that she hasn’t moved on, that she wants to be found. There's a different perspective on time, but there's also... Just parallels. Parallels everywhere. Miss coping, meet coping in an opposite way! And so she teaches Chilchuck to not assume everything is lost before having even tried, and so he teaches Marcille to let go when it's needed.

And please notice how she doesn't even really think his wife may have just wanted to leave him, no the goal was for them to be reunited with their love strenghtened- Combined with her glazing Chilchuck, the underlying energy is that to her someone not wanting to be with Chilchuck, wanting to break off things with him and leave, is unthinkable. For sure she'll be overjoyed to see you, for sure she's just waiting for you to come back to her! Is there a sign of higher faith in him, of higher fondness? There's respect and like and loyalty there. She truly values Chilchuck, always has but it keeps only getting more and more cemented, more and more real the more he opens up and she gets to know him. It's embarrassing for people to know your wife left you? Think again! You've just gained 50 friendship points with your trendiest friend and she has categorized you as a catch!

She specifically loves characters who think they can’t be loved and pessimistic and dramatic… And story-fying him is literally what she does when she engages with the story of his breakup with his wife like it’s a story to decode, reinforcing the whole narrative about tropes and princes and how he comes to shape her view on them.

Even if the context here is explicitly that she relates! Which, she finds being able to relate to them comforting and a positive point so it being a "type" thing isn’t fully off- but this is what I mean when I say she always keeps a film of emotional distance from people, she wants to love and be loved and know people on the deepest level possible so bad but it’s something that scares her too so she prefers to chase after the safe: the unreachable- the fictional. Like Chilchuck. Bit of tangential speculation, but she wants to crack his shell and make him open up- but it’s also easier because he pulls away instead of pulling in/closer so the relationship is fully in her control in that way, if it weren’t for the teasing… Making her into someone silly in his mind is how he keeps himself from putting weight into her words, how he gets himself to automatically dismiss the wise lessons she tries to instill to him, nope sir he doesn't have anything left to learn, he's an old crouton who understands everything there is to know about this cruel cruel life yes sir. Because trying and being rejected hurts! Because if it wasn't fated to turn out wrong, then it means there was luck or choice, and that makes failures almost more painful! But people leave!! People leave and people come back and new meetings happen and choices are good, choices shouldn't be taken away! Not like how Marcille tries to forcefeed immortality to humanity, as a dungeon lord...

The chapter ends with a panel of Marcille and Chilchuck bantering again, with everyone else going about their business seeming nonplussed while the two are being very loud as if to say, ah, classic them. Return to normalcy, return to their usual closeness and shenanigans. All is well.

The Princess imagery

And now we’re falling into the rabbithole. Imagery doesn’t have to be anything more than imagery, but I discuss romantic connotations in this section (amongst the platonic reality of things ofc), you can skip to the conclusion if you’d rather but you will miss important analysis of the dungeon lord balcony scene, a big piece of the puzzle in wrapping it all up. I found the meaning of life & the world in marchil but it’s ok I get it if you wouldn’t... We're all built different ig. The character with princely chilvalrous knight parallels in the manga is moreso Laios, but Laios too breaks the trope a lot. Chilchuck gets prince and knight parallels but by contrast instead, in subtext more than any explicitly drawn. There's a lot to Marcille's princess imagery and though I've never fully covered it I try to somewhat tackle it here.

For as much as the bicorn chapter is what ends their arc about balancing pessimism and optimism and finding healthy compromises, the arc of their RELATIONSHIP is in the dungeon lord chapter where he fully opens up to her, inviting her to meet his family and all. AND MY GOD, the princess imagery!!

Listen I am trying so hard to keep this unromantic, and to be clear subtext is subtext for a reason, it doesn’t have to be concreticized or "acted upon" perse, but… I think it’s there in this scene, at least a bit. I’ve spent a long time trying to pin down what was so charged in it, besides both of them blushing, despite him offering for her to meet his family, despite it calling out to a genuine deep instilled desire in her heart enough for it to work- for it to make her turn towards them, despite the first thing she does after is shower him in romantic gifts, and it eventually struck me… It’s the parallels with other media, with tropes!! This is HIGHKEY Romeo and Juliet type shit!!! The stuff you see in every couple new kinda trashy romance kids movies! A lady, stashed away in a high tower by her lonesome, waiting for someone to call out to her from below… Romeo courting type shit with a heartfelt spiel implicit confession from underneath her balcony, offering him flowers because he succeeded in calling out to her heart…….. And they have to CLIMB to her.

Remember her succubus' words? "Oh, princess... I can't believe you slipped away from the castle yet again... Honestly, what in the world shall we do with you...? Come, let us return." Again like with her succubus, she’s living through a storybook trope but with Chilchuck’s twist, more nuanced and realistic yet just as meaningful, even if it isn’t strictly OR at all romantic and if it’s more complicated and less glamorous. She’d have to peel the layers to get to the vulnerable truth of it, like anything else. I'm just gonna drop this here...

Doesn’t it sound like a proposal. One that’s both so storybook-like, and contrasted with such real yet unromantic and grounded words, all about the implications rather than in your face grand gestures "Don’t you want to meet my family?". They literally have an arc about the topic of romance and this is the climax/pinnacle of it like god?? I’m not saying this was all intentionally crafted to be romantic but it nonetheless exists in the subtext, ripe for analysis. Of course they talk about planning together his reconciliation wit hhis wife, but the same thing happens regardless, he fully lets her into his life.

And again there’s something to be said about how that is what makes her finally turn around! This is extremely meaningful not only to Chil but to Marcille, the enticing thing that finally hooks her, gets her to finally look down at them. An offer to meet a flawed man’s flawed family, to help him mend it and its issues. It isn’t through the filter of a book, or mere gossip to her, she knows this man and she wants to be involved in his life, to know him and his family herself, ready to meet them and form connections. The clumsy, imperfect reality of a friend telling her he’ll let her into the other spheres of his life even if that means she witnesses the embarrassing and the ugly. It’s vulnerability on both their ends, offered and received, a gambit that was worth taking, both in the moment to talk Marcille out of being dunlord and long term of letting her in to see the deeper sides of him, there are take backsies once someone knows something about you after all. SHE STOPS BEING A DUNGEON LORD IN GOOD PART BECAUSE HE TOLD HER HE'D LET HER INTO HIS LIFE. SAY IT WITH ME, A FLAWED REALITY IS WORTH IT MORE THAN STAYING IN FANTASY!!!! In denial of reality, both that Falin hasn't grown older, that everything can turn out perfectly, and that everything is lost and there's nothing Chilchuck can do to make his wife love him again or even make his party listen to him.

Chilchuck says this after he sees her materialize her parents as doppelgangers. And so he goes on to say- hey your family will never go back to how it was when you were young, my family will never be what it once was either, but we can both move on and make the best of what we have anyways, isn’t that what you taught me, there are more out there! I’m opening up myself to new relationships and friendships because of your pushes, and now I want you to do the same! Life goes on and there’s always more joy and connections to be had! Stop isolating yourself, dammit!

And the thing too with Marcille’s arc is that she can’t get what she wants. She can’t. She can’t get everyone to live forever if she doesn’t take others’ free will away, if she doesn’t make the world stop for her as she plays god with the laws of nature and the cycle of life. And everyone’s important to that arc obviously, Falin during the story is the main object of that fear, and it’s moreso her death that pushes her arc along but it’s still extremely influential, Laios is the main one who sees her insecurities and talks her down, Senshi’s always harping on ecosystems and laws of nature and how resurrections aren’t natural and is there to offer comfort and support, Izutsumi’s someone new Marcille gets to take care of and her farewell talk with her reveals a lot about how she’s grown, but seeing this it’s easy to see why Chilchuck is paired off so much with her on their respective arcs, right? The one who tells it harshly how it is even when the reality is unpleasant, who gives up quickly when it's about things turning good for him but who always pushes and fights on when it matters with the party, who challenges a rose tinted glasses perspective head on.

He looks nothing like a knight but he still acts like one. He’s nothing like a prince or a dashing romantic courting lover but still he gives her a novel worthy balcony heart to heart scene. He’s painfully real and raw but she does bring that twinkle of hope and romantization that makes the world feel more wonderful to him, but like she tells him, he’s virtuous and he should give things a shot because people see good in him too and not only the bad he always shittalks himself for, she’s not making it up, he always had that sparkle of knight and prince in him.

Like, giving someone a handkerchief is literally a romance trope associated with nobles and princes. And Chilchuck has offered Marcille his handkerchief at least twice! The second time in the cockatrice chapter as a bandage. He keeps it in his pouch, with his tools, like the most must-have to offer it Marcille at any moment, ha /j. Prince behavior <3 The neckband like a knight’s favour, a token from a loved one he cherishes above all and keeps on himself at all times... Which I'll remind in her Chilwife roleplay she directly theorizes she was the one to knit it for him! Beautiful story tropes shit.

He IS a prince figure instead that now it’s not about idealizing the grand and overt it’s about romanticizing the small things in real life!! About finding joy and beauty in things that seem normal or mundane and uplifting them to make the world feel kinder!!!!

And man this whole angle makes the "Don’t you want to meet my family?" "-gasp- I really do want to! -turns away from eldritch power and living in her demon-made dreamscape that can allow her to live in fantasy to instead go back to flawed reality with her friends-" all that more meaningful and striking. A fitting end to her arc, a fitting hook to get her to turn back towards her and tempt her to give up on being dungeon lord. It’s always been just asking things and anecdotes about him and his family, never talking about meeting them, but by having someone so "fated with doomed love" open up and reach out to her "fated to never love", she opens up too, is willing to take the risk that any relationship entails, the same one that he took by offering it, the same risk they’re both averse to and scared of, loss and rejection. By actually meeting his family she involves herself in the stories she creates. It makes them real. She’s finally involving herself intimately with others, despite the real threat of loss that she will have to experience, wether through time and death or rejection.

Marcille and Chil’s arc, man…….. See, this is why I’ve been tilling the fields of that analysis for months this is why I’m insane about them, not only is there so much to say but her relationship with Chil straight up deconstructs her perspective on the world as idealized and influenced by fiction and fantasy and optimism. Like, he’s at the core of that part of her arc and man!! Man.

And the way that this is the culmination of their arc together… Like the ‘Chil calling out to dunlord Marcille on the balcony has Romeo and Juliette romance novels imagery’ take is one thing but the ‘their arc is about growing to see beauty even in the non-idealized, in the flawed and in the real’... It makes it so so perfect if she were to lower her ideal from a perfect elven prince to a virtuous halfling man (which she does romanticize).

So she doesn’t want a prince, she doesn’t want a general, she just wants this guy she knows, this friend she trusts as reliable, who has good intentions even if wrapped in unpleasant demeanor, that’s all she needs to be content and well and feel safe. By the end, he might even have become something of a prince charming to her, won over with heroic acts and virtues.

After all- Remember when I said she wouldn't be able to be as touchy so lightheartedly as before with him? Well wrong, apparently! This parallel from chapter 23 just before the red dragon fight vs chapter 96 at the final feast confirms that her like of him and behavior with him was unconditional of him being a kid or an adult. Marcille is just Like That and that she just likes him. A good part of what reads as infantilization truly is just how she cares for people in general.

Conclusion

She’s afraid of change, so it's only fair that he would be perfect to teach her a thing or two. She had fantasies but he had experiences, both had bias. Their arc is about how bitterness isn't an efficient solution to hardships, about how assuming the worst from everything is a trap that doesn't reflect reality either, a trap people fall into just as much as rose tinted glasses.

Their arc is about how relationships need work and how it's worth the effort! You can overwater a plant but you can also neglect it, to find a balance between each's needs can be hard but is always important. Friendships just like romances shouldn't be taken for granted, and doing the extra steps of deepening your understanding of others and opening to them is rewarding.

Their arc says that love is a beautiful thing regardless of loss. Something both of them needed to remember. Life isn't like a novel. Sometimes an ending ISN'T satisfying, you don't get closure and it might not even be happy, but that doesn't mean nothing can end well, doesn't mean every farewell is bitter. Peace is worth both fighting for and making for yourself. You can't shut yourself off from the world because things sometimes hurt, there's more of life to live- won't you come meet my family? Won't you meet new people, won't I try to mend relationships that are dear to me? My family is flawed, but it's still worth meeting, still worth loving, still worth fighting for and keeping even with all its flaws, no? Elven storybooks don't feature half-foots, but they're worth spinning grand poetic and romantic tales for all the same. Life is bittersweet, and that's an acquired taste to have, but one good to be able to stomach as a whole.

There’s a lot of reasons why someone would love fictional characters but be afraid of love in reality, not unlike with Laios' and Chilchuck's own experiences love has a layer of danger and fear because it can hurt to love and it can hurt to be loved. People can leave you, and in Marcille that fear's mainly through death but for Chilchuck that’s through just… Leaving. Through giving Chilchuck optimism and hope, drive to keep going despite these realities, she’s also growing to be more comfortable with the thought of relationships ending and moving forward regardless. And I do think that was part of her arc of growing to accept that Falin might be dead dead, I think Chilchuck was a big part in that. Falin is the passive object of the arc but Chilchuck is the active actor pushing it along, in a way.

Because people can always leave, Falin will leave to travel the world, but she might come back- and that's okay. And that’s exactly the thing that the story wants Marcille to make peace with! Falin wants and needs to leave and Marcille needs to be content just taking what she can get, wether it be time with people or the boundaries they set with her. THE BOUNDARIES! THE BALANCING OF OPTIMISM AND PESSIMISM! IT'S CHILCHUCK'S DOING!! "The world isn’t all good, but you should be able to see the bright side of what you do get" is what she and Chilchuck learn. To learn that she can still enjoy when she is there, and still reach out to her and keep in touch through letters- to do what you can and to get what you can and to accept that as enough, for it to bring you the joy and peace it can. Don't push your expectations onto others, wether that's being overly intimate or overly judgemental, don't be too pushy but also don't be too afraid and not do anything at all.

In many ways even before, even on the regular Marcille was his gateway into being more lighthearted, always exchanging playful jabs, laughing at her. Teasing her because she teases him, lowering himself to her level until he looks back and realizes he’s having fun with it instead of just throwing jabs bc he’s the master of sarcasm TM.

Chilchuck smiling casually and softly, genuinely, when saying that things don’t work out sometimes, is just so powerful. From the man who always assumed the worst of everything, who always spoke of life and the world bitterly... By the end, while saying these things he’s smiling openly rather than smirking smugly. Carrying on with his go getter attitude with a touch more optimism in his heart. Now he's made his peace with life and sees the good in it, still.

It's all about... How flawed relationships with flawed people can still be made into somehing good and healthy that make the world brighter… How flawed relationships are still worth remembering and cherishing. Except the winged lion, there to represent abusive relationships you need to fucking DITCH.

Marcille and Chilchuck’s arc is about how in life sometimes books do close and end, but other ones can open and start, and to never give up on that. People’s lives, relationships, these things are temporary and inevitably end, but there’s meaning and joy in having been there for them, and focusing on the end and the pain and being pessimistic in it doesn’t keep anyone safe, not meaningfully. "It’s not all nice like in the stories. Sometimes, a book just ends." "And another opens."

Dungeon meshi promotes the important of balance for both a healthy body and a healthy mind, and optimism vs pessimism is one such case <3

MAYBE IT'S ALL COMPROMISES MAYBE IT'S ALL SWEET INBETWEENS. Maybe we'll take our vision of what we thought we could be and make something new together! DRINK IN MODERATION!!!!!! SEE LIFE LIKE FAIRYTALES IN MODERATION!!!!!!! THE RIGHT ATTITUDE LIES BETWEEN IDEALIZATION AND PESSIMISM

Disclaimer:

This was pretty messy but thank you so much for reading!!

Thank you to @/lyril for making the more complex collages!! Check out her blog!

To be clear! Does this arc exist in the text, the whole tropes and idealism vs pessimism thing, do they have tangible impact on each other as both characters and narrative devices? Yes. Is Marcille and Chilchuck the central piece of the story? No. Is Dungeon Meshi about this and how it all culminated into a cool Romeo and Juliette scene? Lol no. Chilchuck isn't the most important person to Marcille and her story nor is Marcille the one most important to Chilchuck. Just like the other major characters in the story, their dynamic and progressing relationship is a plotline/subplot amongst others, and the level of layers and subtext it possibly has doesn't erase any other part or subtext of the story. Arcs can coexist. Multi-layered relationships can coexist. Just a reminder that this is my own analysis and interpretation of canon.

Dungeon Meshi is about food and how it ties us to a life that’s worth living, about unity and trying to understand that which you do not, to not demonize that which is different or unknown, to connect with others even if it’s hard, even if it’s in unusual or undescribable unlabelable ways, and Marcille and Chilchuck’s relationship is certainly a pawn in these themes like every other relationship.

I’m having fun, but I don’t want anyone getting lost in the sauce. It's unfortunate that to many, acknowledging there's any merit to analyzing this subtext is equal to supporting a ship they dislike, but this isn't ship propaganda, this is analysis of canon text where I happen to see a more niche angle. You can disagree with an interpretation without saying that it's nonsensical.

Like I don’t wanna say I’m a marchil truther but if you define it as believing canon does have genuine and credible basis for it then yeah I guess I am. I feel insane everyone acts like they have no chemistry and no material and??? We exist on different planets I think Like I know I implied some romantic undertone but in canon it totally can start and end at two coworkers bonding and getting to know each other better and see each other’s perspective and it influencing them both for the better. No buts, you can totally do that. Although this plus the crumbs it drives me up a wall when people say they have no chemistry or ‘how come people see anything in this pairing?’ They’re literally a comedic duo? A comedic duo that interacts so so much that gets paired off in scenes, a thematic duo which is even acknowledged and reflected in the anime’s opening. He teases her 24/7 canonically because he finds her reactions fun/cute, the only person he teases on the regular, and she’s obsessed with knowing more about him and loves being touchy on top of it, plus reads him like a book because she files away every little thing about him in her memory, like if that isn’t a strong basis for a ship I think the bar has gone too high. I’m derailing but yeah just. Do you see all of this? They drive me insane, I feel like I’m reading the necronomicon when analyzing them, picking up on subliminal messages, I keep always seeing new threads. And it’s been my otp for like 2 years now, idk when they’ll stop having a grip on me but????? There’s just so much to dig into with them. There will never be another pair like them. Do you hear me there’ll never be another duo that hits all of these like this, do you see this insanity? They are my lifeblood and if i’m eating up anything them-related it’s because they’ve earned it so hard tbh. So yeah if I’m ever dramatic about marchil it’s because I have this 100k words novel narrative in my head and marchil is the meaning of life to me hope this clears it up

Which on that note idk what or when my next Marcille & Chilchuck analysis will be. I might very well make a bite sized, summarized version of this analysis because asking people to read all of this is kind of insane of me... And full disclosure I’m also very likely to edit points in or tweak bits every so often in this analysis because idk if I’ll ever stop thinking about it, and phrasing can improved. This has been in my drafts and outlined more than a year and I’m literally still adding extra points save me. I might also do a different angle on their arc because here yeah I mostly just dug at the prince trope angle, at ONE of many angles... Like one interesting thread in the manga is Marcille emotionally maturing and becoming more like her mother, on top of her regularly being a mom type friend the way she looks after Izutsumi and Falin, which could be interesting to pair with the fatherhood of Chil. Hmm. Anyways

And obviously do whatever you want, but this analysis and all is why I personally can’t stand the fanon that Chilchuck and Marcille have a father-daughter undertone. It goes against their arc together, which is explicitly, literally about her acknowledging him as a man, an adult, about coming to see each other truly as peers and her coming to validate him as an adult, then a father and husband from an outside perspective and a friend, and inversely him coming to not belittle her profession and philosophy. Their whole arc is about learning to see each other as an equal and equally value each other’s perspective and opinion. You could argue it’s also the arc that happens with Izutsumi, but honestly with her it’s a lot about Izutsumi learning to compromise and others instilling lessons to her onesidedly while learning to respect her perspective and boundaries, it’s not nearly as much of a reciprocal thing. Izutsumi needs to be heard, but she also needs people teaching her and guiding her. Imo it cheapens the arc, the whole point is that they’re just two people who grow to see each other as equals, that the Laios party is coworkers turned friends. Marcille doesn't need a new parental figure, she needs friends who'll keep her in check the same way she does them.

I do love the way that the manga avoids romance. For every romantic undertone there’s a platonic explanation that is just as compelling and especially to this degree it’s both rare and wonderful. I think that a lot of people need to learn that sometimes ambiguity is the point instead of something that needs to have a specific objective answer. Sometimes the intent is for something to be able to be read in different ways in itself, or that the complexity of the relationship is canonically something that cannot be put into a neat box. Which! Next analysis I'm very intent on making is gonna be about unlabeled relationships in Dunmeshi and queerness, see you there!

