#don’t mind how there’s kind of no way olivier would logically show up

[dolly-is-cool]

so everybody keeps talking about how polly might show up, oh i hope polly shows up, polly could show up whAT ABOHT OLIVIER!!!!! I WANT OLIVIER BACK!!!!! PLEASE WHERE IS MY WEATHER WITCH!!!! MX WILLIAM I WANT THEM BACK!!!!!!!!

[jkflesh]

Interview with jesu January 2021 New Noise magazine #56

Read the interview by Antoine "Neredude" Duprez below:

The “Terminus” Bandcamp page states that the album was done between 2016 and 2020. That's a long period in your standards! Did you get some sort of writer's block with Jesu? Or was it because you were so busy with your numerous projects?

— I never get writers block, I just simply move on to the next thing if I’m not currently inspired to work on a specific project. Most my records, for many years, have been written and recorded over extended periods of time; I work when inspiration strikes, when it doesn’t I move onto the next thing; there’s never a block for me with creation generally, maybe just specific areas. i take large breaks for my music so as to afford some sort of distance, gone are the times when an album would be hammered out in a month!

''When I Was Small'' has kind of a Radiohead thing in the vocals, whereas ''Alone'' reminds me a lot of Sigur Rós. Are those bands part of your background?

— Ok, interesting observation, but no Radiohead is not an influence on this song, the biggest influences on the vocals were Liam Gallagher from Oasis, and subconsciously "White Flag" by Godflesh (which I only discovered after the album was complete). I do love some Radiohead though, as I do Sigur Rós, but neither band is a direct or conscious influence. Musically “When I was Small” was mostly influenced by trying to recreate a vibe of early Neil Young mixed with Oasis, in a jesu fashion, coupled with a demo production; intentionally underproduced. I’m not sure where a lot of the influence on “Alone” came from, electronic pop music for sure, short and sweet was the intention, driven entirely by the voice sample.

Regarding “Terminus,” did you set yourself a framework or musical approach beforehand like you did for “Every Day I Get Closer to the Light From Which I Came?“

— Not really no, generally when I work on a bunch of songs things will fall into place naturally, the songs become a whole and then collectively the songs will become conceptual as i write, they build their own logic, so to speak, I don’t force anything, I let things happen organically as I write and record.

I think around 2013, you said “Every Day I Get Closer to the Light From Which I Came” was going to set a precedent for the next album. Now that it's out, do you still think so? Personally, even though both records are different, I can definitely hear a connection.

— Yeah, shame it took 7 years to come to fruition! And many things changed over those 7 years, as ever. Jesu certainly documents my personal journey in life, it’s ultra personal, Godflesh is much more external comparatively. A lot to the solo jesu work took a backseat when I worked on the collaborations with Sun Kil Moon, but that was very refreshing and inspired me to take jesu further, I had notions of discontinuing the project at some point, but the collabs with Sun Kil Moon inspired me to keep pursuing jesu.

"Every Day I Get Closer to the Light From Which I Came” was inspired in great part by you becoming a father. Can you tell us a bit about what was on your mind when you wrote “Terminus?”

— That’s very true, especially the initial journey of bringing life into the/our world. everything is there in the lyrics and artwork for "Terminus" so of course, like a lot of my work, depends on the listeners perspectives, they can make it their own, make it personal. But it’s essentially about endings, and my obsession with finality, my sensitivity to it and my fear of it. There’s a line in the title song that says “my end, our end, the end, the end”, which pretty much sums it up.

The EP “Never” you released before “Terminus” is quite different and more focused on electronics. I remember you telling me that you liked going experimental on EPs, doing stuff you wouldn't do on a full length. So I figure that's still the case?

— Yeah, I like experimenting with everything, I like satisfying myself with different ideas, obviously that doesn’t suit my listeners too much, but I make this music for myself, and I’m always trying to do better. I still don’t know why I put myself through the trial and hell of releasing music, I often think about just recording for myself and not bothering with an audience, but I’m not really capable of earning money in other ways, so I have to finish music and release it, let it go. For me "Never" was just another way of interpreting the jesu mood, nothing deviates too much from the original intention of the project. It’s weird, critically, it was perceived as this big electronic departure, whereas jesu has sounded pretty much like this most of it’s lifetime! “Pale Sketches", "Lifeline" even "Silver” is all mostly electronic, save a real drum loop in the song "Silver", but this EP seemed to get this thing that its all electronic, whereas it;’s no more electronically oriented than any other jesu record I have made. jesu is a mood that can be explored and experimented with, I’m not making the first album over and over, some can’t get over that, but that was a different moment in my life which I captured, and as an artist who challenges oneself besides the audience you can never win, and one will generally never win hah. This is a new jesu, it comes with age, transitions. "Never" was intentionally idiosyncratic and deliberately fvcked up sounding, and I think by and large critically the subtleties were lost on people.