Fast and dirty TLDR

Marcille’s personality is very serious and direct. Due to this, she frequently gets into arguments with the master of sarcasm, Chilchuck. Chilchuck views Marcille as “the friend who cannot shut up”. He is often the practical foil to her more imaginative or idealistic views.

She actually thinks very highly of him! "He’s usually the most mature one of us" "he’s dependable, we’re counting on him" "No chilchuck is definitely virtuous", and at first it’s also through this twisted lense that he’s a kid, like she has to put people into boxes so they’re more digestible, tropes, in line with aesthetic, and at this stage it’s hard for her to see Chilchuck as being even able of wrongdoing really. And gradually that gets challenged when she sees that yeah, he’s an adult, and then BAM bicorn chapter- Because by then ok fine he’s an adult, but it hasn’t quite fully settled yet as we see in the shapeshifter chapter and she still has a warped view of him a bit, she has an accurate grasp on his behavior yet still sees him as a little angel. And then she "learns" he committed adultery. Her esteem for him hits rock bottom and she spends the chapter cold to him, she still cares and comes running when he’s hurt, but she’s set on mean mugging him, until it’s revealed that- He didn’t actually. Oh, actually he just has family angst. And she starts roleplaying and having her novel vision again BUT THIS TIME HER MIND VISION OF CHILCHUCK IS OVERTLY FLAWED. He’s angry and his wife left him, he’s *flawed*, but he’s still worth hyping up, still worth having his own romance story, still has a shot of winning back his beloved. She sees him for what he is, human and real and not a carefully scripted character that fits an aesthetic, and she thinks it’s still worthy of love and admiration, worth fighting for.

The prince charming figure has importance in Marcille and Chilchuck’s arc, where she romanticizes things to a sometimes worrying degree or idealize people into something more poetic, easy and digestible (like Chil being a kid, and then him being a virtuous ✨✨✨husband), and where she needs to learn to value aesthetics less and actual acts and facts more, be more grounded (like seeing people for what they are flaws and all, but seeing their virtues too, like accepting that people need money and not pulling through on principles of honor or unity shouldn’t get Namari shamed) and a part of that is accepting that Chilchuck is BOTH flawed and virtuous, a loving husband that still has shitty moods and fumbled his marriage so bad etc etc. So it’s like, her image of perfect prince charming that will whisk you away on an ethereal romance -> realistic flawed middle aged dad with personality issues and a failing marriage but who still is worthy of love and having his cute grand romance story and his happy ending.

Their arc together is literally learning to 1) see each other for how they are and not undermining their qualities and capacities etc etc while still not leaving flaws unchecked either and 2) opening up to people. Marcille LITERALLY makes Chil open his heart up to hope like idk man. What do you want from me. He’s literally the guy helping her through deconstructing novels and fantasy and rose tinted glasses and like. Deconstructing the prince charming figure into something more real but still a virtuous husband like KUI KUI STOOOOP STOP I’M ALREADY HOOKED I’M ALREADY-

[sokkagatekeeper]

I think with zukka it’s the exact opposite as soulmates like in every way these two should’ve never even met let alone connect but they did and they do and they balance each other out in so many ways... them being together isnt fulfilling some serious destiny them being together is being able to let their guard down and being who they were never allowed to be: youthful, and playful... essentially when I think of zukka I think of laughter and the heaviness one’s heart feels when they’re nearly overwhelmed with happiness. No fate, no destiny, no titles... just being.

i think that in order to break down what sokka and zuko’s relationship means in relation to soulmates especially interpreting this relationship as romantic, we need to start with the basics. get ready for a long and probably pretty wordy ride.

let's start with the meaning of the word “soulmate” specifically in fandom. the most common perception of a soulmate in fandom is that your soulmate is quite literally the other half of your soul, meaning that without this romantic interest you are somehow incomplete. now, what the hell is a soul? according to my dear friend google, a soul is “the spirit or the essence of a person, and the part of the person that makes them who they are and will be even after death.” is it even possible to split a soul in half? well, in my opinion everyone in fandom is essentially insane, so i’d rather say that no, it is not possible for a soulmate to be the other part of your soul, or for another person fictional or otherwise to complete you as another person, fictional or otherwise (when it's fictional, a soulmate can add depth and nuance, maybe?? but not complete. what the fuck does complete even mean). i have a more interesting interpretation of the meaning of a soulmate at hand, specifically because my first language is spanish: the closest thing to the word “soulmate” in spanish is alma gemela, literally “twin soul.” i believe it is much more interesting to interpret a soulmate as a person whose soul is a mirror to yours, or a reflection. a complement. the notion that someone is perfect and made for you romantically is essentially full of shit and a very lazy mindset, but anyway. 

if we’re talking about being destined to meet a person, or being different faces of the same coin, or stuff like that, then of course this is a thing in fiction. aang and zuko and katara are definitely soulmates in terms of being destined to meet and change each other in a meaningful and earth-shattering way. the concepts of destiny and fate are not only an actual thing in atla, but also very prominent and loud in themes and narrative, and in the mindsets and beliefs of the characters themselves; it heavily influences their actions and approach to other characters, especially zuko. from his perspective, zuko’s dynamic with aang throughout the show and in general (meaning before and after he joined the gaang) is in part shaped by his sense of morality, and in part by his belief that his destiny is somehow intertwined with aang’s (he was right, of course), similarly to how katara approached aang (too, as a beacon of hope) or even how she saw zuko as a definitive enemy (in contrast to how sokka saw zuko as pretty much a fool and a recurrent inconvenience) aang, katara, and zuko’s dynamics with each other are all somehow related to destiny, the general concept of soulmates as a mirror of your soul, whether consciously or unconsciously. this is part of what makes them the central thematic trio and the heart of the show.

knowing all this, let’s go back to sokka and zuko. in short, as i’ve said before, to each other they are just… some guys. to elaborate, to sokka, zuko was just 1) some guy in the way, another inconvenience that occasionally got in between him and in his business with the avatar, whom he didn’t respect at all and didn’t think of as an enemy, 2) just some guy to be wary of for all of the aforementioned reasons, and 3) some guy, but cool and nice and a friend, possibly a love interest?? idk we’ll see!! meanwhile to zuko, sokka was 1) some guy in the way, another inconvenience that occasionally got in between him and in his business with the avatar, whom he didn’t respect at all and didn’t think of as an enemy, 2) some guy, who is amazing and cool and he will break into a prison with him because why not?? so we can safely say, while there are direct parallels between them and are definitely connected in some spiritual way (as are all of the gaang, in my opinion!!), sokka and zuko themselves do not know that. the weight of being meant-to-be in their relationship is nonexistent, and i definitely agree that they can relax around each other in that sense, especially zuko (who believes in destiny therefore i mention him a lot, in comparison to sokka who does not believe in destiny therefore doesn’t carry the weight of anf his relationships being shaped by it which. they arguably are, as it is a story that was predefined, but that’s for another day). it’s been talked about that the most compelling thing about sokka and zuko’s relationship revolves around the concept of choice. the boiling rock is the only life-changing field trip that zuko was initially denied, but insisted on going anyway. he decided to go out of pure selflessness, solely to help sokka, in contrast to him being quite literally required to go as aang’s teacher/to prove himself and get katara off his back (as well as other subconsious reasons, that, too, for another day). zuko went with sokka because he thought he was dope, and as we all know zuko cannot do anything half-way so he decided he would die for the guy (valid of him, by the way). their entire relationship is just subversion after subversion after subversion.

it’s also related to sokka being just some guy, not only as he believes himself to be but also how sokka is pretty much the fourth part of the thematic triangle that aang katara and zuko have going on. he balances each of their pure hearts and idealism with a sharp mind and bitchy but useful pessimism. sokka being just some guy to zuko’s deuteragonist is the thematic equivalent of sokka being a main character and suki being a secondary character. it works because the weight of universal forces just isn’t there, and it works better than (in my opinion!!) katara and zuko or (to a lesser degree) aang and katara being romantically involved for the same reasons.

and anyway. when it comes to fandom interpretation, it’s very easy to think of every parallelism/symbolism as a sign of two characters being meant to be together romantically, or whatever. and while it is fun, most parallels (at least among the gaang) are mostly to show how the characters are able to understand and connect with each other whether romantically or platonically (and the destiny in fiction thing i’m too tired to talk about again), so the parallels between sokka and zuko are not entirely irrelevant to their romantic potential — people are also quick to think every parallel/trope/catchy line about their relationship is shallow and stupid and soulmates suck anyway!! and therefore i’m asking you all to calm down and find a middle ground. not every parallel/trope/etc is romantic and not every parallel/trope/etc is dumb and irrelevant. when it comes to the infamous “prince and the fool” for example, some people take it as the ultimate proof of their love and some think it’s utter nonsense and a cheap version of the zvtara’s moon/sun dynamic. and both of them are wrong!! “the prince and the fool” is in fact pretty much like “the wise and the brave” of katara and sokka. it is merely a descriptive of the way they act with each other, the way their differences balance each other, the way they contrast each other, etc etc. they do work as descriptive on their own, but not as well as they work when put together; yes, sokka is wise, but how wise? what is the standard for him to be considered wise, or even the opposite? sokka being wise works in terms of aesthetic, character, dynamic, etc etc, only if katara is being brave right besides him. zuko is a prince, sure, but what else is there? what is the alternative? you can call sokka a fool (and you would be wrong, by the way) but what does that word alone bring to his character? 

to conclude, i believe the thing about sokka and zuko’s relationship is that there’s nothing definitive to it by universal order — or rather, while it might exist, it's definitely to a lesser degree than other relationships in their lives, therefore the characters themselves don't notice it and there's no pressure to fulfill any prophecies; they just are, and they just do. you can have a passionate and true love without it being the sole meaning of your existence, or your sole motivation and priority in your life. it’s clear that in case they were romantically involved they wouldn’t even be the person they love the most (as it is very clear the person sokka loves the most is katara (!!!), while zuko’s is probably iroh?? idk). i believe the best part of a romantic relationship between sokka and zuko is that they are just some guys, maybe not to the universe but to each other. if they have to choose each other as they do, if they just get each other as well as they do, who care about each other a shit ton even if not any more than their other friends and family but just a little differently, while they aren’t canonically soulmates the way aang and zuko or aang and katara are (while the potential is there) i’d go as far as to say they are some sort of kindred spirits. i think it all depends on how you define soulmates, really.

[sterling-silvers]

Star Wars: The High Republic Informal Review

These are my initial thoughts and minutely biased opinion/review of the High Republic.

My basis is primarily founded on the first two issues of the High Republic comic book – written by Cavan Scott – along with a secondary basis, from a secondhand account of the book Light of the Jedi, written by Charles Soule. It is a secondary account because I don’t read books; I am not a book man. My friend loves to read books and he graciously gets on Discord with me basically every day and together we dissect and discern what’s going on in this new period of the galaxy. This evaluation will mainly concentrate on the book portion and while not all encompassing, will give you a significant gist of how I’m feeling about High Republic. Also, there will be SPOILERS – you have been warned.

Overall, the book seems to have a strong first third, gets into a lull in the second third, and somewhat recovers in the last third but, arguably not as strong as that first third. The strengths of the book are definitely world building, the focus on Starlight Beacon, and finally, the introduction to all the new (old) Jedi; the Jedi are the best thing about the book. Plot wise, the book centers on and around Starlight Beacon with hyperspace being the driving force of the conflict.

Starlight Beacon is akin to an amalgam of air traffic control, a mutli-cultural embassy, a Jedi Temple, and a bazaar. At this point, it housed the largest number of Jedi outside of Coruscant and used signals to guide travelers during their interplanetary journeys. It was made in response to the Great Disaster – a hyperspace tragedy that caused starships all across the galaxy to be abruptly launched out of hyperspace leading to several moons in the Trymant system, including Korbatal, to be destroyed. Beacon exists to better calibrate for, identity, and curtail these new anomalies as astromech droids are a rarity in this period of time.

Around the same time, a marauder group – called the Nihil – have found a way to board and raid ships while they are in hyperspace using hyperspace channels termed Paths. Through the use of devices - called Path Engines - Nihil ships are to make short-burst hyperspace jumps, allowing them to appear and disappear in a flash during battle. Their raids have led to deaths, including that of Jedi Jora Malli -  a Togruta Jedi Master that sees the Force as a force – always in competition with itself. She was also very close friends with Sskeer; a Trandoshan Jedi Master that lost an am during the raids. 

In accordance with that last point, hyperspace will be somewhat of the crux contention to fans (and really science fiction enthusiast in general) as this is not how hyperspace has generally been established to work in Star Wars yet, is the lynch pin in how conflicts happen. This even follies with the newly established way hyperspace works in The Last Jedi and The Rise of Skywalker but, I digress…

I knew there were going to be some major plot holes in this super prequel series but, my best hope was that they wouldn’t be too gaping. Just knowing that this application exists, changes many aspects of space travel and what characters going forward should know about it. Canon mechanics aside, Charles Soule makes it clear why was given this duty; he has blatant skill for writing not only characters but, also taking the extra steps of having the individualized power of the character be an extension of them. He did this very well during his run in Uncanny Inhumans and he’s not disappointing here either (he’s had plenty of practice in the Star Wars realm already with books like Star Wars, Poe Dameron, and The Rise of Kylo Ren).

There are a multitude of Jedi brought in, which complements the time period and era of it being the High Republic but, the real asset of the book is Soule taking the needed time to give the reader a look at how each Jedi interprets the Force in their own way. Moreover, the pairings of different Jedi serve as accompaniments to each other in very noteworthy ways.

Jedi Master Loden Greatstorm, sees the Force as an ocean.

His Padawan, Bell Zettifar sees it as a flame – sometimes a raging inferno, sometimes glinting ember. (This is very fascination as usual flames are a motif associated with the Sith yet, here is Bell - a shining example of a Jedi - interpreting fire in a positive light. I also like how view of the Force allowed him to synch with his charhound, Ember).

Wookie Padawan Burryaga Agaburry, perceives it has a tree attached to a leaf of equal size.

Vernestra Rwoh, the one of the youngest Jedi Knight in the order, sees it as a river.

Reath Silas, see it as a spider web – strong in some spots, weak in others.

Elzar Mann, views it as an endless, bottomless sea which was impossible to be used up, not matter for what purpose or however many times it was called upon. (I’m curious to see if there will be a differentiation between how Mann sees the force when compared to Greatstorm; an ocean is deeper than that of a sea.)

Finally, Jedi Master Avar Kriss, hears the Force as a symphony – moreover, she can connect with minds of other Jedi and is able see how other see how they see the Force.

Hot take but, the character of Kriss feels like a Kathleen Kennedy character as Kennedy been prone to interject White, third wave feminism (if you’re not intersectional then you’re not a “feminist” to me) into Star Wars. One of her signatures is to take a White human female and make her the either the main character or a key figure in the narrative. Avar Kriss, a White blonde-haired human woman, is literally depicted as “the brightest, most noble example of Jedi-hood” so, I’m keeping a keen eye on her – doesn’t help that she just got assigned Marshall to Starlight Beacon but, if it’s any consolation (more like mitigation), she was the SECOND pick as the first died.

Ultimately, if you are able to get the major hurdle that is hyperspace Paths, this is a competent and enjoyable start. Soule even goes as far to add some interesting and even practical – yet lore breaking – devices in this age: he’s made a new (old) space ship called “Vectors” that are powered/steered by Force sensitive people with the lightsaber being the key to active it (even cooler, the hub takes the color of the lightsaber that activates it). 

That’s a great idea and makes sense within the universe as whole yet, collapses on itself when you remember what time period, we’re in – the past, so why was this not built upon in the future? It definitely feels like the books are 85% of the story while the comics (more on them in a later post) are – at their prime peak – a mere “intrinsic 15%”. The best part for me has been the characters; hopefully, the plot will come along to accent them justly. Arguably though, the best characters – that of Loden and Bell – should be depicted in the comics based on their gravitating dynamics and instant attachment with readers.

[bloodraven55]

“But Bumbleby was rushed/forced to pander to the gays—”

There are a number of glaring flaws in this argument, most of all the fact that no straight relationship is ever called “forced” or “pandering” even if people don’t like it, let alone “rushed” when it’s only on the verge of officially happening seven seasons into the show, but I want to break down all of the many levels on which it’s wrong in order to hopefully kill it once and for all.

“It came out of nowhere—”

Jaune was crushing on Weiss the second he saw her, Sun was crushing on Blake the moment he saw her, Pyrrha developed feelings for Jaune in just one Volume and showed some interest from the moment she saw him, and Blake goes from being consistently annoyed at Sun throughout Volumes 1 and 2 to suddenly having a crush on him in Volume 3.

If Bumbleby supposedly “came out of nowhere,” then so did W/hite Knight, A/rkos, and B/lacksun. But no one ever has an issue with the speed at which those characters started having romantic interest in each other. And I’m not even saying they should—they’re all very valid ships and whether they came out of nowhere or not isn’t the point of this—but there’s a clear double standard applied to same sex ships as opposed to heterosexual ships here and it invalidates this point right out of the gate.

“It was rushed—”

Blake and Yang are only just now close to becoming an official couple after more than six whole Volumes of knowing each other. There is no possible universe where this would qualify as “rushed.” Again, W/hite Knight and B/lacksun albeit both one-sided at least to begin with both became obvious things within literal episodes of the characters meeting, and Jaune and Pyrrha were showing blatant romantic interest in each other by Volume 2 before kissing in Volume 3.

In the last case you can argue that it went at a faster pace because Pyrrha was going to die, but that doesn't change the fact that no one complained that it went too quickly—or about the other two ships I mentioned which were both initially based solely on one (1) instance of a guy showing interest in a girl—and yet people say it’s too soon for Blake and Yang to get together when they’ve had over twice as long for their relationship to develop.

“The shippers forced it into the show—”

I don’t think I even need to add any more here when the words of CRWBY speak for themselves.

“Toxic shippers think everything is gay—”

I mean, I’m gay and I only truly ship a handful of the possible same sex pairings in the show—certainly far from the majority of them—and I also ship a number of straight ships, but go off I guess.

I already made a post on this here, but it’s insanely dismissive and ridiculous for heterosexual people i.e. the ones who usually use this “argument” to assume that they know better than actual LGBT+ people what is or isn’t good LGBT+ representation, and for them to assume that just because they missed build up that it therefore isn’t there.

I can’t take someone seriously when they go into a discussion determined to believe that they’re already right and don’t listen to a word you say to prove otherwise, especially when they’re debating on a topic which doesn’t directly affect them and which they don’t have the same level of firsthand knowledge of.

“The wasps only care about Blake and Yang getting in each other’s pants—”

Actually, it’s the people who are most aggressively against Blake and Yang being a couple that tend to reduce their relationship to being entirely about sex even though they haven’t had a single remotely sexual interaction in the show, but if this were true then surely Bumbleby shippers would be very unhappy with the show because Blake and Yang have still not “got in each other’s pants,” or “swapped clit juice” as I once saw someone tastefully describe it?

But that isn’t right. Because in general us Bee shippers are currently exceedingly happy with everything that’s happening in the show to do with Blake and Yang’s relationship. So how can that be if all we care about is whether they fuck or not?

The answer is of course that we don’t only care about whether they fuck or not—in fact most of us couldn’t care less whether it’s ever so much as hinted that they have sex, both because the show almost certainly won’t ever go there and because that isn’t our priority—we’re just enjoying watching them fall in love.

Honestly this argument is one of the most lazy because one look at RWBY will tell you that none of the romances are at all sexual thus far so any shippers who truly only care about that aspect wouldn’t stick around very long when they’ll just end up disappointed. And of course the way that these people inherently view same sex relationships as sexual is homophobic and disgusting too.

“CRWBY rushed it to give the rabid shippers what they want—”

Like the last two points, this is a “criticism” that I’ve only ever seen levelled at same sex ships and never straight ships, so it’s yet another example of double standards and hypocrisy, but that’s only the start of what’s wrong with it.

The most galling thing about this is that these people insist that all LGBT+ people because as I’ve already mentioned that is always the group which statements like this are aimed at just want to see two characters of the same gender make out as soon as possible, which is simply not true.

No one would ever claim that straight people just want to see a man and a woman get it on as soon as possible and dismiss the worth of a straight relationship because of it. So it’s ridiculous to try and force that logic onto shippers of same sex ships, who are primarily LGBT+ people themselves.

If anything, we care even more about the quality of our ships—how healthy they are, whether they’re well built up or not, etc.—because we hardly have any to begin with in comparison. If one straight ship is rushed or poorly written, then there are plenty of well-handled ones to choose from instead, but the same isn’t the case for same sex ships.

We want to be represented well, which means that we want healthy relationships with plenty of development where the characters actually have chemistry and complement each other. We might still support rushed or badly-written same sex ships sometimes because it’s still representation which we are overall sorely lacking, but we don’t want them.

“But they ship baited with Blake and Sun—”

First off, straight ships can’t be baited the same way that same sex ships can. It’s simply not a comparable situation. But of course B/lacksun shippers are entitled to feel disappointed that their ship didn’t become canon. That’s utterly valid and understandable. However, that doesn’t mean that the writers or the show in any way misled viewers regarding what was happening.

“But Sun winked at Blake—”

And Yang also winked at Blake in Volume 2 while asking her to the dance, just like Sun winked at Blake in Volume 1 and then asked Blake to the dance. And Blake turned Sun down when he asked initially, specifically told him that they were only “technically” going together when she ran into him outside, and told him definitively that she had chosen to give her first dance to Yang.

“But Blake blushed at Sun—”

And now she’s also blushed at Yang, in a far more intimate scene at that. Next point.

“But Sun met Blake’s parents—”

And? Simply meeting someone’s parents doesn’t on any level automatically imply romance. Ghira didn’t even like Sun, and while a lot of people like to claim that Kali “ships it” which would be extremely flimsy evidence to base the canonicity of a ship on anyway, she’s someone who would do the same with anyone Blake brought home so it means nothing. If Blake had actually chosen to take Sun home with her herself then this would be a valid point, but she didn’t, so it has no weight whatsoever overall.

“But Blake kissed Sun on the cheek—”

And I kiss my mother on the cheek the exact same way every time I say goodbye to her. If you think that type of kiss on the cheek has to be romantic then quite frankly I’m not sure what world you’re living in. If the camera had been close up, if there had been any shots at all of their reactions, any blushing or lingering looks, a more private setting— literally anything to give it some actual weight and make it feel significant, then this might mean something, but it’s framed as a totally platonic goodbye with zero romantic coding.

And that’s without even mentioning the fact that right after that moment Sun flat out states that his time with Blake was “never about [romance],” which sort of kills the idea that anything about that scene was supposed to be taken as romantic. There was no reason to include that line except to make it clear to the audience that Sun and Blake parted ways as friends who now have no intention of ever becoming anything more.

Seriously, if they wanted us to think that there was still something there, then Blake would have been shown to be thinking about or missing Sun even one since they separated, but he hasn’t been brought up for even a second. If they wanted to set up a continuation of anything romantic for them when the group reach Vacuo, say, then they would have started doing it by now.

Plus the reverse argument that Blake and Sun have never hugged or held hands—both of which Blake and Yang have done multiple times—works just as well, perhaps even better since handholding is a well-established romantic cue in the show already thanks to A/rkos, R/enora, and O/zma and Salem.

“But why was Sun even there in Volumes 4 and 5 then—”

Because Blake needed a friend who she could exposition to about her thought processes and personal problems so that the audience could understand what she was going through, and she wasn’t as likely to open up to her parents about that stuff right away when she was convinced they’d hate her for leaving.

Sun was there to support Blake as she developed and to tell her that running away hurt the very people she was trying to protect. That was his narrative role in that arc. There was nothing to indicate that a romance was being built in those more than twenty episodes they spent together and if it was going to happen that would have been the time to do it.

On the other hand Blake and Yang’s shared arc together is built on the fact that Blake’s romantic ex, who Blake had already directly contrasted with Yang and whose Semblance was already a foil to Yang’s, maimed Yang specifically because Blake loves her. The basis of that arc has romantic weight, which is what makes the difference here. Though the scene at the end of Volume 3 where Adam takes Yang’s arm isn’t romantic in and of itself, I should clarify, it just has romantic significance in that it makes it clear that Blake and Yang’s feelings go beyond mere friendship.

In short, the summary of this whole section pretty much boils down to: two characters spending time together doesn't inherently equal romantic development, and it isn’t in any way “baiting” if those two characters don’t then get together.

The characters’ feelings follow a fairly logical progression over the course of the show, with Blake showing interest in both Sun and Yang in V1-V3, then ceasing to show interest in Sun after that as their relationship becomes totally platonic by Volume 5/the beginning of Volume 6 at the very latest, while the events of the Fall of Beacon only solidified how strong her feelings for Yang were and once she reunites with Yang their relationship begins to head towards romance.

It’s a pretty realistic depiction of how human feelings work, and a far less messy situation than in a lot of other shows where there isn’t the same massive level of hatred and vitriol towards the “victorious” pairing, because this was never even really presented as a love triangle or rivalry.

To conclude, I just want to list some of the contradictions that I’ve seen within the arguments made against Bumbleby, because I think it’s very telling that the people who are against it can’t even settle on one coherent narrative on why it’s bad.

“Bumbleby has no development, but also the show focusses too much on Bumbleby.”

“Monty wouldn’t have wanted Bumbleby—it goes against his vision—even though I didn’t know him and have no idea what his vision actually was, and he explicitly stated that he wanted LGBT+ characters in the show who might already be in the main cast and that he wanted Blake and Yang to have a shared arc together, as well as being responsible for the set up of that arc with Blake and Yang being introduced as Beauty and the Beast while Adam canonically represents Gaston.”

“The Bumbleby shippers have so much influence that they forced the writers to make the ship canon, but they’re also just a vocal minority who don’t matter.”

“Blake and Yang hardly interact—they’re barely even friends—but they also interact too much and it’s making Bumbleby take over the show.”

“Arryn is a victim of the toxic wasps who harrassed her and sent her death threats for saying that the song Bmblb doesn't automatically make the ship canon, which there is zero evidence of,  but Arryn is also an unprofessional cunt for expressing her support of Bumbleby.”

“None of Blake and Yang’s scenes together are romantic so Bumbleby is forced, but even when they have undeniably romantic interactions I’ll ignore them or deny that they mean anything so I can still pretend it has no build up.”

“Bumbleby is bad because Team RWBY are a sisterhood, but all of the other straight relationships within teams—even those who’ve flat out called each other ”family”—are fine, and I’ll just pretend that there aren’t other definitions of the word sisterhood which have nothing to do with actual sisters and are the ones that actually apply in this case.”

“Blake and Yang���s relationship could be seen as romantic or platonic, but I personally think they’re just friends so Bumbleby is bad and came out of nowhere.”

I’ve seen all of these countless times with my own two eyes and it’s absolutely hilarious to be honest. Anyway that’s it. I have yet to see a single logical argument as to why Bumbleby is bad that isn’t made in bad faith, fallacious, or just doesn’t hold up when you actually look at the show. It’s about to be canon, and at this point to be honest anyone who doesn't like that can simply accept it or go and watch something else that will pander to their specific tastes instead.

[peachamiibo]

alright i really feel like i have to write this because i’m just so incredibly pissed off with CRWBY and RT’s marketing. i’ve been a fan of this show for 7 years - since the yellow trailer came out! and sadly even though i’m so attached to the characters i think i’m going to have to drop it unless this situation is handled well - which, at the moment, it is not - it’s a fucking train wreck.

anyway let’s start with the main issue: queerbaiting.

CRWBY, intentionally or not, queerbaited with clover / qrow. at this point, i’m believing it was intentional. first and foremost, their interactions in the show were very flirtatious, mimicking another beloved ship (bmblb). for instance, when yang first compliments blake this volume and she puts her hand behind her head and blushes - the SAME THING happens with qrow when clover tells him not to be so down on himself. further, there was the parallel with the waitress from v4 who was hitting on qrow. the official rwby twitter account teased the relationship a few times, as did amity arena, and a few other’s who work on or have worked on rwby. 

but sure! let’s go with the narrative that their interactions weren’t meant to be seen as flirtatious. fine! let’s go with it. here’s another issue: the character design. color is one of the most important symbols in RWBY. characters aren’t given colors without reason. let’s look at clover’s initial design compares to his final design: 

his original design was based more off of the kingfisher bird. cool design - love that journey for him. they intentionally changed his character design to complement qrow in color. especially eye color. we all know eye color is an important part of rwby (ruby’s silver eyes, bmblb’s complementary eye colors) 

further, if you compare his design to other couple’s in the show, it adds more to the potential romantic symbolism. he wears a red sash on his arm - qrow’s color. who else does that? yang - yang wears a purple sash which is blake’s color. taiyang wears a red sash - for summer. it’s not hard to see.

also, the semblances of the two are important. the fact that they didn’t explore a good luck semblance in it of its own should be a criminal offense, but it was a perfect match for qrow. just like bmblb! yang’s semblance encourages her to get hit to store up power - an offenesive semblance. blake’s semblance enables her to retreat - a defensive semblance. they compliment each other. qrow/clover’s does the same! (& before any clowns want to compare yang and adam, characters with the same or similar semblances are meant to have distinctions drawn between them. im not going to elaborate on yang and adam’s distinctions because that should be common sense in how they interact with blake). 

there’s a lot more stuff i could add in regards to parallels and such, but lets move on. 

let’s get away from the queerbaiting, you might not see it. fine! that’s ok. here’s why the decision to kill off clover still sucks:

qrow was recovering from alcohol addiction and depression. he was improving the entirety of v7. it’s a great story for him! clover was clearly a part of his improvement, whether it be platonic or romantic - it doesn’t matter. 

what does killing clover off do for qrow’s narrative? it sends it backwards. an entire volume of development erased. qrow formerly believed that he and his semblance brought nothing but sorrow and misery to people. now that belief is going to be reinforced - because the man with the literal antidote to his bad luck was killed because of him (in his head). is the man going to be able to stomach being around the light of his world, ruby? or is he going to think he will eventually lead her to her death, too? what’s the point of this? at worst, it’s telling us people like qrow (depressed people, alcoholics, etc) don’t get their happy ending. at best, it’s just really shitty writing. 

finally - crwby’s response to this has been absolute garbage. eddy said that their relationship wasn’t meant to be seen as important (he also compared wanting lgbt rep to wanting a shopping montage, but lets digress). great! you don’t know the impact of your own writing! but even beyond that, after the finale, the officialrwby account decides to promo some new merch its selling! 

but i thought their relationship wasn’t meant to be important? but i thought you didn’t know clover would be a popular character? you knew well enough to attempt to profit off of it. and before anyone says “marketing is different from writing” - sure, that’s true, but after the backlash clover’s death had, you would think somebody could write an email saying “hey, maybe lets not tease the ship even more after we killed one of them!” 

and even if this was made BEFORE that, why would the marketing team have an incentive to put them together if it wasn’t for the writing that portrayed them together multiple times? it’s also worth noting that clover is the only ace-op with merch so far. hmmm. why’s that.

also, i’m not even going to go into why the “born unlucky” is shitty and the fact that they want to sell a pint glass themed after qrow (haha alcoholism is funny!!! bad luck!!!)

the straw that broke me is eddy rivas’ response to all of this. 

eddy had previously said he would discuss the decision to kill off clover after the series ended. we are still waiting. then, this fiasco happened with the marketing team, and he tweeted this out. after people have been asking for answers for like, a week at least now. and it’s just worth some emojis to him! nothing more. us mlm fans are just like the people who want an atlas shopping montage, right? shrug emoji! 

this is just garbage. im out unless rt fixes this somehow.

also: if you want to disagree with me that’s fine, i’m happy to talk about it, but if you’re going to be a clown don’t bother

[furubabes]

Okay. Somebody Asked. @shoujobell and @cryptidaicat, y’all encouraged this. I’m gonna tag this #long post if you wanna filter.

So here. I got the urge to write and so I ranked the Fruits Basket couples from my favorite to least favorite. These aren’t my complete thoughts because I could honestly do multiple full meta posts on each pairing, but I tried to justify and explain all my choices. Standard disclaimer, this is subjective and we can agree to disagree.

Part 1: Just the reasonably popular ones

1. Kyoru: Someone’s gonna call me unoriginal for this but it’s fine. Kyoru is the main romance of Fruits Basket! They bring out the best in each other and build each other up as characters. Kyoru is basically my gold standard take on Sunshine Girl x Grouchy Dude, and I’m not even usually into that trope otherwise. Their romance is one of the few that feels so genuinely necessary to the story. They love each other and like each other. Kyo understands Tohru in a way no one else in the narrative does, and vice versa. They’re in love like soulmates and also like awkward teenagers. Kyoru invented romance. If it’s boring to like healthy romances with realistic development, I’ll be boring.

2. Tohrin: If Tohru didn’t end up with Kyo I would only want her to be with Rin. I guess they have some of the same appeal as Kyoru for me - Rin reads Tohru in a way a lot of people don’t. I also like how honest and raw they are with each other. They yell! They fight! Rin is down to just straight up knock Tohru over to keep her from rushing off. Also, they’re both absolute fashion icons. Goth x Prep rights. I firmly believe Tohru Honda is bisexual.

3. Yukeru: This is my favorite Yuki pairing. I followed @yunsoh way back when the reboot first started and her blog has got me absolutely hooked on Yukeru. I think Yuki’s arc would have just made a ridiculous amount of sense if he was gay. It screams comphet. Kakeru is an excellent complement to Yuki, and their bond feels incredibly natural. Honestly I feel like it’s the most organic romantic development outside of Kyoru. I think realistically they wouldn’t have gotten together until post-canon and frankly Yuki shines in his friendships much more than romances, so I’m not absolutely dying for them to be together, but if Yuki’s going to date anyone Kakeru is my pick.

4. Arisaki: Man... I just like them. They strike me as less of an epic love and more of a comfortable partnership. I also read them both as lesbians anyway lol. Honestly I think they both had feelings for Tohru at one point and bonded over it. The way I picture them happening is honestly just Arisa at 25 frantically googling “is it gay to hold hands with my girl roommate who I spend all my time with and also we never date men“ because Saki bought them rings that look like wedding bands but they could just be super close friendship rings and oh god she’s in too deep. They’re dating for four years before they notice.

5. AyaMine: But Jessie! You literally never post about this pairing! Yeah, you’re right. I never think about them actively. But when ranking the canon ships I realized that I like the two of them together because they’re chill and understated. They’re huge loud personalities on their own but as a couple, they just feel like two people who are happy together and like spending time with one another. No drama, no mess, very understated. No plot contrivances driving their relationship. Good for them.

6. YukiKyo: Okay, so I can be convinced to put on my YukiKyo goggles more often than not. It feels iffy because there’s debate about how closely related all the Sohmas are and these two are called “cousins” a lot in school, but since half of the Sohmas are dating each other anyway, I err on the side of them being more of a clan than a proper blood family. Anyway, YukiKyo is my designated angst fuel. I think it would realistically be pretty one-sided from Yuki’s side, since we see him wanting Kyo’s approval from a very young age, but I like exploring the what-ifs of their lives if they’d been friends instead of rivals. In canon, I like to think that after high school they’re not best friends in the traditional sense, but either one could show up with a dead body and the other would help them bury it, no questions asked.

7. Yuchi: Really? Yuki’s wife is my third favorite pairing for him? Look, I adore Machi, and I still like Yuchi. But as I’ve been watching the reboot and reading others’ metas, I think I agree that their relationship could have been very powerful as a platonic one, sort of running parallel to Yuki and Tohru. I like them together but I think there wasn’t quite time for a complete character arc for Machi and her growth sort of begins and ends with Yuki. I don’t object to them being a couple in canon and I think they’re genuinely very sweet, but once again, I think Yuki stands out in his friendships more than anything. I would have liked to see Machi strike out on her own a little more.

8. Haru x Yuki: I don’t have any particular feelings towards them but I love their dynamic already and I think as a couple they’d both be really easygoing and comfortable with each other. I think a childhood crush turned close friendship is honestly the narrative that works best for them so I have no need for the two to date canonically, but every time they interact in the anime it gets a laugh out of me. They’re cool. They’d make a very pretty pair.

9. Mayutori: I’m Mayutori-neutral. I think they suffer from Fruits Basket’s pair the spare syndrome, but out of the side pairings that don’t have too much impact, they’re one I enjoy. Mayu’s fun as a character, and painfully relatable, and I like that Hatori’s eventual romance isn’t with someone who reminds him of Kana or something like that. I also want good things for Hatori. Mayutori has serious heterosexual energy though. I’m not saying this as a pro or con, they’re just very straight.

10. Hatsuzu: Okay, Haru and Rin aren’t this far down because I hate them. I’m perfectly fine with them being together in canon. But I think their romance almost... functions better as individual motivation for their character arcs than it does as an actual relationship, if that makes sense? Rin’s backstory episode is heartbreaking and her motivation to protect Haru is compelling and sympathetic, but their actual scenes together just don’t move me that much. Their romance is the least interesting part of either character for me.

11. Hiro x Kisa: Yeah I never got into it that much. It’s cute, it’s a sweet depiction of childhood crushes, but I’m not a fan of the idea of them ending up together. Kisa’s a cutie and Hiro is entertaining but the two of them together don’t actually do much for me. The dynamic between them is almost like if someone did Kyoru with none of the nuance. Ultimately though, they’re kids. I don’t expect them to have a deep and complex romance.

12. Yukiru: I think it would be a disservice to their characters if they were a couple. People far more eloquent than me have already written plenty of meta on why Yuki and Tohru aren’t what the other needs romantically, so I won’t get into it, but basically I just think their canon friendship is so beautiful and meaningful that I wouldn’t want to change it. Yuki and Tohru support my thesis that not all soulmates are romantic.

13. Tohru x Momiji: Welcome to the subjective dislike corner! This pairing is reasonably popular among people theorizing who Tohru would be with if not Kyo, but for some reason it just sits poorly with me. I can’t rank it any lower because there’s nothing evil or morally wrong about it! I just really don’t like it. I’ve quit a few fics because this pairing came up and I just can’t enjoy it.

14. Kakeru x Komaki: Idk, I just think Kakeru latching onto the one girl who was nice to him and put up with his bullshit and then being with her forever isn’t compelling. Komaki’s also probably his beard. She’s likable as an individual though.

15. Akigure: There’s plenty to say about the age gap, Shigure being in love with Akito since she was a fetus because of The Dream, the implications of a 15-18 year old knowing he’d one day want to be with a then-10-year-old... yeah, you get it. But even if I was able to put all that aside because Soulmate Destiny Logic, I still don’t think I’d like Akigure. I think they’re interesting as bitter, codependent exes, but I don’t like the idea of Akito ending up with anyone who she abused or who abused her. I think she has so much growing to do as a character and staying in a relationship within the Sohma family to do it can’t be healthy for her. I can’t see them living happily ever after, nor do I really want to.

16. Kurisa: I think what frustrates me the most here is that I want to like Kureno and everything about this romance is written to dull his most interesting traits. First of all, the age gap. Yeah, it’s gross, I don’t like it. But even past that, the love at first sight, instant fixation with each other, and lack of actual chemistry just kills me. Arisa’s stated reason to like Kureno is that he reminds her of Tohru, basically piggybacking off the chemistry she and Tohru already have, and his total lack of agency means the plot just sort of carries him along. It frustrates me that Takaya could have done something pretty cool by making them simply friends who have a chance encounter and then build a friendship from there that parallels Kureno’s abusive dynamic with Akito. It would be neat if a stranger’s kindness was the push Kureno needed to get himself out of the Sohmas’ grasp, without all the nonsensical drama about them being in love. It would also be less of a disservice to Arisa, who basically just spends the whole series pining for Kureno after they meet and I hate it. I could write a whole post about this. Maybe I will sometime.

17. Kyoko x Katsuya: I don’t think their story is romantic. I think it’s tragic for Kyoko, and if it were framed that way within the narrative, I wouldn’t object so much to its existence. But... Takaya just really likes age gaps with a younger woman and an older man, so the narrative romanticizes this man marrying his student. Katsuya can be depicted as well-meaning as you want, but he’s still got a ridiculous amount of power over Kyoko. She was also still pretty young when she had Tohru, which doesn’t make things any better because it’s clear that the relationship turned physical when Kyoko was a teen, thus dashing the idea of Katsuya legally marrying her to save her but not actually doing anything creepy. I wish Fruits Basket framed this as a story of Kyoko escaping one dangerous situation by entering a relationship with a huge power imbalance, because that happens to girls all the time and it’s tragic and compelling. The events of the story could stay the exact same and if the framing changed I would be fine with it. But this is not that. This is just a really romanticized teacher/student age gap. I’m not into it.

Part 2: Rarepairs, weird shit, and others (oh my!)

1. Yuki x Kakeru x Kimi: OT3. I’m enamored with the idea of this hot mess polycule.

2. Momiji x Kimi: Chaos meets chaos. This couple would say uwu without any irony and also steal your car keys. They’re both perceptive and smart hidden under a layer of cute and I’d wanna watch them play 4D chess with each other.

3. Kazuma x Kunimitsu: Idk how old Kunimitsu is so if he’s like 20, strike this one from the record. But I saw one post once that was like Kyo slowly realizing Kazuma and Kunimitsu were gay and had been dating for years and it was funny as hell.

4. AyaTori: It’s cute. Opposites attract, black and white hair, and Aya only listens to Hatori anyway. It’s just fun to think about.

5. Megumi x Hiro: They don’t interact in canon I just think Goth x Punk-Ass Bitch is a great concept.

6. Motoko x Nao: They’re both loud as hell and Nao having a gf that towers over him is funny. Maybe Yuki would finally get some peace.

7. Machi x Kimi: I don’t see them actually being compatible in canon but I think they could have a really homoerotic college friendship.

8. Hajime x Mutsuki: This is just YukiKyo, the non angst version.

9. Akito x Hanajima: I’m so wary of shipping Akito with anyone but this is kind of fun. The two are friends in canon and Hana isn’t remotely afraid of Akito. Plus Akito never abused Hana. I can sort of see it.

10. Hiroshi x Yusuke: Makes no sense, wouldn’t be relevant, but if those two just never spent any time apart and continued being a pair for life it would be a really good bit.

11. Akitohru: I don’t think it’s healthy to date anyone who’s previously stabbed you.

12. Kazuma x Hanajima: Stop. Go to jail. Hana’s one-sided crush is funny though.

[myriadnarratives]

Netflix’s Shadow and Bone: My Fangirling Thought-dump

Fair Warning: I’m a darklina, so leave now if you’re not going to be decent (I don’t bash on Mal, though, so you’re safe there)

So I binged Shadow and Bone without reading the books (judgmental people, leave now), and let me tell you, I love the show. True, there were some things I wish were different based on what I’ve been spoiled on about the books, but as a show in and of itself, it’s strong.

So here’s just a dump of my thoughts and fangirling (I use *chef’s kiss* a lot). And obviously, spoilers ahead.

***SPOILERS AHEAD***

WHAT I LOVED

- The storytelling, both narrative and visual, is exquisite. How the dialogue contributes to the storytelling, answering the audience’s questions and doubts clearly even before they’re brought up; how the visual arrangement contributes to informing the audience of what they need to know and how that timeline of knowing helps the audience in piecing together the story, the characterization, and the timeline; the tying in of characters’ storylines so audiences are not confused as to why we’re spending so much time watching the goings-on with a character. *super chef’s kiss*

The show is so organically unified in terms of characterization, visual media, dialogue contribution, and so much more that I just, uh, I cannot even! I LOVE THE ART OF IT!

- How the show dealt with race, identity, prejudice, politics, social acceptance, individual needs, personal wants, the desire for security and safety that mean differently for each character *raises both hands to the heavens in thanks* The show’s concepts hit close to home for me in terms of race, prejudice, mixed biological identity that informs social perceptions, the desire for belonging and safety and acceptance, and I think this show would hold a special place in my heart for its portrayal of these issues.

- How different sexualities and genders are portrayed so casually, as if it’s an everyday normal thing (as it should be).

- The Crows (of course) and how their story intersected with Alina’s, and how the storytelling (I’ll keep going on about the visual storytelling until I run out of breath) shows the intersections and develops the diverging stories to meld into each other

- How they showed how brilliant Kaz’s mind is. The visual storytelling of showing one scene without explanation, leading the audience to create their own assumptions on what Kaz was seeing, then having the scene turn out different once it has been explained later when things have unfolded *chef’s kiss*: the meeting between the Conductor and the First Army General, the hidden changing room, the lynx flush assignments 

- How Inej’s faith is portrayed neither negatively or positively; it’s just a thing that is not contrived but contributes to the plot, not some sort of moral policing inside or outside of the story.

- Mal! I heard he’s a jerk in the books, that’s why I didn’t want to read the books before watching the show. But god, his first scenes with the sparring, and the way Archie moved in that fight. Also how Mal’s overall storyline progressed, how his ties to Alina was shown, how his feelings got revealed to the audience even before it got revealed to Alina so the sincerity is not questioned. That True North thing! *heart eyes*

- How the issue of consent in the sexual sense is highlighted as important. The darkling literally asks “Are you sure?” before he proceeds. (Of course, this is very different from his take on non-sexual consent later in the show - like really, you literally put a control button on your hand to control her powers! Dude...)

- The exploration of Alina’s overall consent and agency. They even literally have her say her lack of it when she was in the final episodes. Even Kaz shoves it in the Darkling’s face that she doesn’t want to be a captive anymore. And throughout the show, the thought processes behind her decisions are clearly communicated, giving her agency a lot more weight as the audience can understand and sympathize with her decisions. And she’s not just a “victim” of the story; she pushes the story along with her actions, from her decision to burn the maps so that she could come with Mal, to her childhood decision to cheat the Grisha test, to something as visually simple (yet strongly narrative-affecting) as choosing the left or right path in Baghra’s escape route.

- The exploration of want. What each character wants, how one want like “security” could mean an entirely different thing for each character (i.e. the Darkling’s want of security for the Grisha, Alina’s want of security for herself, Inej’s want of security in the form of freedom, etc.). The show, being well-written, is a smorgasbord of academic analysis. Again, if I haven’t said it yet, I LOVE THE ART OF IT!

- NINA!!! God, I really like how the actress looks! There’s just something about her face that I really, really like. And then there’s Nina’s lines, the delivery, the attitude *chef’s kiss* One caveat though: I wish she wasn’t made to say “Please” when she was hanging off the ice ledge. Even though she had already warmed up to Matthias (and him to her), I would have wanted the scene to be a clash of his pride and her dignity: just like in the ship earlier, her not submitting even to his kindness (sincere or otherwise), and him having a moral crisis on helping a “witch.”

- Genya’s hand-to-hand fight *absolutely beautiful*

- The overall fight choreographies. It’s not just people punching each other and brawling; the jiu-jitsu locks and judo throws hold a special place in my practitioner’s heart, and the fights look really good, either it be for the women (Hello, Genya and Inej) or the men (Mal and Aleksander’s fight looked so different from usual brawls because of the throws).

- How the different Grishas, even the usually non-combat ones, can weaponize their abilities: Healers can, obviously, break bones; Heartrenders can stop your heart; and even the Sun Summoner can blind you.

- Jesper and Milo the goat. “Grab the goat. Hug the goat. Shut the fuck up.” And how Jesper tearfully parted with Milo LOL

- How Alina just climbed right into the get away carriage’s literal trunk. LOL!

- Kaz and the Darkling meeting. I know it’s not in the books (they’re not even in the same trilogy/duology), so having these two characters with so much gravitas meet and actually verbally spar is *chef’s kiss* 

- Inej’s first kill is to save Kaz *heart eyes*

- The Darkling’s humor! “Yes, David?” and “I’ll have to give that speech again” were hilarious!

Of course, there’s many more, generally because of how they contribute to, again, the visual and narrative storytelling and the characterizations and the plot progression and, ugh, I'll stop now or else I'll just keep going on about how much I love how this show was crafted.

NEUTRAL

- I heard that Alina was supposed to be funny in the books, but apart from the “No pressure” and “My tailbone is killing me” lines, there wasn’t really much of that humor in there--most of the humor came from Jesper’s scenes or Mal’s friends. Honestly, I think the show Alina fits the story, so I don’t really care if her humor is not as evident.

WHAT I DIDN’T LIKE

- Gosh, Netflix and the showrunners really know how to market the show. They were right when they said the first step is to cast Ben Barnes. Then the focus on the General/Darkling and Alina’s story and relationship, that sort of dark and brooding archetype getting with the green and pure protagonist, is so delicious. But of course, endgame is not meant to be. The Darkling is a manipulative, controlling, toxic person, and should be nowhere near Alina if not on equal ground. I just wish they didn't put that much focus on it in the marketing (i.e. the extra clips distributed to media sources) to make it seem like darklina could happen, especially with the story changes the show was reportedly doing. Oh well, that’s what fanfiction is for. And I guess there’s a chance for redemption in the following season? *puts on clown nose*

MY QUESTIONS AND...WISHES?

So since the show has changed the story quite a bit from the books, I'm so stoked to see where the characters’ stories lead to. I’m sure there would be similarities to the books (Nikolai and Weylan would show up, for sure), but there would be a lot of changes, I'm sure (Alina’s a Saint now, so how would that affect her life on the run and her relationship with Mal? There’s no great reveal for Aleksander’s name, so perhaps he doesn’t die? At least not that way?).

- I wish we’d see more of that internal/thought connection the Darkling and Alina seemed to have. And I wish they’d highlight further the idea of balancing, of being the only two in the world, and of how each needs/complements the other in terms of power. I just really wish they’d explore more darklina, and perhaps have it open to have a darklina ending (I’m not holding my breath for that one at all, but hey, membership to clownverse is free). At the very least, would there be a change in the Darkling’s ending (does he get stuck in the tree)? Does he get a redemption arc? Would he utter the “I do not repent” line? Would Alina and him have the shared connection, I-can-see-you-even-if-you’re-far-away bond? Would Alina somehow forgive him (hopefully only if he has changed and is not controlling and toxic anymore)? Would Alina and him have a showdown as he tries to expand the fold and she tries to close it? He has command of even the volcra now, so what would that mean for Alina’s side? Does she get an army, too? Maybe there’d be creatures of light, too? Perhaps other animal amplifiers?

- Now that Mal and Alina have more or less confessed to each other and ended up together, what would be the next hurdle in their relationship? They can’t just stay static, after all, otherwise the story of their relationship won’t be a good narrative. Season 1 touched on Mal’s fear of the Grisha (with Alina literally asking him out loud), so perhaps as Alina’s powers grow, Mal’s discomfort with her powers would show more (I hope the show doesn’t make Alina do a Slip-into-the-Darkside trope, or at least not too much to the detriment of her agency and core characterization)? Or perhaps going from that conversation with the Darkling and Mal, when Aleksander seemed to have gotten under Mal’s skin when he pointed out that due to their immortality, Aleks and Alina are endgame: maybe Mal would have that rivalry with the Darkling again and, considering Alina’s kind of psychic bond to Aleks (if they add that in), would feel that Alina might choose the Darkling in the end? I just hope the characters aren’t reduced to stereotypes of 1-girl-2-guys-and-girl-can’t-choose love triangle. Even season 1 explicitly had Alina cut off ties with Mal first (because she mistakenly thought he didn’t want anything to do with her anymore since he’s not replying to her letters) before she went to the Darkling romantically.

- What’s next for the Crows? Would Inej eventually go to Sankta Alina? Perhaps the Ice Court heist is next for the Crows. Nikolai has to show up some time, right? How would that tie in with Alina’s storyline?

I have a lot of other questions on what happens to the characters and the overall story, and I'm really glad that the show has diverged from the books to an extent that a lot of things could be possible. I hope Season 2 does happen, and I hope it’s as good as Season 1, especially since COVID is still happening and filming and filming options are limited. If Season 2 does happen, I hope it gets release soon :P

[aion-rsa]

What Did Batman Do Between The Dark Knight and The Dark Knight Rises?

https://ift.tt/3cfgO0Z

The Dark Knight not so much glided back onto cinema screens in 2012 as he hobbled across them. With a scraggly, unkempt beard and a bathrobe acting as his cape, Bruce Wayne appeared more like how one imagines Christian Bale exists between gigs than Batman at the start of The Dark Knight Rises. He appeared like an invalid whose great adventures were behind him.

In retrospect, this is probably not the version of the Caped Crusader fans expected to find after The Dark Knight’s thrilling finale. At the close of what many still consider to be the high water mark for superhero movies, Batman has agreed to take on the burden of Harvey Dent’s sins, framing himself as a murderer and saving Gotham City from cynicism through a veil of lies. Yet it’s not really a sad ending. Gary Oldman’s Jim Gordon even pens a triumphant eulogy for the superhero’s fallen image. The Batman’s become “a Dark Knight.”

After the film concluded, many fans began speculating just what a third chapter of the Christopher Nolan directed and co-written Batman films would look like: the police at war with Batman? The rise of a criminal underworld of masked freaks like Joker and Batman, embracing the chaos unleashed by their fight? Maybe we’d get to see Batman tackle the Riddler, a foe almost as mentally taxing as the clown.

None of these came to pass, however, as made exceedingly clear in the first seconds of Bale’s introduction in The Dark Knight Rises. Eight years have passed in the film’s narrative since last we saw our hero, and Bruce is now disheveled and broken, haunted by ghosts while living like one in the shadows of Wayne Manor. Prior to directing Batman Begins, Nolan dreamed of making a film about Howard Hughes’ final years: the period when the millionaire aviator, film producer, and mad man succumbed to his neuroses and obsessions. Rises not so subtly revisits that iconography, with Selina Kyle (Anne Hathaway) even expressing disappointment over Citizen Wayne not having Hughes’ long fingernails.

To many moviegoers, particularly fans, this is apparently all Batman’s been doing for the last eight years: living like a recluse and leaving the burden of saving Gotham to the GCPD. However, given all the context clues in The Dark Knight Rises, this is hardly accurate.

Bruce Wayne’s Greatest Crusade

While Nolan’s third Batman movie begins with Bruce Wayne fully entrenched in his traumas—the loss of his parents, his murdered childhood love, Rachel Dawes, and an overwhelming sense of despair about the state of the world—he didn’t immediately hang up the cape at the end of The Dark Knight and start growing the beard. In fact, more than just obsessing over “saving Gotham,” Bruce moved on to trying to save everyone.

The timeline is never fully explained, but various scenes between Bruce Wayne, the woman who calls herself Miranda Tate (Marion Cotillard), and other members of the Wayne Enterprises board reveal Bruce Wayne only gave fully into his demons about three years before the events of The Dark Knight Rises.

“You have a practiced apathy, Mr. Wayne,” Miranda says when she sees Bruce has stepped out of his cave, literally and figuratively, and is now at a charity event. “But a man who doesn’t care about the world doesn’t spend half his fortune trying to save it, and isn’t so wounded when it fails that he goes into hiding.” In another scene, she clarifies the timeline further when she tells Bruce (and thereby the audience), “Three years ago, a scientist published a paper on weaponized fusion reactions. One week later, your reactor started developing problems.”

When these details are fully considered, they paint a tragic portrait of Wayne’s isolation. In Nolan’s The Dark Knight Trilogy, Bruce Wayne never imagined Batman to be an indefatigable superhero who valiantly fights an endless war on crime. With the filmmakers’ quest to ground their Batman in verisimilitude—which is to say make him feel real even as his exploits are far from realistic—they opted to depict the character as neither crazy or misanthropic. He did not only put on the cape to soothe his fractured psyche, and he doesn’t get his jollies from beating up the desperate poor every night… a grim implication for a “grounded” interpretation of a billionaire patrolling “dangerous neighborhoods” looking for a fight.

As Bruce tells loyal butler Alfred (Michael Caine) in Batman Begins, “[I’m coming back] as long as it takes. I’m going to show the people of Gotham their city doesn’t belong to the criminals and corrupt.” In his way, Bruce viewed the Batman as akin to a political campaign. Batman’s a symbol to galvanize the better angels of Gotham around an idea of anti-corruption and anti-organized crime reform. And like a political operator, Bruce built a network of allies and true believers to implement incremental change through the system. But as the saying goes, the road to Hell is paved in good intentions.

After several years of Batman-ing, Bruce has inspired copycat vigilantes who got themselves killed and a nihilistic anarchist who called himself Joker, a glorified terrorist who did irreparable harm to Gotham’s institutions, its morality, and the public trust. Still, Bruce Wayne had a desire to use his wealth to improve the world, and not just his own mood. Hence instead of spending “half his wealth” solely on an ego-stroking war on crime, he invested in building a clean energy fusion reactor.

While it seemed like an almost incidental plot point in 2012, the increasingly dire effects of climate change with each passing year makes the fantasy of powerful nuclear fusion ever more appealing. A nuclear fusion reactor that actually produced comparable amounts of energy to modern nuclear power plants (which run via nuclear fission) would mean a much cheaper power source, as well as one that did not have the drawbacks of nuclear fission, including dangerous radioactive material that must be disposed of for millennia, and power plants that run the risk of melting down.

In Nolan’s fantasy action movies, Wayne Enterprises spent hundreds of billions of dollars on “some save the world vanity project,” as one of Bruce’s rivals puts it. A clean, cheap, and massive nuclear fusion reactor could be a silver bullet for curbing carbon emissions around the world, and a chance to stop something far scarier than supervillains.

Yet after five years of investment, it resulted in more chaos. A scientist’s paper in a professional journal reveals Wayne’s dream machine was also a weapon in the making. Indeed, that’s exactly how Tom Hardy’s Bane uses it during the second half of The Dark Knight Rises. Like the abstract idea of Batman before it, the good intentions baked into Wayne’s nuclear fusion miracle result in more death, more destabilization, and more chaos.

The man with an obvious hero complex failed again. Only then does Bruce give up on the world and indulge his myriad traumas.

Batman Returns Off-Screen?

That is how Bruce Wayne spent five of the eight years between The Dark Knight and The Dark Knight Rises. However, that doesn’t mean there was not also room for Batman. While the canonical text of the film states no one has seen Batman in eight years, there is reason to believe Bruce Wayne did not hang up the cowl on the night Harvey Dent died.

In another scene in Rises, rookie cop John Blake (Joseph Gordon-Levitt) recalls the myth that grew around the night Harvey Dent died. Blake says it was “the last confirmed sighting of the Batman [before] he then vanishes.” But confirmed is the operative word here since there are little things that don’t line up between the two movies that fit this narrative. For starters, there is the swanky Batcave sitting beneath Wayne Manor. When we first see it in the third film, finally renovated after primarily being a long lost historical site from the 1800s in Batman Begins, Bruce is perched at a bank of computers, trying to figure out the identity of Selina Kyle.

“You haven’t been down here in a long time,” Alfred says to his surrogate son. The implication is that in some earlier time, Bruce would spend days in the Batcave. Why would he if his war on organized crime was over? Why build an entire second Batsuit in the cave to complement the one he keeps hidden in his off-site location if he’s done? The answer is that he wasn’t. At least not for some months or years after the events of The Dark Knight.

Read more

TV

The Actors Who Have Played Batman

By James Aquilone and 1 other

Movies

The Batman: Can a Superhero Movie Be Too Dark?

By David Crow

Throughout the movie, memories about the violent days after Two-Face’s death and the passage of the Dent Act abound, with all the characters describing it as a “war.” It seems plausible someone as obsessive and exacting as Bruce Wayne would want to participate. In fact, it’d be odd if he did not. Embracing hidden and more surreptitious tactics after becoming a public enemy might also explain how Batman injured his knee so badly between The Dark Knight and The Dark Knight Rises that he needs a brace to hide the limp.

It also might explain why no one bats an eye at Selina Kyle’s cat-themed costume. While no character calls the femme fatale with a heart of gold “Catwoman” in the film, she isn’t afraid of embracing the theatricality of her catlike ears either. She even hisses, “Cat got your tongue?” to a mark. The impracticality of this entire aesthetic seems inspired, at least in part, by the Batman. While there is never a line of dialogue confirming this, Hathaway and an uncharacteristically restrained Nolan rely on inference to get the point across.

Like Jim Gordon, Catwoman is given a moment to pause in what she’s doing to marvel at the television when news of Batman’s return breaks. And when she hitches a ride in the Batman’s sci-fi aircraft, she steals a glance at her surroundings when he’s not looking, smiling to herself about being in the same space as an apparent childhood hero. Indeed, Selina would’ve been a teenager during the events of Batman Begins and The Dark Knight, and like perhaps so many other members of the next generation of criminals and adventurers, her imagination took flight with news reports of a man dressed as a Bat jumping off rooftops.

It returns to the theme of “escalation” from The Dark Knight, with the Joker saying to Batman, “You’ve changed things forever.” At the beginning of that film, the Bat was still fighting mobsters; by the end he was facing clowns in war paint. The transition was painful for Gotham, but no one seems to think it odd anymore for a famed cat burglar to turn her goggles into cat ears. It makes you wonder if there were any more elements of a rogue’s gallery in the interceding years before the Dent Act brought vaguely unconstitutional order?

This is admittedly speculation. And the kind which reminds us that there were stories that could’ve been told between The Dark Knight and The Dark Knight Rises that we’ll never see. It’s probably this knowledge that disappoints some fans. Before details of Rises’ plot leaked, the nascent comic book Twitter theories of the era imagined Bale’s Batman opening the movie still running from the Gotham City Police, and fighting the next war.

Instead Rises begins with the war over, and Bruce all the bitterer for it. It was a large pill to swallow for fans who dream of Batman as a crusader always ready for the next robbery, mugging, or burning building. They wanted to see Batman fighting serial killers who leave riddles, not as the Phantom of Wayne Manor, and then as a retiree who’s conquered his pain well enough to enjoy a glass of wine in Italy.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

For those disappointed, Matt Reeves’ The Batman looks poised to offer the follow-up they wanted a decade ago. But Nolan’s choice to depict a Batman who had the vision to see the big picture, and to then walk away from it, remains satisfyingly singular and whole.

The post What Did Batman Do Between The Dark Knight and The Dark Knight Rises? appeared first on Den of Geek.

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[aspoonofsugar]

Do you have any thoughts on BSD ability colors? I.e. How Rashomon and For the Tainted Sorrow are red, No Longer Human and Beast Beneath the Moonlight are blue, Demon Snow is purple, Doppo Poet is green, Little Women is yellow, etc?

Hello anon!

I don’t know how much the colors are meant to symbolyze something specific, but I can link you to this post by @gon-furiikusu and @subdee. The series it talks about is hxh, but the topic is the same since the author is trying to assign a meaning to the color of each character’s aura. The post has also a useful link to sites talking about color symbolism.

Even if I am not sure there is any specific meaning in most cases (if not a generic one linked to each character’s personality), I think that the colors of the abilities might be important for soukoku and shin soukoko and especially for the last two.

I will be quoting what @hamliet said in a conversation we had:

Red and blue make purple, which is assopciated with the sunset, which the anime uses a lot :P But in the openings and EDs it’s a thing. Like in the third season, the OP changes: Akutagawa is shown wiht blue and Atsushi with red (in addiition to their traditional other associations) when they appear together, it’s in front of purple. Red and blue are ofteen seen as opposite primary colors actually!!!! Hence red oni and blue oni!

I think her comment is pretty explicative in itself. In short, Akutagawa and Atsushi are associated to two primary and complementary colors because they are meant to complement each other and to help each other grow. Their union is  meant to create a new color and hence why they meet in front of the purple which symbolizes the synthesis between their two personalities. If you are interested in an analysis about the second ending I can link you to this meta by @linkspooky​.

When it comes to Akutagawa and Atsushi’s specific colors, I think they are meant to highlight their different personalities. I think that it is especially telling the fact that the red oni is often associated with the id aka to the more instinctive parts of the self, while the blue oni is associated with the super-ego aka the most rational parts of the self. The id is an illogical and almost feral part each person has, while the super-ego is made up of the rules society imposes on the individual. Between them there is the ego and the ego must balance these two opposite parts and make so that the person can develop a healthy sense of identity. Basically, both Atsushi and Akutagawa are extreme. I have mentioned it here:

The point is that Akutagawa represents everything Atsushi doesn’t want to accept about himself (the violence, the possibility of being left behind, how pathetic and wrong it is to let one’s worth being decided by others’ praise etc.). At the same time Atsushi is the same for Akutagawa.

Moreover, Atsushi and Akutagawa are also complementary as Dazai explains.

However, their complementarity should not be considered only on a functional level, but also on a symbolic one.

On one hand Atsushi’s ability lets him turn into a beast he is scared of and can’t control. He literally hides the tiger from both others and himself.

On the other hand Akutagawa transforms his coat into a beast and so he projects a violent persona.

Atsushi hides his aggressiveness, whereas Akutagawa wears it proudly and hides his vulnerability.

In short, they are both the same and opposite and this is why they can’t stand each other. This is also why they balance each other like yin and yang.

As far as Chuuya and Dazai are concerned, I find interesting that from this:

It seems to me that Chuuya’s ability is black in the manga rather than red like in the anime. All in all, it makes not much difference because either way both black and red are colours associated with Chuuya somehow.

The black is symbolic of the mafia. As a matter of fact the members of the mafia wear black and it is not by chance that the name of Dazai and Chuuya’s partnership can be translated as double black. As a matter of fact they were both in the mafia by that time and were considered the organization’s strongest asset. Black is also mentioned in Chuuya’s character song:

“I’ll push myself to the limits and dye everything jet-black”

The red is a color strongly associated with Chuuya to the point that no matter how much his design changes in the different novels, it is a color Harukawa always tries to put in. Red is symbolic of Chuuya’s violent and passionate nature since it is a color associated to both blood and feelings, so in a sense it nicely highlights Chuuya’s best and worst traits.

At the same time, when it comes to Dazai’s ability, we have this:

I have personally always seen it as white, but you are right since there is some light blue in it.

Anyway, the fact that it is of a light color and of a mix of white and light blue is interesting when you compare it to Chuuya’s For the Tainted Sorrow which is either black or red.

On one hand the red and blue theming colors have the same meaning highlighted by Akutagawa and Atsushi’s abilities.

On the other hand the fact that we can imagine them being alternatively white and black is interesting because white and black are once more opposite colors. I like to think that Dazai and Chuuya’s abilities being potentially black and white highlights how much opposite they are and how their difficulties in complementing each other comes also by this almost complete opposition. All in all black and white suggest to me a stricter contrast than blue and red. I have mentioned this difference also in this madoka meta if you are interested.

That said, this might very well be just a rumbling of mine, rather than something the narrative openly supports. That said, the importance of black and white is something which is definately in the narrative and not only when it comes to Dazai and Chuuya:

After all black and white are the colors of the tao and are the two major colors used in Atsushi and Akutagawa’s designs. Akutagawa is almost completely black except for his tie and Atsushi is almost completely white, but has some black as well. They are obviously meant to look like the two halves of the tao when they are seen together. This is something highlighted also by the title of Beast aka White Akutagawa and Black Atsushi where their roles and colors are inverted.

In short, red and blue and black and white are colors linked to both soukoku and shin soukoku because both couples are meant to be seen as opposite, but complementary and are also meant to represent the two sides of the conflict between the mafia and the ADA.

Finally, let me discuss briefly the use of colors in this scene of dead apple:

The scene has mostly red and white and the balance of the two colors is pretty beautiful and potentially thematically resonant because the white and the read are the colors of an apple. @linkspooky​ explained in this meta the meaning of the title Dead Apple and how it is built on an oxymore since the apple is representative of life, but at the same time it is associated to the adjective “dead”. The complicated relationship between life and death is one of the major themes of the series. The point is that the scene between Dazai and Chuuya is one among the many scenes of the movie which highlights this connection.

Dazai is Snow-white who has died. This is why he has white clothes and is surrounded by a white aura. What is more, white is also the color of grief in some cultures. In short, Dazai here represents the “dead” of dead apple.

Chuuya is instead surrounded by red. His ability is red and the dragon he has just fought is red. It is not by chance that Chuuya and the dragon share the same color because all in all they are both associated with the id aka with the unconscious and the feral. The dragon is a literal monster and it represents Tastuhiko’s id i.e. the parts of himself he had forgotten and refused to face. It is not by chance that he re-emerges as a complete individual and fights Atsushi once the dragon is defeated. He can do so because he has faced his shadow and accepted it just like Atsushi does when he accepts that he had killed someone. As far as Chuuya is concerned him facing a literal dragon simply adds up to what I have discussed in this meta. Chuuya is a character with a very strong id which is symbolized by his ability which can literally take control over him. When Chuuya is in his state of corruption he forgets himself and lets his desire of destruction free. This is something which scares him and this is why Dazai’s nullification is so important. It acts as some sort of super-ego and helps Chuuya find himself (his ego) again. However, the id is not inherently something negative and it is actually something linked to the most human and primitive instincts like the one to survive. This is why red is also linked to the color of the apple aka it is the color of life.

So, we can simplicistically say that the white is the color of the death and of the super-ego (this is also why it is strongly associated with Atsushi and Tatsuhiko who are two characters linked to the super-ego), while red is the color of life and of the id (and it is associated with Akutagawa among others).

The scene between Chuuya and Dazai shows how these two realities are linked since Chuuya saves Dazai and immediately later Dazai saves Chuuya. Even the medicine which nullifies the effect of the poison is half white and half red. This symbolizes how Dazai is on the brink between these two realities since he prepares an antidote, but instead of taking it when he is poisoned (which would have been simpler and more efficient) he bets his life on the fact that Chuuya will punch him. This can very well represent Dazai’s complicated relationship with his life and how in the end his own connections are what saves him.

Thank you for the ask!

[mooksie01]

Virgil and Logan

First of all, major spoilers for the new video, so proceed with caution! tl;dr at the end ‘cause this got long. 

So it finally happened in this video. What we’ve all been suspecting for the longest time was properly confirmed: Virgil used to be a part of the group that we refer to as the “dark sides.”

Of course, with that confirmation also came some pretty conclusive evidence to the other theory that each “light side” has an opposite—in the form of Roman and Remus (lovely play on Romulus and Remus, by the way). Naturally, that means that the second the video dropped, there was immediately a ton of speculation about who Virgil’s “light side” is, as well as to who Logan’s “dark side” is, with a popular theory beginning to quickly emerge with the conclusion that Virgil is Logan’s “dark side.”

Now, I will admit that this theory is compelling for a number of reasons, one of my personal favorites being that Virgil is very grounded in logic, but a form of logic twisted both to fit his own goals and to, unfortunately, cater to and intensify his own fears. On top of that, both Virgil and Logan have shown protective streaks throughout the series. However, I really don’t think this theory is quite hitting the nail on the head...

For one thing, based upon the Rainbow Theory, which, again, received greatly conclusive evidence with Remus’ color being green, there still remains one “dark side,” Orange, and I think that whoever that is will be Logan’s actual “dark side.” I have a few reasons for thinking this:

Logan has never displayed any sort of true annoyance / fear / affectedness toward any of the “dark sides” we have encountered thus far. He has, without fail, always been able to rationalize poor behavior, whether it be from Deceit, Remus, or, yes, even Virgil. If Virgil were actually Logan’s “dark side,” one would think that Logan would be more affected by him, but he’s not. Logan has not yet been daunted by any of the “dark sides,” and has, in fact, been a vital tool in shooting down all three of them--Deceit in his first appearance in “Can Lying Be Good?,” Remus in “Dealing with INTRUSIVE THOUGHTS,” and, finally, Virgil in “My NEGATIVE Thinking.” I believe that we will finally meet someone who can actually shake Logan to his core in the form of Orange, whenever that character makes his appearance. As of right now, Logan has been the guiding force through the “dark sides”; it’s why Deceit firmly sidelined him last episode--because he’s a threat. If Logan has a “dark side,” it needs to be someone who will put him off his game so completely that the others are forced to fight him without Logan’s aid, using the lessons that Logan has taught them (as a side-note, it is my theory that this is what will finally bring us to Logan’s room). 

Speaking of the others--or, more specifically, “the others,” I find it rather interesting that Virgil refuses the term “dark sides.” He used to be one of them, but even with that experience, he obviously doesn’t believe that that title is fitting. Every single time that the word has been brought up or that Virgil has referred to those sides, he either seems uncomfortable with the title or outright refuses it. In its first appearance, which comes from Roman in "Can Lying Be Good?”, Virgil winces at its use--now, obviously this could be because he was one and that term stings a little, and that’s likely a contributing factor, but with other evidence, that just doesn’t seem fully right. In the last episode, Virgil refers to them as Deceit and “his friends.” Multiple times, he’s called them simply: “The Others,” including within this episode when, in a display that I think makes my whole point, Thomas specifically calls them the “dark sides” to Virgil’s face, only for him to immediately respond with this alternative title. This leads me to the crux of my theory:

I think we, and all of the “light sides” minus Virgil, as well as Character-Thomas have been going about this the wrong way. Thinking of the sides as “light” and “dark” may be doing more harm than good. Logan said himself in this episode that Patton/Thomas think of things in terms that are far too “black and white,” with Roman being a major contributing factor to this. Who named the “dark sides”? Roman. While I do think that some of the sides are rather opposed to one another, they are also necessary to complement each other and make Thomas into a full person--and when I say complement, I mean that quite literally. Roman and Remus are literally cut from the same cloth. They were, presumably, one full side originally before the divide that produced two Creativities. I will concede that “light sides” and “dark sides” are convenient shorthand terms, yes, but the idea of such diametrically opposed sides ignores the areas of Character-Thomas’ personality that are morally gray (honestly, Deceit is the best example of this) and forces us and the characters within the narrative to put the sides into boxes that they don’t necessarily fit in. I don’t approve of Remus’ viewpoints or many of Deceit’s, but I also acknowledge that they may have things to bring to the table--or, at least, Deceit does. And if we add on the fact that Virgil was a “dark side,” or rather, an “Other,” then that’s just full confirmation that things in Character-Thomas’ head can’t be evenly divided into “Light” and “Dark,” something which is only further backed by the Rainbow Theory--there can only be seven sides if that theory is correct. There isn’t room for each and every character to have an opposing character--a “dark” to their “light” or vice-versa--and if I were placing my bets on which character won’t, I’m going to have to go with Virgil.

Virgil’s mere existence and his very proven capacity for both good and evil is an immediate point against the dichotomy implied by the idea of “dark sides” and “light sides.” A side so neutral cannot exist within that dichotomy, and it is clear that Virgil knows this and, in fact, disputes that dichotomy through his insistence on refusing to use the term “dark sides.” At the end of the day, Virgil proves that the “dark sides” are not evil by nature--they have a very real capacity to do good for Thomas if they only decide to, and, more importantly, decide to do it with the cooperation and help of the other sides. Virgil’s redemption arc came as a result of his long-term interactions with the “light sides,” and it was through their support that he began to work with Thomas instead of against him. What is important about the current “dark sides,” Remus and Deceit, is that they refuse to work with the other sides, or even, really, with Thomas. In their current states, they aren’t good for Thomas because they aren’t working with him, in a different meaning of the word for each. Deceit believes that he is the only one who knows best for Thomas (a trait which Logan also occasionally exhibits, and which becomes a problem when it makes itself known), and it is because of this belief that he will not ever be a “light side” if he continues to refuse to change his ways--because Deceit, much like Virgil in the beginning of his character arc, cannot do good--or, in this case protect Thomas--without balance from others. A point has been made in the series that too much of a good thing is bad, and while I don’t personally believe that Deceit is a fully good thing, I don’t actually think lying is always bad, either. What makes Deceit, the character, a bad thing is his refusal to find his balance and to see that just because he advocates for something, that does not automatically make that something good. Remus, on the other hand, is in the unique situation with Roman of neither of them being a full, actualized side. By themselves, they are each only halves of a full Creativity who separated due to repression. The reason that Roman and Remus are so diametrically opposed as to make them the only true representations of the ideas of “light” and “dark” sides is because they are disallowed balance by their very natures as separated sides. Balance, and therefore, goodness and helpfulness toward Thomas, is impossible for Remus, in particular, out of the two of them, because while, in the separation, Roman was given the liberty of good creativity, even with its idealistic drawbacks, Remus was left only with the bad creativity--the thoughts that could never be helpful or necessary in, as Virgil says, the mind of a “stable” person. It is because of this that, although I do think Deceit has the capacity for good, I don’t think Remus does, and, vice-versa, I don’t think Roman has a full capacity for intentional wrongdoing--because neither is a full side. They are the only actual, indisputable justification for the use of the “light” and “dark” terms, which, again, were notably coined by Roman, who would naturally gravitate toward these terms as a half of a whole. All of this is to say that, I don’t believe there is any possible way for Virgil to have a “light” side, and thus, for him to be Logan’s “dark” side, because I don’t believe that those concepts work. Indeed, although Virgil may once have worked with “The Others,” he was never a “dark side” because “dark sides” don’t exist--just sides neglecting or unable to achieve balance within Thomas. 

In conclusion, because this has become far too long, I don’t know how much stock I’m willing to put in the concepts of “dark sides” and “light sides”--I don’t think the lines are so definite in any case except for Remus’ and Roman’s due to neither being a full side (which leaves lovely room for Roman angst, by the way, my dudes). Because of this, I don’t think that Virgil is Logan’s “dark side”. It’s a fun theory, yes, but I can’t bring myself to believe in it. I do think we’ll meet Logan’s opposition eventually, but I don’t think things are so cut-and-dry as “light” and “dark,” especially for Virgil, who not only disproves the whole thing merely by existing as a character, but who also has shown himself to be extremely threatened by both of the other “dark sides,” rather than by any “light side” opposition of his. Whereas Patton is clearly disturbed by Deceit, his opposition, and Roman is outright taken out of the picture by Remus, Logan has not yet been daunted by either, and Virgil has been intimidated by both. Virgil’s real “opposition” in this whole thing, in a way, is himself, and, more specifically his past, which he is scared to death of hurting Thomas with, just as he puts unbearable pressure upon himself to protect Thomas from that past. Meanwhile, I see no possible way that Virgil could be Logan’s opposition, because they have never held that attitude toward each other in the way that Deceit-and-Patton and Remus-and-Roman do. Even in their worst argument--”My Negative Thinking”--they ended the video by complimenting one another, and Logan, notably, by going so far as to reassure Virgil. I think that the whole concept of “light sides” and “dark sides” comes down to balance, or a lack thereof, and I don’t think that Logan and Virgil can possibly be on opposing ends of any kind of spectrum because they provide that balance for each other rather than constantly fighting for an upper-hand in pursuit of their own goals, as the other opposed pairs do. So yeah. That’s just my theory. A Sanders Sides theory. 

TL;DR - The theory that Virgil is actually Logan’s “dark side” has been floating around since the release of the new video, but, for a number of reasons, I’m convinced that this isn’t the case, and, in fact, put very little stock in the truth behind the concepts of “light” and “dark” sides to begin with, for other reasons. 

[norelationtoatticus]

So...........anyone want to read my long, hyper-excited essay on why Sansa and Tyrion belong together, using character wound theory as evidence?

No?

Too bad. Here it is anyway. I have high-key shipped these two for years, alone in the darkness, because everyone thought I was crazy. Well, I don't look so crazy after that hand kiss, now do I?! (To all of you fellow long-time Sanrion shippers out there: I salute you.) Some people are just starting to ship them after that last episode. Some don’t see it at all and think that the idea of them together is off the wall and out of nowhere. I am here as a longtime weird-o cheerleader for these two to offer some perspective. Ship them or don’t, live your life! But they are definitely not coming out of nowhere. And here are 1500 words explaining why!!! 

(lololol...I have a problem, guys.)

Anyway, here's the essay. I’m putting this under a cut because the last couple of paragraphs do contain spoilers for the most recent episode, Season 8 Ep. 3.

First, an intro to character wounds, in case you are not a writer type or have not studied this concept.

When creating a character and setting them on their inner journey, one aspect writers tend to develop is the character's wound. A wound is a dark, sucking abyss in a character's psyche that influences all of their actions and choices. Typically, it comes from some sort of trauma in their past. This wound is all-encompassing. It affects their relationships, their decisions, their journey, as they seek (usually unconsciously) to fill or heal the wound. It's like a black hole around which the character's personality and motives swirl.

The reason why I think Sansa and Tyrion are completely perfect for each other? They have complementary wounds.

Let me explain.

Tyrion's wound is that no one has ever wanted him. I mean that on a multitude of levels. His father and sister detested him, made it quite clear that they did not want him in their family. They spent years telling him that his mother had died rather than have to raise him, which is awful and not true, but of course he has internalized their abuse. Even Jaime, who loves him, sides with Cersei and Tywin when it matters most. He loves Tyrion, but Tyrion is never his first choice. Even though Tyrion is obviously the most clever person in King's Landing, no one wants his advice or council. He's made Hand of the King, but immediately gets demoted as soon as his father comes back. Sexually and romantically, no one has ever wanted him. (In the show, anyway. Remember, he does not know the truth about Tysha in the show.) Even though he is one of the more sexually active characters early on, both he and the narrative make it a point to really hammer home that all of his experience is with prostitutes. He has never had a romantic or sexual relationship with a woman he didn't have to pay. All of this motivates him. This is what ties him to Daenerys, what keeps him loyal to her even when he really doesn't like some of her choices; he stays with her because she chose him. She threatens him, questions him, doesn't listen to him, accuses him of treason, and does a lot of things that Tyrion is not comfortable with. But he stays. Because she chose him. This is his wound. No one has ever wanted him. He has never been anyone's first choice.

Sansa's wound is that she has spent so much of her life as a prisoner, unable to make her own choices. That has been her entire journey. She went from being a prisoner in King's Landing, to a prisoner--albeit one with a bit more agency--with Littlefinger, to being a prisoner in Winterfell. She has been caged, trapped, forced into two marriages, used as a political tool by people like the Lannisters, the Tyrells, and Littlefinger who only see her as a pawn. She has had her bodily autonomy violated in the worst ways. She has been beaten and raped. Everyone took away her right to choose. Every step of the way, Sansa clawed and scraped to be able to make just a few choices of her own, to grab just a bit of her agency back. But for a long time, she was making whatever small, survival-based choices she could within the confines of various cages. Even now, she is bound to serve the choices of people who are more powerful than her--people like Daenerys, but also Jon. She is much freer now, and we have seen her taking up space and making choices for the past two seasons, at least. But she has more to do if she's really going to come into her own and take charge of her role. This is Sansa's wound: her imprisonment, the stripping of her agency, her lack of free will.

See? They're complementary. They're a matched set. And they offer each other a path to healing:

Sansa needs to make her own choices. And Tyrion needs to be chosen. 

What a lovely symmetry. It's like something deep in each of them has been calling out for the other.

There's more, too. 

On their awful, painful wedding night all those years ago, Tyrion was handed all of Sansa's agency. Now, let's be very clear: not raping someone should not be a high bar standard we're celebrating. That's awful. But in the world of GoT, where rape is so common place and lightly-used, I genuinely don't think many men would have done what Tyrion did. And then he did something even better. Sansa had been trapped, imprisoned, for a while by that point. She had no freedom, no choice. Tyrion had all of her free will held tightly in his grasp. He could have done anything to her, and no one would have blinked. But not only did her refuse to do anything against her will, he took it a step further. He handed some of her freedom of choice back to her. He didn't just refuse to abuse her. He actually literally said, "I will not share your bed until you want me to." Until you want me to. He handed a little bit of power back to her in that moment, and he never once tried to take it away again, even when Sansa said, "What if I never want you to?" To be clear, I do not ship them in this time period. Not even close. This marriage was awful, even though they found some kindness in it. Sansa never could have learned to love Tyrion back then. She was a child. They had both been forced into the marriage. And she was so ruthlessly trapped and imprisoned in King's Landing, there was no way she could ever feel anything but fear and hate while she was there. But now? With some years of distance? With some growth for both of them? When they're both free to choose it? I suspect real feelings could grow between them.

Until you want me to... ...What if I never want you to?

You know, she never actually said no, never. Maybe she just need a lot of years and a lot of change...

There's also just the fact that they really complement each other, in terms of personality and what I think they would each want in a partner. Their minds and the way they think are a matched set. They're both very intelligent, ruthless when they need to be, and yet kind and good at their cores. Sansa is one of very few people in the world who can stand up beside Tyrion, match him wit for wit, cover his blind spots, act as a real partner to him. And Tyrion is literally everything Sansa has ever wanted, exactly the kind of man she admired in all the romantic songs: a brave, noble, handsome, heroic lord with a heart of gold. She just had to do some growing before she could see all of that in him, because he’s not exactly conventional.

Anyway, long story short, Sansa and Tyrion are legit perfect for each other. This is why I ship them. This is why you should be shipping them. (Please, good lord, more people ship them. There is not a whole lot of Sansa/Tyrion fic, and I really don't have the time to write it all by myself, guys.)

Do I think they're actually going to get together in the show? Maybe! Maybe not! Who knows! I won't be upset if they're not actually canon. I still love the pair. This show doesn’t do romance super well, and romance is not often a priority, so I am definitely not holding my breath. But I do have a few thoughts.

As to whether or not they're actually going to get together on the show, a few thoughts from the last episode: 

1) The damn world was ending, they were all about to die, this was not an opportune time to be flirting with each other! But did that stop them? No, it did not. 

2) The moment that they shared in the crypts, backs to the wall, side by side, and sure they were about to die, was one of the most intimate moments this show has ever given us. These were two people who deeply understood one another, acknowledging without words that there was a whole world of things left unsaid between them. That hand kiss? So tender. So loving. And yes, of course you could take that scene as platonic. Maybe it was. Quite possible. But, in my defense, I know and follow a whole lot of romance authors. Most of the romance authors I know saw that moment as deeply, wildly romantic, even if they had never shipped this pair before. So there's that, from a bunch of people who write romance for a living.

3) Sansa told Tyrion they would never work because of his loyalty to Daenerys. This felt...um...first of all...like a hell of a conversation to be having while you think the world is ending. I would not be surprised if Sansa was laying some ground work, trying to get ahead of the curve in grabbing Tyrion to her side in case they actually survived. It made me think Sansa has Plans ™ . But also, this one feels obvious, tbh. The show has been building up a conflict and a tension between Tyrion and Daenerys for two seasons now. He has made a lot of bad calls that have her questioning his judgement and loyalty. She has made plenty of her own bad calls that have him questioning whether she is fit to rule.They are ready for a blow out. And if Sansa presents another option? If Sansa is there as someone who wants him, wants to choose him, wants to love him? I suspect Tyrion’s loyalty won't be split for long.

[red-winters]

*Note: I’m basically writing this down as it occurs to me, trying to crystallize and put into words why I, personally, found the sequels...lacking.

You really don’t have to agree, and I might even change my mind with the introduction of alternate viewpoints and other good arguments, but for now, this is what I have.

Opinions on the Skywalker Legacy, Rey, and Reylo

Something I just realized about Star Wars and TRoS:

Hope for a better future is important and is a recurring theme in the Star Wars Universe.

The prequels were fascinating and tragic because it covered the Fall of the Republic and its protagonist/hero-figure. We invested a lot in the characters despite knowing how everything would end because we knew, ultimately, there would be a “happy ending” with their children in the Original Trilogy. RotS was heartbreaking because of Anakin’s fall, Padme’s death, the end of an age, and Obi-Wan’s exile, BUT it didn’t feel completely hollow because we got to see a new hope (Anakin’s children) enter the galaxy.

The sequels... took that happy ending away and cemented the Skywalker legacy as being one of loss—specifically, the breaking of a family. Anakin’s life was a tragedy for many reasons, but the recurring theme there was the loss of family to death or estrangement or both. He was locked into a life of loss until the end when he was finally able to break free of the cycle by saving Luke and redeeming himself, thereby reconciling him with his son, his family, the boy Shmi Skywalker raised, and Obi-Wan.

Luke and Leia initially differed from him because they gained and kept what Anakin never could seem to hold. They were supposed to be the start of something better, something new. What made the original trio work was that “found family” dynamic that seems so important to a successful Star Wars story’s narrative DNA. That should’ve been the end of a cycle, but the sequels broke that for everybody. Maybe it was necessary in order to set the stage for the newest Star Wars installment, but still.

When we meet our OT heroes again, Han and Leia are estranged and Luke has lost his hope, lives alone, and is deliberately shunning the family he’d built. Leia and Han are marginally better because they do eventually gravitate and return to each other, but even that is dishearteningly temporary. That sense of distance and estrangement pulls all of them down and never fully goes away.

It gets slightly better when Rey enters the picture, but ultimately, even her arc just reinforces the Skywalker legacy of loss—from two sides even, if we count Rey as a “spiritual” Skywalker with Ben filling in the literal Skywalker legacy category. The writers put a lot of work into developing her relationship with Kylo/Ben and had the chance to break the cycle—once and for all⁠—with these two and surpass the previous generations, but they didn’t.

Was it to “shock” the audience? Was it because the writers believed two characters living “happily ever after” was considered unrealistic? I don’t know, but the more I think about the ending, the more convinced I am that a happy ending...would’ve been the most surprising and fitting path they could’ve taken.

Let’s consider it for a moment: Star Wars is about hope, about being better than the previous generations, repeating themes, and breaking cycles—for the better. Star Wars is about family, found family, and redemption.

Where Anakin lost Shmi, eventually lost Obi-Wan, and had a false “father figure” in Palpatine, Rey could’ve had Han, Luke, and Leia (in a greater, more supportive capacity than in canon—even if only in spirit).

Where Anakin lost Padme due to his own fear, Rey saved Ben due to their faith, trust, and compassion in/for each other—which is why Ben’s death feels like such a great loss to me.

Where Anakin and Obi-Wan lost their brotherhood and Luke and Leia were separated by time, trauma, and guilt, Rey and Finn could’ve developed an even stronger bond, complementing and supporting each other from different viewpoints. They could’ve come into their own identities as a new, better type of Jedi and as an architect of true change in the galaxy as the Storm-trooper who decided he couldn’t live with taking innocent lives, defected, and started a revolution. The writers could’ve developed and explored deeper familial—perhaps as metaphorical twins?—bonds between them, and their similarities as orphan “nobodies” who grew up without their families.

Where Anakin lost his way for decades, existing in a state of being emotionally and spiritually “dead,” Ben and Rey could’ve found and lived theirs. Where absence defined Anakin and Padme as parents, Ben and Rey could’ve broken that mold.

Where Anakin’s Jedi path starved him of his bonds and allowed insecurity and obsession to fester, Ben and Rey could’ve walked a new path and created a new type of Jedi—or something else altogether—not defined by an unhealthy fear of attachment, living in harmony with their emotions, and capable of love without being ruled by fear.

Where Anakin and the Old Jedi Order’s (unintended, perhaps) effect on the Skywalker Family Legacy was loss, isolation, and estrangement from family, Ben and Rey could’ve redefined that legacy into one of unity, support, and togetherness. Where family and attachment was excluded from Anakin’s understanding of the old Jedi, Ben and Rey’s “found family” approach could’ve built up and strengthened the new Jedi. Where Anakin started and lived his Jedi path by losing his mother and his family, Ben and Rey started (in the case of Ben, re-started ) theirs by finding their family.

Where Anakin, Luke, and Leia’s paths lead them to living lonely lives, Ben and Rey could’ve found a path, still following the Force, based in unity and teamwork.

Where Anakin and Padme lost their children, lost their lives, and their chosen paths/vocations (to death or forswearing their oaths), Rey and Ben could’ve found theirs together, creating a stable foundation for a better version of the new Jedi than Luke or the previous generation were capable of building.

Instead of all that... what we have in TRoS is a Rey that is alone (again), naming herself a Skywalker, and adopting a broken legacy she and Ben could’ve—should have, maybe—already fundamentally redefined. We get a warped image of a Rey who could’ve been the beginning of a new era...but is, in reality, the final nail in the Skywalker family coffin.

[naruhearts]

OKAY SO I've just spent the best part of an hour scrolling through your blog and reading a bunch of your destiel meta and I HAD to message you... I was one of the many people who STRONGLY believed destiel had a chance of being canon after season 8 (more like season gr8 am i right), but throughout the years I slowly lost all hope. However, S14 has made me 110% invested in the show again and YOUR META IS GIVING ME HOPE FOR DESTIEL, which is TERRIFYING. Your writing is wonderful and I'm STRESSED.

Got back from Washington late last night!

Oh my gosh @alovelikecas, your message really made my day and I’m SO glad you enjoy my meta xox (even when most of my meta looks like, to me, sloppy-ass writing, haha! I’ll probably make an end-season meta post after 14x20 — if I have the time — that touches upon SPN’s current and repeating themes since Season New Beginnings S12/Dabb Era, not to mention I have, like, some more unfinished meta in my drafts >.>)

Yeah I mean, I didn’t join Destiel land until Summer 2016, and before that, I was late to the Season 11 party, so I basically had no narrative context for anything, and I’ll copy-paste what I said here: 

Looking back, one significant thing I recall? S11 gave me a sense of Destiel’s true narrative validity (as not a ‘fanon’ ship but organically developed in the canon) when I perceived it as a season that was ‘missing something’. Keep in mind I had no idea about Destiel yet while watching S11 at the time.

I was literally asking myself — repeatedly — why Dean/Amara seemed to contain odd narrative holes, considering A. Dean explicitly said that the non-consensual attraction he felt for Amara was NOT love and “it scares him”, B. Amara told Dean that ‘something stops you - keeps you from having it all’, C. Djinn!Amara stated that she can: ‘feel the love [Dean] feels, except it’s cloaked in shame,’ and D. Mildred’s iconic ‘You’re pining for someone’ —> which did not logically correlate with A and C, meaning: since Dean doesn’t freely love Amara and thus isn’t possibly pining for her — with female love interests as currently non-existent (I remember crossing off the dead/gone girls on a piece of paper lol) — who the hell was he pining for, then?

Originally posted by elizabethrobertajones

Obviously, without writing long-ass paragraphs of meta about it again in this post, S11 made sense as soon as I watched it within the Destiel context (especially after I read up on some grandiose pieces of Destiel meta (@charlie-minion was the very first person who inspired me to write meta; I followed her once I joined the fandom Oh my god, here we go, holy crap this subtext – I’m invested in this godforsaken ship because they’re in love with each other and I’m not getting off any time soon. The rest is history.

I’m aware that I do come off as positive (and I’m still Destiel-positive; whatever happens in 14x20 this week may or may not change that), but I hope you don’t mind if I use your lovely ask as an additional opportunity to clarify my meta standpoint: no one’s saying Destiel WILL become text. 

The general Destiel meta community (all subfactions: Destiel-positive, -negative, -neutral, and in-between) is not the Most Holy Canon Word, and we aren’t SPN writers, and again, we can’t actually speak to the veracity of Destiel as guaranteed-gonna-go-textual, but we — a diverse pool of critical thinkers from all walks of life: particularly those who have some degree of experience in literary academia/English literature studies (fun fact: I was actually pursuing a Minor’s in English until I changed my mind - my first love’s Health Science/Biology, which I stuck with, but here I am doing lit-crit analysis on the side *wink*) — can speak to the veracity of Destiel as a real, palpable, and ever-substantial long-running romance narrative aka the love story between Dean and Cas IS THERE. I see it. We all see it. We didn’t pluck it out of the random ether one day. It naturally evolved across the show’s overarching narrative like some vast spiderweb, linked together by numerous character arc amalgamations of Dean Winchester and Castiel as separate individuals who were then brought together — who brought themselves together, by the sheer force of free will and choice — and are now inherent parts of the other’s story (and respective character progression).

I say this too many times to count: the entire point of writing meta? Personally, it enables me to appreciate the literary gorgeousness of Dean and Cas’ relationship as, first and foremost, a tentative alliance offset by the very moment Cas raised Dean from perdition (it’s a poetic beginning). Their alliance then inevitably proliferated into a rocky — at times, necessarily turbulent — friendship, then a deep profound bond…one that crossed platonic boundaries since S7/8 and is, ultimately, indelibly rooted in romance. Together, Dean and Cas build up each other’s strengths, complement each other’s flaws, and narratively motivate the other to self-introspect — to become the best version of themselves that they were always meant to be: self-actualized entities who let go of their painful, horrifying, psychologically/emotionally destitute pasts.

These above reasons and more are why I think Destiel belongs right up there on the shelf of Ye Olde Classics, similar to epics by John Milton, Shakespearian tragic dramas, Homeric characteristic cruxes, and the great Odyssey journey: a legendary journey, fraught with circumstance, that finally ended with Odysseus (now an enlightened man) returning to Penelope, the love of his life.

Channeling the scope of Homer’s Odyssey, Destiel is an incredible storytelling feat of obstacles, both internal and external, romance tropes, mirroring, foreshadowing, and visual cadence/emotion, enhancing SPN’s already character-driven main plot in that Dean and Cas try to make it back to one another; like Penelope, their love holds true despite everything. If Destiel were an M/F couple, we all know their love story would be absolutely undeniable to the GA.

I do understand the bitterness S14’s fostered in some viewers, though. I do understand that Dean and Cas seem distant (and yeah, it’s a noticeable difference compared to S12/S13), but I believe the Destiel subtext is still heavy and holds steady.

Right now, at this point, there remains multiple personal issues for the characters to solve, you know? Dean and Cas aren’t talking properly; their love languages stay mistranslated, although we’re persistently shown that they still understand each other on a certain level that no one else can, and the visual narrative keeps framing them as on-the-nose solid counterparts: a domestic-spousal romantic unit independent of Sam.

Originally posted by incatastrophicmind

They want to be there for the other. They need to quash the final remnants of their respective internal loathing (Dean’s self-worthiness, Cas’ self-expendability) before they’re able to give the other 100% of their time, efforts, attention, and love (as flawed and complicated but compellingly beautiful as it can possibly be). During the times Dean and Cas do try to talk shit out, extraneous issues continue to get between them.

As other friends/meta pals discussed with me, S14 is like S10 in that it’s confusing the cast/audiences. And exactly: S8, besides S11/S12/early S13, also belongs in the close-to-canon serious Destiel narrative transition! I can discuss the showrunning/writer problem of SBL (Singer + Bucklemming; @occamshipper hits the nail on the head) that tugs subtext – especially subtext linked to Destiel – back and forth, sometimes in the weirdest nonsensical ways, but I won’t go too far into it here. I agree, however, with the recent idea that Jensen does seem a bit confused as to where he should bring Dean emotionally this season (don’t get me wrong, I do NOT believe Dean is OOC; OOC is a completely different concept vs expected character behaviour). And if Dean’s consistently romance-coded past interactions with Cas are any indication, Jensen would also — in the same vein as all of us — want Dean and Cas to start getting their shit together. Long-running fictional characters like Dean and Cas, conceived over 10 years, are so well-written to the point where you, the author, can predict what they’ll do even if you just plop both of them inside a room and give them no direction, and I personally feel that nowadays Jensen is prevented from achieving Dean’s further internal growth/unsure how to act in the moment because of some dumb SBL scripts saying one thing while his character’s heart says another. Wank aside—

Season 15 should hopefully convey a much more logical subtextual perspective e.g. unbelievably amazingly cohesive Season Destiel 11 that aired after choppy S10. Not all hope is lost!! I also want to clarify that I personally LOVED Season 14 in general. It’s been mostly Emotion-centric constant, with Yockey, Berens, Perez, and Dabb usually making my top-rank SPN writer list.

Currently the narrative’s still allowing pretty significant (imho) wiggle room for the lovers to fracture apart and get back together, where their miscommunication comes to a dramatic head. We just saw Dean and Cas argue over Jack’s well-being in 14x18 and 19. Dean — besides putting Cas at the top of his You’re-Dead-to-Me-Because-You-Lied-but-I-Still-Love-You-Goddammit hitlist (for clear spousal-coded reasons) and taking Cas’ actions to heart (he’s the person he trusted the most who lied to him) — no doubt blamed himself for what happened, and Sam was, like I said, the mouthpiece of truth. TFW were all culpable. They all failed Jack in some way, shape, or form.

I’m not expecting anything for 14x20, but I’m nervous either way! Thanks for sticking with my long answer

[lastsonlost]

What does Christopher Priest see when he looks at Vampirella?

Loneliness.

And in his new Vampirella ongoing launching July 17, the veteran writer will give Vampi the human connection she craves... before ripping it all away.

Illustrated by Ergun Gunduz, Dynamite's new Vampirella relaunch begins with the alien vampire as the last survivor of a plane crash which took away any friend or acquaintance she had. Now she's here on Earth and all alone. And this isn't a fictional world known to have vampires, witches, warlocks, or werewolves - this is the real world, and you know how real people would take to someone like Vampirella?

... but do you, really?

As Priest tells Newsarama in an email interview, Vampirella's supernatural abilities are "a metaphor for a univeral human condition, for being either rejected or idealized (or, in the case of our series, both) because you are different. Anyone who’s ever moved to a new town or a new school or taken a new job should be able to identify with Vampi’s challenges."

Priest, an ordained Baptist minister (as a reminder to readers, prefers to be addressed as 'Priest'), shared his thoughts with Newsarama on how the prospect of writing Vampirella was first received by him, how it fits within his religious life, and how he's using it to examine humanity.

Newsarama: Priest, what makes Vampirella interesting to you?

Christopher Priest: The fangs. Definitely the fangs.

When DC Comics approached me about writing Deathstroke, I’d really never thought much about the character. It wasn’t a book I’d normally read because I probably wasn’t the audience the book was targeted toward. But it presented an interesting challenge: what new things could I find to say with this character and what unexplored areas of the character were there to develop?

When Dynamite Publisher Nick Barrucci said “Vampirella,” I had nearly the identical reaction. I was, of course, familiar with the character but wasn’t a Vampirella fan, wasn’t the audience for that book, which made me an odd choice. You’ll have to ask Nick why he made it.

My immediate reaction was exactly the same: what new thing could I bring to this property? Where is the untapped potential? That, for me, is the interesting part; craft a Vampirella narrative that broadens the audience for the property while (hopefully) not putting off the hardcore Vampi fans.

Nrama: So what was the answer to that? What is the story?

Priest: I read this Bruce Springsteen Rolling Stone interview a couple decades back (yah... decades...) around "Born In The USA," where Springsteen said something remarkable that’s stuck with me all this time, about how each of us needs community. He said something like, “Without community (by which I presume he meant human attachment and interaction) we’d likely go crazy and kill ourselves.”

Over many interpretations Vampirella has developed many versions of a supporting cast, but she is fundamentally alone, one of few of her race living on Earth. Considering the Boss’s statement, I wasn’t eager to create yet another supporting cast and then echo adventures she’s had before. For better or worse, I wanted my at-bat with the character to be unique and in some ways challenging.

So the thought occurred to give Vampirella that community, that human connection... and then have it all ripped away. Our story arc revolves around a plane crash which effectively terminates many connections Vampi has built while forging new ones.

Nrama: You're setting this in the real world. A real fish out of water scenario, but one you're playing at for deeper cultural issues. What's a woman like Vampirella likely to face here on Earth?

Priest: With all due respect for the legion of much better writers who’ve handled the character, as I mentioned, I probably was not the audience for this book. Vampirella was created with a satirical flair and Vampi herself was in on the joke; not quite breaking the fourth wall but offering up a knowing come-hither smile. She’s existed in a reality that routinely and, for me, far too benignly, accepts the supernatural as fact.

Here in the real world, vampires are merely a thing of myth and the reality of hyperfactual supernatural events are subject to the interpretation of the particular tribe one belongs to. It bothers me that, in 2019, DC and Marvel universes are still mostly portrayed in an idealized hyper-reality where the average man on the street simply accepts superheroes as fact and, in fact, refers to them literally as “heroes” or “villains,” which is absurd. There’s no news anchor in the world who would start a broadcast piece with, “Arch-villain Saddam Hussein...” even though that description would be apt.

The world our Vampirella series takes place in doesn’t believe in vampires. Or witches or warlocks or werewolves. This world seeks rational scientific explanation for paranormal phenomena which it greets with enormous skepticism.

Which isn’t to suggest no one will believe Vampirella exists but that that acceptance is not as matter of fact as it seems to be in most of this genre.

In terms of what she’s facing, her number one enemy is loneliness. I am, hopefully, writing a woman first, a story about a woman who loves and wants to be loved but whose circumstances are complicated by the fact she has fangs and drinks blood. The supernatural attributes are a metaphor for a universal human condition, for being either rejected or idealized (or, in the case of our series, both) because you are different. Anyone who’s ever moved to a new town or a new school or taken a new job should be able to identify with Vampi’s challenges.

Anyone who wears their hair a different way, listens to a different kind of music, embraces a different religion, anyone who steps outside of or gets shoved outside of the so-called “mainstream” can identify with our take on Vampirella. I hope it is precisely this universality of theme that helps broaden her audience; the Vampi tent is large enough for everyone.

Nrama: Someone walking around in that Trina Robbins-designed costume is bound to get some headturns. If I know you as much as I think I do, you're going to tackle that head on, right? How are you getting into the subject of the costume?

Priest: Well, yes, we will have a go at it. The basic argument is simple: where do you draw the line between women’s liberation and women’s exploitation, and who gets to draw it? Who gets to define femininity and why should an extraterrestrial have to submit to that definition?

It’s like the world woke up in the last few years and realized we actually have two genders and both of them matter.

So we now have heightened scrutiny of themes and behaviors and that poor bastard Joe Biden gets caught up in the switches. I’ll confess, I’m terrified of women because I’m a Joe Biden. I was taught to pay a lady a compliment and open doors and I want to be friendly and accessible but I’m absolutely terrified of having my good intentions taken in a bizarrely paranoid light.

It is comical to me that I am far too often seen as creepy by women - especially black women - because they have been conditioned by their personal experience and their media consumption to misinterpret a simple "Hello." These days I cannot pay a woman a complement without a legal preamble and assurances that, no, I am not hitting on you and even then I get the skunk eye of suspicion.

Which is a little insulting because this “guilty until proven innocent” defensive posture presumes I am other people or that the bar is set so low for me that I’ll jump into bed with just anybody I happen to meet. It’s like we’ve just gone too far now to the point where women are not just being protected but being alienated to some extent because I have no earthly clue how to deal with them and I’m frankly scared to shake their hand.

So, is Vampirella’s wardrobe choice sexist? I don’t know. Vampirella obviously doesn’t think so. As I see her, she comes from a culture much like Star Trek’s Betazed, where people wear little or nothing at all. If anything, Vampi wonders why we humans choose to smother ourselves in so much fabric and why we’re all so bound by self-loathing.

There are hundreds of women who enjoy cosplaying as Vampirella, and maybe hundreds of thousands offended by the character. How do we reconcile all of that for the 21st century?

The one thing I won’t do is cover her up. I accepted the gig: write Vampirella. If you change the outfit, she’s no longer Vampirella. Frankly, her costume is the only thing about her (well, okay, that and her pansexuality) that makes her at all shocking or controversial.

My goal, and the readers will have to let us know if we’re passing or failing, is to make this a book as much about femininity as about bloodsucking. The storyline is driven by women, mostly populated by women, of all shapes and sizes and ethnicities, and most of them dress as sexy as they dare. The singer/rapper Lizzo is a terrific example of this. Is her blatant sexuality liberating or is she being exploited? How about Beyoncé? Do we put Vampi in a raincoat but cheer Bey on?

See what I mean? I’m screwed either way.

Nrama: So Priest - Vampirella's here on Earth. What would you do if you found yourself, I don't know, sharing a cab with Vampi?

Priest: I’d ask the driver to pull over and let me out. I’m a Christian, so I have these issues with all of that “fornicating in your mind” stuff. I don’t live a perfect life but I try to avoid cluttering up my conscience. Among the things the printed page cannot convey is the amazing, intoxicating glow and, yes, smell of a woman.

All women are beautiful, from 8 to 80, regardless of weight, height, or nationality. I wouldn’t share a cab with a woman as under-dressed as Vampi, which sounds hypocritical because I’m writing her. But I write Deathstroke, too, and wouldn’t share a cab with him, either.

Nrama: On the flip side of this, Vampirella's stranded on Earth. What's going through her mind in all of this?

Priest: How stupid and primitive we are. It’s not arrogance. I believe any visitor from another world would surf the net for a few hours and come away shaking their heads. I watched an episode of Little Miss Atlanta yesterday. Jesus. We’re just idiots. The moms fighting and bickering and cursing - cursing - in front of these little girls, berating the little girls. This sickening child abuse... That's entertainment?

I have Christian friends who will criticize me for writing Vampi but they watch that crap.

Nrama: This comes over a decade after your previous stint with Vampirella - Harris Publishing's Vampirella Revelations with artist Eric Battle. That run had some issues, but you're back here again. What makes is something you want to return to?

Priest: *scratches head* Really? I did a run...? I remember doing a silent issue... and vaguely remember doing something with Eric, a good bud. But that was way back. I really hadn’t considered this a “return.” I just pivoted and stared into Barrucci’s hypnotic vampire eyes and ran dozens of scenarios through my feeble brain, coming to one conclusion: this would be an interesting experiment, a writer’s challenge. Writers love challenges.

Nrama: Big picture, what are your goals with this ongoing?

Priest: To not have the women of America torch my house. This run will be as different a take on Vampi as any that have come before.

Which is not to say “better;” “better” is subjective. I’m sure a great many Vampi fans will hate what we’re up to. Maybe they’ll come along, maybe I’ll get fired. If I wasn’t nervous about it, it wouldn’t be worth doing.

Editor's Note: The above interview was conducted via email eariler this week, and we received all of Mr. Priest's responses along with all our original questions. Newsarama asked Priest if he would respond to follow-up questions Friday by email. He agreed and those questions and answers follow.

Nrama: Priest, our original questions to you were about the Vampirella comic book and our role is to talk about that and not audit your personal life, but your responses appear to be hyper aware of a social climate you seem to lament in terms of relationships between genders and conduct towards one another.

Priest: I lament the social climate in general, on all levels. I lament our lack of civility and lack of empathy, lack of patience and understanding. I hate the way we assassinate one another with our thumbs, all this hostility in social and other media. It's not just gender issues.

Nrama: Yet empathizing with Joe Biden without citing the actual specific behavior he’s under scrutiny for, stating things like "the amazing, intoxicating glow and, yes, smell of a woman" and by offering you’re “often seen as creepy by women,” it seems like intentionally inviting the sort of reaction/assumptions you state you’re “afraid” of and inviting the same scrutiny Biden is under.

Was this was your intent and are you prepared for pushback to your words and questions to be asked?

Priest: Wow, there's a lot to unpack, there. But let's start by saying I seriously doubt anyone reading this is NOT aware of the Biden issue to which I am referring. 

I come neither to defend Biden nor to bury him, so I think you're probably taking my "poor" Joe reference a bit too seriously. I wasn't trying to litigate Biden, only to make a point about how hyper-sensitive and overly politicized our nation is and how this will impact Vampirella in her series.

Assembling disparate quotes to paint me as some kind of deviant makes that point for me. I stand by my statements. "...the amazing, intoxicating glow and, yes, smell of a woman..."

 is something difficult if not impossible to convey in literature (which was my point), but your question was about me sitting in a taxi with a near-naked woman and I answered that honestly. 

And my point was relevant to understanding the challenges and conflicts Vampirella will face in this series.

This is the environment Vampirella finds herself in, people misinterpreting her actions, words, and motives. This is why I mentioned it, to place the work we are doing with Vampirella into context.

Were a person like Vampi walking around in our world (or riding in a taxi with me), she would be misinterpreted, and every word she says would be drilled into looking for the worst possible interpretation of it. I can't help but wonder why anyone anywhere speaks publicly because no words spoken by anyone can withstand this level of ridiculous scrutiny.

Nrama: In another response you state “It’s like the world woke up in the last few years and realized we actually have two genders and both of them matter”. While not assuming your intent one way or another, it seems it to overlook genders outside the male/female paradigm. Can you speak to that?

Priest: Gender: noun

1. either of the two sexes (male and female), especially when considered with reference to social and cultural differences rather than biological ones. The term is also used more broadly to denote a range of identities that do not correspond to established ideas of male and female. "a condition that affects people of both genders"

I wrote an ecumenical commentary in support of gender and and LGBTQ issues, Chris. I invite everyone to read it.

It was a simple interview. I was promoting a comic book and, as a really busy writer, I was typing really fast and speaking honestly while engaging with you. What I won’t do, not even for my own safety, is censor myself or try and anticipate every horrible way someone might choose to misinterpret something I've written or said.

 If anything, that just makes my point for me about how free speech is being compromised. It's a tough environment to publish comic books in because every publisher is terrified by the spectrum of extreme possible reactions from an increasingly intolerant environment where everybody's playing "gotcha" and looking for the worst possible and most extremely negative interpretations of everything.

The whole point of free speech is my duty to defend others' rights to have it, not to shout them down or demonize them.

[love-takes-work]

Steven Universe Podcast: Volume 2, Episode 5: Connie

In the second season of the Steven Universe Podcast, episode 5, released February 22, 2018, is about Connie! The official description:

We're spotlighting Steven Universe's best-friend, Connie, on the Steven Universe Podcast! Grace Rolek, who voices Connie, and Zach Callison, the voice of Steven, talk about their characters' friendship, and recent struggles on the series. And creator Rebecca Sugar and former EP Ian Jones-Quartey explain Connie's sword, her relationship with the Gems, and the yin & yang that dictate Connie and Steven's respective designs and personalities. Plus, Connie drops in to talk about school, Stevonnie, and her fabulous new haircut!

As per usual, the podcast is on the long side, so I'll open with bulleted highlights and include a more detailed narrative under the cut.

Highlights:

Connie has been planned as a character since the beginning; drawings of her are included in Rebecca's original sketchbook.

Connie is designed as a foil for Steven, with each of them possessing traits the other lacks so they can fit together smoothly.

Associating Rose's sword with Connie early on was a deliberate decision; they always wanted her to be the sword of the relationship, complement to Steven's shield.

The Gems treat Connie better than any other human and respect her as a member of the team.

The Gems talk to Connie's parents outside what we see on the show; they've been communicating with the Maheswarans a lot more since Connie decided to be upfront with them about her involvement with Steven.

The Cool Kids are partially based on Rebecca's college experiences when she joined a band. She was pseudonymously known as Rebecca Murder.

Lapis and Peridot making art in the barn was based on Rebecca's band member friends using a barn for their art.

Nanefua as Dewey's opponent was planned very early too. They always made sure to include her as a critical voice in the crowd when the town was gathering to react to his speeches.

The boardie character who's designed to look like Ian Jones-Quartey was originally going to be a pizza merchant named Everett, but they went from having a Pizza Man based on him to having a Pizza Family based on Ian's family. 

There was also a boardie named Baby originally, and some ideas associated with him got rolled into Fryman family characters, especially Ronaldo.

Ian Jones-Quartey says if you are a fan of Steven Universe and you haven't read the book Keep Beach City Weird, you're doing yourself a disservice.

Grace Rolek and Zach Callison both felt that the Connie/Steven angst from "Dewey Wins" to "Kevin Party" carried an authentic sense of what it's like to have relationship drama. Both invoked their own breakups which were reminiscent of some aspects of those interactions.

Grace and Zach are pleased to be past their "teenage angst" phase now that they're both twenty. They’re glad to have just regular angst now.

Grace thinks Connie cut her hair to help move past the need to define herself entirely through her relationship with Steven; she needed a change and some definition as her own person.

Grace, in character as Connie, says her favorite subject in school is science so she might study gems when she grows up, she'd love to go on another adventure with the Crystal Temps as long as she doesn't have to imitate Steven, and being in a Fusion is weird but awesome--and she'd be Stevonnie's left arm because she's left-handed.

Next week: Lapis!

The detailed summary, including Rebecca and Ian discussing Connie’s characteristics and character design; discussions of early boardie character concepts; Grace and Zach discussing Connie's relationship with Steven and recent developments; and fan questions answered in character . . .

Read it all below!

Rebecca Sugar and Ian Jones-Quartey:

McKenzie begins by presenting a discussion of Connie and the humans of Beach City, also known as the boardies. Ian opens with a complaint that the term "boardies" doesn't seem to be catching on with fans even though they've been termed that in the show. He doesn't know why some fans like to call them "townies."

McKenzie asks how early Connie was conceived for the show, and both guests say she has been part of the show since the beginning. When McKenzie asks whether Connie was always intended to eventually join Steven's battles as a participant, Ian says they had always intended a group of humans to have various relationships with the Gems--either on the outskirts as background characters, as interested parties, or as participants in their activities. These ideas for different characters were distilled into one in many cases, and Connie absorbed a bunch of their intentions for heavily involved human characters.

Rebecca says Connie's character design was intentionally a complement to Steven's, right down to their faces fitting together like puzzle pieces. Connie is reasonable and down to earth, while Steven is whimsical and magical, with both of them being attracted to what the other represents.

Together, Connie and Steven make the "ultimate person," which is why Stevonnie works so well as a wielder of the sword and shield. Associating Connie with the sword very early on was intentional; way back in "Lion 2: The Movie," Rose's sword's first appearance was deliberately done during a Connie episode so she could be there to help Steven use it against the Robot Shooty Thing.

McKenzie prompts Ian and Rebecca to discuss Connie's relationship with the other Gems besides Steven. Rebecca immediately brings up one of the first times all of them interact with her, in the beginning of "Lion 2: The Movie" when they warp in standing in cool poses. (That was a Jeff Liu drawing.) They really wanted to help Steven have a friend, enhancing his cool life to draw Connie in, even if they're not completely sure how to do that. Ian says they actually treat Connie better than they treat any other human. She's a full-on member of the team as Steven's best friend, fusion partner, and dedicated combatant, so she gets special treatment.

Rebecca comments that since Connie opened up to her parents about her role on the team, the Gems have actually been in more communication with Connie's parents about it, which we don't see onscreen because the perspective of the show is tied to Steven. Rebecca and Ian say it's implied pretty strongly in "Gem Hunt" that Pearl knows Connie's parents' rules. Ian thinks the conversations between Pearl and Priyanka would be "pretty boring." And Garnet, as shown in "Mindful Education," now respects Connie, Steven, and Stevonnie (each as their own person) in a more mature, "equal" way than she used to when it was more about just protecting them.

McKenzie brings up changes with the other boardies (naming Mayor Dewey and Lars and Sadie), asking Ian and Rebecca to comment on why they decided to introduce so many changes to their lives. Sadie was shown in "Sadie's Song" wanting to make changes in her life, and now in the latest episodes she's evolving to find out who she is without Lars to rely on. She thought no one really wanted to be friends with her, but although she had Lars around, she was discontent with who she was and thought nobody who was actually cool would accept her. 

The Cool Kids are said to genuinely like Lars. Sadie's experience in the band with them is based partially on Rebecca joining a band in college. They called her "Rebecca Murder." And after Rebecca left to work on her animation career, those band members began making art in a barn, inspiring what Peridot and Lapis did there.

Ian says Mayor Dewey's loss to Nanefua as mayor was planned early too; they always made sure to stick Nanefua into crowd scenes where Dewey was getting criticized. Rebecca reminds us that Nanefua is based on Ian's grandmother. 

And Ian brings up the voiceless character that's supposed to be him on the show--that he keeps getting prominently drawn in the crowd ever since he left the show. He was originally a pizza man they think was named Everett, but that idea blossomed into the Pizza family based largely on Ian's family members. 

They also discuss another character that didn't get used--a scooter-riding character named Baby who threw cans of soda at people. (??) They think he kind of thought of himself as an action hero but may have morphed into the Fryman family. (Ronaldo got some of his traits, as he's interested in the Gems.) The Keep Beach City Weird book comes up and Ian says you should read it if you're a fan of the show. (McKenzie admits that she hasn't read it. Author’s note: It’s great, I reviewed it.) They bring up the blog that the writers would use for extra-canon material, expertly timing posts to line up with the show's airing of related episodes. (Koala Princess was first mentioned on Ronaldo's blog and later was incorporated into the show.) McKenzie wishes she could know more about the concept characters like Baby.

Grace Rolek and Zach Callison:

In the wake of so many changes--Dewey stepping down, Sadie quitting the Big Donut, Lapis leaving--McKenzie prompts Grace to comment. Grace thinks there's a huge shift happening; unlike most cartoons where most elements stay the same, Beach City is moving on to a new era. (Zach starts singing a line from a Hamilton song: "The world will never be the same!") Zach thinks even though Steven and Connie have reconciled, there's still the unsolved murder mystery and there's no going back to the status quo. McKenzie thinks it's huge that Sadie left her job, considering the literal first scene of the show is Steven inside the Big Donut with her comforting him about Cookie Cats. (Grace also quotes Hamilton, saying "The world's turned upside down.")

When McKenzie asks Grace to discuss how she can bring authenticity to the story as it's changing, she says she's changed a lot herself from age 15 to age 20 on the show, so she's gotten life experience as the characters have and can relate more readily. She can pulled from her own experiences with, say, breakups, to filter those emotions into giving voice to Connie in her struggles with Steven. Zach comments that Grace was not there during his recording for "Kevin Party," and he remembers having a personal emotional reaction in response to the dialogue. (He later returns to this to express that it was where Kevin was giving Steven terrible advice; he had that happen to him too.) 

Grace says good writing really helps connection on a personal level; it automatically feels authentic. Grace adds that even though she's never fought Gem monsters or had a magical best friend, she still knows on some level what it's like to go through what Connie does in those moments because the writers build them on realistic emotional experiences.

McKenzie says she thinks Steven's emotional misfire at the beginning of "Dewey Wins" was very unlike him, and asks for the actors' comments on whether they think Steven was genuinely confused about Connie's reaction or whether he was suppressing something. Zach thinks Steven probably got it subconsciously, but was just confused about everything at the time. Grace thinks Connie just felt terrified about having faced the idea of not seeing Steven ever again and then when he returned he was so flippant about their pact, which she had invested so much into even if her ability to help might have been limited in that situation. 

Zach points out that anything bad that happened to him at age 14 was the end of the world. Zach and Grace joke about how nice it is to say "when I was a teenager" now that they're past that into their twenties. (Their birthdays are two weeks apart.) Grace says she just has normal angst now instead of teenage angst.

McKenzie brings up "Gemcation" and Steven's embarrassment to admit that he'd had a fight with Connie, worrying that they would side with her. What do Zach and Grace think of Steven's atypical reticence? Zach thinks Steven fears the Gems' reaction would be to be angry like Connie because he must deserve that treatment. When McKenzie suggests it would've been simpler to just leave and never come back to face it, Zach says that's the darkest timeline and jokes that Steven would join the Diamond Authority. This AU definitely exists.

The next subject is Connie's hair. Grace is asked to comment, and she remembers seeing it in the boards and asking about it, with Rebecca confirming that Connie had gone through a redesign. 

Grace says it's a common cliché to change your hair when you go through a relationship change, but there's truth in it. She thinks Connie's come so far from Season 1, from thinking she's going to die friendless to showing up at a cool party with a Lion and a new haircut, chatting with strangers. Grace thinks she may have changed her hair to help deal with moving forward, and although her relationship with Steven is very important to her, she needs to invest in her personal growth independently from having a magical best friend. Grace mentions feeling sort of bad for Kevin for the first time in that episode, despite his history of being unsympathetic. McKenzie thinks his past with having an ex he lost helped humanize him. They agree he deserves some sympathetic treatment but that he's still a jerk, and they joke about a redemption arc for him in which he'd have to sing and join the Crystal Gems.

Connie answers questions:

McKenzie: What do you want to be when you grow up?

Connie: Oh, I have no idea. Right now my favorite subject in school is science, so I'd love to do something with that, I think, learning and investigating the world is super interesting. Maybe I could study gems for a living.

McKenzie: Would you consider going on another adventure with the Crystal Temps?

Connie: I'd love to! I just hope they don't make me imitate Steven again. That was kind of weird. If we could just be our own people while doing an adventure, that'd be fun!

McKenzie: What's it like to be in a Fusion?

Connie: It's super weird but it's awesome. I mean, it's crazy, I get to share a mind with Steven.

McKenzie: Yeah?

Connie: Yeah, it's like, half of me is controlling half a brain and half a body, but at the same time it's just one person.

McKenzie: Is it like divided down the middle? Do you have like the right arm?

Connie: I guess. I mean, I'm left-handed, so it'd be the left arm.

McKenzie: Why did you cut your hair? Which by the way looks amazing.

Connie: Thank you! I think I just needed a change. I feel like, I'm growing up, and I've had this long hair for a real long time, and I wanted to assert a new side of my personality.

McKenzie: It's an image change, you gotta shake things up!

Connie: Exactly. I've had this long hair for a while now, and now this cute short hair, it's a cute chic new look.

McKenzie: What kind of podcast would you have if you had a podcast?

Connie: I would LOVE to have a podcast because I just love to talk about all sorts of things that interest me. It would be cool if Steven and I could get together and talk about all sorts of stuff. Maybe we could interview the Gems or interview people about--or I'd love to talk about all sorts of issues in the world today. I love to talk about the real stuff. Current events. And also pop culture, too, I think, books, television, movies, analyzing it all.

McKenzie: That sounds like an amazing podcast.

Connie: Thanks. I mean I certainly love talking to you on this one!

Next week: LAPIS!

[Archive of Steven Universe Podcast Summaries]

[moonraccoon-exe]

Early Morning Hours

For @gladnisweek Day 4.

Prompt: Early Morning Hours

Summary: Really it’s just Ignis staring a lot and Gladnis starting the day very nicely.  ᕕ( ᐛ )ᕗ

Warning: Gets somewhat NSFW towards the end. Descriptive narrative so it may get boring for some.

Also on AO3 here.

 The birds had either forgotten how to, or had yet not woken up to start singing.

The silence of dawn was curious. It was different than the quiet at night, and different than the quiet of the day. It had its own color, like the sky; not blue or black, rather an incredible mixture of a wide variety of colors in constant change; from the black to the purple, going through red and orange, yellow tones, even pink here and there, before starting to eventually turn into the blue of day.

Right in those moments, the sky was in that stage of constant change with no definitive color. The light that peered through the curtains was scarce, but its shape and intensity changed along the colors of the sky, both being controlled by every inch that the sun moved up. 

And said light, in constant change, also made of the ink feathers and the lines of muscle look different with each variety. It was not as obvious as it was on the colors of the sky, but the change was there; a shadow that could have been here disappeared after five minutes into the changing light of dawn, and a feather that could have been illuminated enough could have turned darker, depending on how the play of shadow and light moved on the canvas.

Ignis liked to imagine that, if he could record this and if he played it at high speed forth and back, maybe the subtle change of light could make the feathers look in movement, as if though the bird was in plain flight. But he liked it like this; slow, too slow for anyone to notice as it changed, and only able to tell by comparing ‘this moment’ to ‘five’ or ‘ten’ or ‘fifteen minutes ago’. He did have as much time; he had, like usual, woken up too early. 

Gladio always nagged him about his ‘caffeine overdose’, but Ignis never considered that to have any influence on his sleeping habits. He had always been an early bird, so far he remembered. That he was also becoming a night owl did not mean he was not an early bird anymore. He had to admit he got poor hours of sleep, but to him that did not matter; why on Eos would he want to sleep, even if he could, when he had this absolutely beautiful and worth-more-than-any-money-could-ever-pay canvas right at his side, in front of him, for him to admire?

He knew that every Amicitia Shield got the tattoo when they received or were to receive the title officially, and it was always the same design. But, just like fingerprints, as similar as they can get, there are always differences. Lord Clarus’ back could have been similar in his days to his son’s, but it was not the same. Even if only one spot, or one birthmark, or one tiny scar, or one single pore, a single line in a slightly different angle, there was always a difference. No human is exactly the same than any other no matter how similar they can be, just like no Amicitia tattoo was the same than others. 

And this was one of them, a unique Amicitia, with his own tattoo, unique in its own way. And Ignis had the honor of seeing it during these lazy morning hours when neither he could nor did he want to sleep any longer. The adviser laid in bed, resting on his side, hand holding the weight of his head and curious eyes tracing every line of the tattoo drawn on the strong back in front of him.

Gladiolus adored being the little spoon, so that was a vantage to Ignis, who oh so dearly adored to spend some moments staring at that wonderful back, strong like a mountain, wide like a shield, beautifully sculpted like a statue of ancient times, and stunningly painted with fine art as mark of the Amicitia. 

Gladio’s back on its own was a real wonder; broad and unmovable, the strongest back Ignis had ever known. Lord Clarus was a big man himself, but nobody could compare to his son. The tattoo was like a beautiful royal gown on an already beautiful woman; it was not the reason of beauty, only a complement to it. The lady was already majestic on her own; the gown only did but give emphasis to said beauty and turn it into almost celestial art.  

Gladio himself was like that beautiful goddess in her beautiful gown, but better, because he was real, and his own kind of pretty. Ignis, lying on his side and smiling all the time since he woke up to the sight, stared at all of Gladio’s body from behind, admiring it, admiring him. His hair was not like silk, like in the romance novels they sometimes read; it was soft, but not a wonder. Still, the locks of brown were exquisite like dark chocolate, and there was nothing that Ignis adored more than caressing said hair whenever Gladio dropped himself on the adviser for a nap.

Even though he could not see them from that angle, he did not need that to add more to his list; his scar, the wonderful reminder of his courage and morality and loyalty. The beard that he so annoyingly (in a good way) insisted to rub against Ignis’ face and thighs, harder for each complaint Ignis gave. 

Ignis’ smile grew a little and his eyes moved to the Shield’s nape. There was still a little mark of a bite nearby it, between it and the shoulder. He felt both proud and a bit ashamed of it; he knew Gladio liked it rough, but Ignis’ urgency to take care of others made him feel a bit of guilt too.

He sighed as his eyes went down to stare at the Shield’s strong, wonderfully sculpted arm. Sometimes, Ignis forgot just how built Gladio really was. The arms that could make of Gladiolus either the most loving of hugging lovers, or the roughest dominant in bed. Ignis closed the eyes and stopped breathing for a moment, controlling himself. He did not want his own arousal to interrupt his moments of admiration for Gladio’s body. Art first. 

His eyes went to the tattoo again, and discovered it had changed again under the light. There were many more parts in the light now that the sun had to be halfway up, and the angle had changed some shading, at least according to how it looked when Ignis first moved back enough to look at the gorgeous canvas. The adviser took in a breath through the nose and slowly let it out; gods, how he adored looking at Gladio’s tattoo. He could do that all his life.

He wanted to wake up every morning to that sight; either Gladiolus’ face in front of his own, or his tattoo exposed for him to admire. No matter how many times Ignis looked at it, how many mornings he had spent doing this, he never grew tired of staring. Gladio’s back was wonderful, Gladiolus was wonderful, his tattoo was wonderful. Ignis wished Gladiolus could see himself as the adviser saw him; maybe then, he could understand why Ignis did not even desire sleeping a little longer and why he loved the early morning hours. It was all of Gladiolus just for him to look at and appreciate. 

Ignis moved his free hand closer to his boyfriend, and softly, oh so softly put a fingertip against the skin of Gladio’s back. The Shield did not react. Ignis could hear his heavy but quiet breathing of sleep. The adviser could not help a smile and the thoughts when he laid a finger on Gladiolus’ skin. Gladio, as an Amicitia, was a Shield. The purpose was pretty clear; they were as their name tagged, a living shield, sometimes literally, with the duty of protecting their prince or king.

Their duty was mostly physical; the body was the most primary, basic and necessary tool for an Amicitia. An Amicitia’s body protected a king; in some way, an Amicitia’s body protected the entire kingdom. Their only duty in life was to not die under any circumstance unless it was protecting the person they were sworn to. Their only duty was to not let anything happen to or touch that body.  

And there Ignis was, touching an Amicitia’s body. An honor very little people could earn, an achievement not many realized was an achievement on its own; touching an Amicitia. Even more than that, touching an Amicitia while said Shield was asleep. Profoundly asleep at such early hours in the morning, Gladiolus was not even conscious of Ignis’ fingertip on him. Gladio had gone to sleep aware that Ignis was at his side and would be there while he slept; sleeping was switching off for long hours, which was any human’s most vulnerable state. While he slept, anyone that was around could do anything to him, to his so needed, so valuable and so imposing body.

  That Gladiolus slept next to him was a way of giving him that power; the power to lie beside a sleeping Amicitia, vulnerable and completely exposed for Ignis to do as he pleased, if he pleased anything…but trusting he would not. That Gladio allowed Ignis to sleep beside him so unwittingly, not even thinking about all the concept behind, was like one of the highest recognition of trust coming from an Amicitia; ‘I allow you to be nearby me in my most vulnerable and exposed state, because I trust you will do no harm’.

  Absolutely wonderful, in so many ways, to be given the marvelous honor of touching an Amicitia, and to be given said trust. And so, so dearly appreciated…

  Ignis kept the finger gently pressed in the same spot for a few moments, before he used the fingertip to very slowly and barely touching at all start tracing the curve line of the feather drawn in there. He followed it slowly until it was covered under the line of another feather. His fingertip caressed onto it like it was the continuation, and deviated to the left when he found another line. The minutes passed as Ignis continued with what had become his morning ritual, tracing Gladio’s tattoo with a fingertip. He paid close attention to feel every millimeter of skin, every pore under his touch, and closed the eyes as he did. His finger continued and he half-opened an eye sometimes just to make sure he was going in the correct direction, but mostly kept the eyes closed. He was trying to complete his mental map, so that he could see the tattoo even without seeing, only out of memory.

  Ignis opened the eyes after a moment, smiling widely. Gods, he loved Gladiolus’ tattoo so dearly. It was such a huge part of Gladio, a very beautiful visual but an even more beautiful concept; it held part of his essence, his family, his purpose of life. Gladio was not Gladio without his tattoo. The adviser sighed yet again and continued looking at it, tracing it with the fingertip, apparently distractedly, but focusing. Gladio’s breath had gone quieter, and he shifted slightly in his sleep. Ignis had started to know Gladio’s early morning persona a little better, and that was a sign to know the Shield was starting to wake up. Ignis, however, continued tracing through his tattoo, the fingertip drawing every feather with invisible ink over the visible one. He was counting the feathers, and lost count at fifty-three.

  The adviser continued smiling all the while as his finger followed the lines. He saw Gladio move a little in his sleep when Ignis’ finger reached the lowest part of the tattoo, at the shield’s lower back, one of the most erogenous zones of his body. Ignis smiled more widely and contained a little laugh, and decided to not touch there too much or for too long, and his finger got away only to find another line to land on somewhere between the shoulder blades.

He only got to trace a few more feathers before Gladio’s shoulders moved, his breath calmed and he sighed, and he started coming awake. Ignis did not take the finger off him and only waited, giving his boyfriend the time he needed. A few minutes later of slowly coming awake, Gladio moved the shoulders again and started rolling onto his back. Ignis did withdrew the finger before it was trapped between the mattress and the boulder that his boyfriend was, and widened his smile while watching the Shield land on his back and take even more moments to wake up.

  Soon, Gladio was moving the fists up to his eyes to rub the sleep away. Ignis, on the meanwhile, rested the same fingertip on Gladio’s chest, on more lines of his tattoo. The Shield either did not process it or did not care, as he offered no complaints or reaction and only continued rubbing his eyes, dropping his arms on his face and staying half-asleep for a few more minutes, or sighing to come awake.

Finally, after he was able to mostly come awake, Gladio rolled onto his side so he was facing Ignis, and the adviser put his finger away, looking at his boyfriend. Gladio’s hand softly but firmly found his hip and caressed it, his long fingers resting on the beginning of the curve of his boyfriend’s butt.

“Morning” he lazily greeted with a hoarse voice, dry from the lost of moisture from the previous night, and still rather sleepy. Gladio looked at him with half-opened and dirty eyes and a sleepy but sincere smile. The sight was beautiful, at least to the adviser, and it made him smile back.

“Good morning” Ignis greeted back and put the hand down so he could rest the head on the pillow again instead of holding its weight on his palm.  

“You were touching me again without my consent” Gladio told him with the same sleepy voice and a hint of playfulness in it. “You perverted man.”

“I think I almost have it now” Ignis told him quietly. “The map.”

“The map?”

“My mental map…” Ignis moved a fingertip up and drew an invisible curve on the air. “I’m memorizing your tattoo, so that I can see it even when I’m not seeing it. So that I can trace it from heart without having to look.”

“Really?” Gladio asked him as his smile grew wider. He was able to open the eyes a little more by now, more conscious with each second. He stared at Ignis sweetly and felt a nice and warm puddle spill in his heart, and he, like every single morning, fell in love with the adviser again. “It’d be interesting. One day let’s make the experiment; we blindfold you, you dip the finger in paint, and you trace the tattoo, see how much of it you get right.”

“Oh, so blindfolding has other uses?” Ignis asked him with the same hint of playfulness in the voice. He smiled when Gladio lowly laughed.  

Gladio continued grinning as he moved up and closer to be half-hovered over Ignis, leaning down to press his lips against the adviser’s. The younger man closed the eyes and kissed back, a hand moving up to find Gladio’s chin. His fingers shyly touched the itchy beard as their mouths moved together, lips capturing one another, letting go and coming to lock again. After some more kissing, Gladio broke apart only to stop, but his lips still ghosted on Ignis’. He kept the eyes closed, adoring the sensation of breathing the same air than his boyfriend, and reached for a little peck.

“You know, I can still feel you…there, inside me” Gladio whispered to him without opening the eyes. He moved a hand up and his fingertips caressed Ignis’ face. When he opened the eyes, he found the adviser’s cheeks subtly blushing red, and his lips smiling.

“I told you to get a shower to clean that” Ignis whispered back, and let Gladio brush away some locks of his messed-up hair from his forehead.

“I didn’t say it was a bad sensation” Gladio replied with a growing smile, and Ignis’ cheeks burnt noticeably this time. The adviser hated it whenever the Shield made him blush, and Gladio knew it, so he laughed lowly when Ignis snapped the head to a side and tried shoving the Shield away of his face.  

Gladio let himself be moved away, and he rolled back onto his back, head going back to the pillow. He sighed and growled lowly, closing the eyes and resting again. Ignis gave him a few moments to recover from waking up, adoring the little grunts and the way Gladio stretched without standing or sitting up. Ignis rolled on his side and put the head on a hand again, staring at Gladio once more. At his vulnerable Amicitia recently woken up, and lying in bed, nude, only half the body hidden under the sheets, and beautiful, at his side.

“Since when are you awake, Ignis Scientia?” Gladio asked after a few moments of rubbing his own eyes and a little sigh. He let go of his face and turned to look at his boyfriend. “And why are you not touching me anymore?”  

Ignis laughed very lowly and got closer. He moved up so he could hover over Gladio this time, and gave him a sensual but not heavy kiss. Only this adviser knew how to make of a peck something arousing. Gladio moved a hand up to land on his boyfriend’s waist, softly.

“Somebody woke up feeling horny, I presume” Ignis said lowly with the face at mere inches from his boyfriend’s.

“You’ve been touching me while I sleep” Gladio replied and smiled at him. “It’s not my fault.”

“It’s not my fault that you’re so stupidly stunning, my dear” Ignis said with a playful grin that Gladio mirrored. The adviser gave him another little peck and used a hand to caress the Shield’s cheek. “What else am I supposed to do? I wake up early and there’s you for me to admire. Of course I’m tempted to touch.”

“I’m not complaining, my heart” Gladio replied and closed the eyes as Ignis leaned down to kiss him again.  

After some kisses, Ignis soon properly climbed on top of him to be more comfortable, and straddled Gladio’s waist, without breaking apart. His legs tangled a bit in the sheets that half-covered them, but he paid no attention. His lips focused on Gladio’s, catching them, soaking them and tasting like it was the first time he ever kissed and wanted to study the sensation. Gladio’s hands found their place on his boyfriend’s thighs, slowly caressing them up and down in slow motions.

The kisses started getting heavier and slower, and their mouths started opening more with each kiss that was given. When Ignis pressed closer to him and sneaked the tongue into the Shield’s mouth, Gladio’s hands slowly moved up until finding the other’s hips and stayed there. Their tongues rolled against each other, lips roughly collided, and teeth started joining in the dance.  

Minutes went by and the morning started with the couple greeting each other good morning that way, rather unexpectedly, but unable to stop or refrain. They had no reasons to do such a thing, and let the flow go on.

After long moments of kissing and whispers, some caresses, teasing, and a few bites, after permission was asked and given, and after some lazy preparation, Gladio had finally slipped a pair of fingers inside his boyfriend. Ignis sighed tremblingly at each movement inside and softly bucked the hips. The Shield praised him and looked at him while the adviser focused on his own pleasure, still hovered over Gladiolus, legs spread at the sides of his boyfriend’s hips and body thrusting back slowly and onto the other’s fingers.

Lying as he was with Ignis on hands and knees on top of him, Gladio was in a disadvantaged position where he could not push his fingers as deep as he wanted, but Ignis was loving as little as he was getting, and the Shield adored looking at him. He adored that it worked as teasing as well, when Ignis’ expression transformed from content to hungry. It was then that Gladio knew it was suddenly not enough for Ignis, but he did nothing to fix that for a moment.  

Instead, he asked Ignis to tell him what was wrong, why the sudden change of mood and why he did not seem as content. The adviser denied anything, but the Shield knew his ways through his mind and his body, and moments later the had Ignis asking him for what he wanted, where, how and how much he wanted it.

Gladio listened to him, teased a little longer, and adored of his boyfriend’s shaky breaths and occasional moans as he continued thrusting back on Gladio’s fingers, looking for that ‘More’ that he needed and could not find, and loving the sound of dissatisfaction that Ignis made when he pulled the fingers out, but adoring so dearly more the high pitched but very soft moan that slipped past Ignis’ lips when the head of Gladio’s cock entered him.  

At first, the Shield had intended to have Ignis do all the job for him, but Ignis requested he took the top. Once Ignis, sat on him and controlling the pace, had adjusted and gotten used to him, Gladio brought him down only so that he could roll them around, without exiting his boyfriend, so that it was Ignis resting on the bed with the Shield on top of him. 

Ignis rounded him with legs and arms, and moved the head to a side to expose the neck for Gladio to eat from as he wished. He hugged the Shield by the shoulders and rested the palms flat on his back. Ignis opened the mouth and he closed the eyes, shivering and muttering a small curse when his boyfriend kissed right on the exact spot of his neck that drove him crazy, and felt Gladio starting to slowly but steadily move the hips.  

He opened the eyes again and let his own hands wander on Gladio’s strong, so architectonically beautiful back. For a moment, he let a few fingertips find some of the lines of the tattoo, without needing to look, and traced them slowly and softly, moving down along them as best as he could remember, while Gladio continued rolling the hips against his, until he reached his boyfriend’s lower back. Ignis laid the palms flat there and teased with the fingertips, which earned a breathless curse from the Shield into his ear. Ignis smiled and breathed in synchronicity with him, heavier with each thrust.

Apparently motivated from the previous gesture, Gladio’s hips gained speed and the Shield focused, shaking any hint of early morning laziness away to start moving as only he knew how to do it; steady and good, trading speed for strength.  

Some moments into it, Ignis started moaning every now and then. He let Gladio move as he pleased, let the man talk against his lips before licking them, answered to his dirty questions with dirty answers or with little moans when he could not formulate words, and let him kiss and lick as he pleased where he could reach, hips doing the opposite to stopping and only gaining more speed and energy with every thrust.

At some point Gladio buried the face in the crook of Ignis’ neck again, and the adviser hugged him again, hands flat on the Shield’s back, caressing it, adoring it, tracing his mental map and adoring of the skin against his hands.

It was rare to be given the opportunity to touch an Amicitia, but this sort of touching was even rarer. And Ignis and only him had been given that honor.

Usually, Ignis did not like possessive pronouns, but sometimes he could not help the pride to know himself, him among millions and millions of people, not having become an owner but something even better; chosen as partner, by an Amicitia. Him, among everybody else.

Adoring the weight of his Amicitia on top of him and adoring him regardless of any name or title, adoring him with all his heart and the strings of his soul, Ignis hugged him and called out his name, digging his short fingernails on the traces of the tattoo, and adored this Gladiolus, the one of the early hours of the morning, before the sun had finished rising, before the birds had started singing, before he had showered, eaten, dressed or done anything at all, because this was the most natural that he could get to be; a Gladiolus in his natural and most vulnerable state.  

Ignis smiled while hugged to his boyfriend and closed the eyes.

“My Amicitia” he whispered to his boyfriend’s ear while Gladio thrusted back and forth inside him, and loved the little shaky breath of response. “I love you…”

His words were followed a few seconds later by a little moan when Gladiolus pushed deeper inside, a small breathed moan slipping past the Shield’s lips as well, hips moving at an even and normal pace, not rushing. It was early in the morning; why rush? They had time. 

Gladiolus moved slightly up, grounding a forearm and a hand at the sides of Ignis’ head, staring down at him with lust and affection in the same brown gaze. Ignis looked up at the imposing, dominant figure, and only closed the eyes when his boyfriend moved down to lock their mouths together. 

As the Amicitia on top of him gained strength in each thrust, Ignis hugged him tighter with the legs and dug the nails a little more in the traces of his tattoo, that he did not require to look at to see, and quietly moaned into his mouth. 

Finally, the birds started singing, but Ignis did not hear them.