“Never” features two version of ''Never There for You'', one of them described as the ''original vision''. Can you explained how you ended up releasing two version of this song?

— The “original vision” existed like that since around 2010, I shelved it, it was to be a Pale Sketcher song, I had an album’s worth of similar songs, I still do, couldn’t decide if they should be jesu or Pale Sketcher. I sent them to Aphex Twin / Richard James because he was a huge fan of the Pale Sketcher EP “Seventh Heaven”, we were talking about a release on his label Rephlex, I had all these songs that were floating between jesu and Pale Sketcher. But then he folded Rephlex for good, a real shame, so I was left with all these songs in limbo, I still am, but at that period I shelved them all. I returned to them around 2018 and started adding guitars and vocals, thinking that they will now definitely be jesu songs. “Never There for You” was one of them, so I wanted the listener to hear what it was originally before I added more of organic me. I’m working on finalising all those songs for Rephlex into future jesu, probably an album that I hope to release late 2021, it’s not a "Terminus" though, and probably most ppl will hate it hah.

“Terminus” is the first album to feature Ted Parsons in a long while. Did you invite him because you felt these songs needed his touch?

— I wanted some live drums, 3 songs only. I was going to play them myself, like on "Opiate Sun". "Infinity" etc, but I really wanted Ted involved and see how he interpreted my drum parts, he always swings something and makes it interesting. he’s a very real drummer, and a very real human being.

When touring is possible again, would you like to tour with Jesu, with Ted on drums?

— I may tour solo, with electronics and projections. The band thing is tiresome and always just sounds like a band, bands bore me these days because of the constraints of the instruments, rock records also bore me these days; same productions, etc, very little actual aesthetic, but its popular and what do I know. But I’d rather jesu now sound hugely expansive live, not just like a rock band. But i’m still unsure. Live drums swallow my voice live, I can’t sing above them, and jesu is a tiny project, can’t play big venues with stage separation and screens around the drums, and 8 guys diving around onstage, it’s not affordable. I stopped performing as jesu for some time due to all those reasons.

You said “Silver” is probably your favourite Jesu record. Are there other Jesu albums that stand out in your mind?

— Did I say that?! Haha. I don’t recall, and that opinion changes every day I feel. I like how concise and all encompassing "Silver" is; it covers most of the ground that I feel the project should cover. But "Terminus" is my favourite jesu album, and it should be, otherwise I would not feel I was moving forward, and I feel I am, it is the best jesu album I have made.

Last year, you told Olivier ''Zoltar'' Badin that the next Zonal album would probably go in the direction of it's title track ''Wrecked''. Is it still true to this day and what can you tell us about that upcoming album?

— Well, a lot of time has passed since, but I think Kevin and I are still quite struck on that song as a template for future recordings, although everything changes all the time, of course, and time is passing fast once again, we haven’t discussed Zonal in some time.

I know you don't actually consider yourself as a guitarist. With you focusing on your electronic projects like JK Flesh and Zonal lately, do you ever get tired of guitar? I'm asking this because I recently discussed the subject with Steven Wilson. He basically told me that after 30 years writing and doing gigs with guitar, he's feeling more creative and excited when writing music on other instruments and I wondered if you ever felt something similar.

— All instruments are just a means to an end for me; a tool for the bigger job, I don’t really wish to be overly proficient at any instrument, I liked that about punk, and it’s what I’m not that fond of about overly progressive music, it’s like it’s for show, I don’t do anything for show, I’d rather be shit than great, it’s more interesting, it reflects the human condition, imperfection. I don’t wish for things to sound perfect, whatever that is, people should not come to my music for that, they probably don’t and it’s probably why my audience is so small haha.

I recently discovered that you worked with Josh Eustis with the mastering of the JK Flesh / Orphx live album and was a bit surprised. How did that happen?

— Josh is a very good friend of Dominick Fernow’s (Prurient / Vatican Shadow / Hospital Productions, etc), and Dominick is a very close friend of mine. I was aware that Josh does very good mastering besides being an extremely talented artist, so Dominick suggested josh master that collaboration, and it sounds excellent!

I interviewed Lee Dorrian some time ago and we were talking about the impact Napalm Death had, not just the band itself but all the bands who were formed after playing in that band: Godflesh, Carcass, Cathedral, Scorn... Lee thought this legacy had a lot to do with John Peel broadcasting a wide array of music on young aspiring musicians. How would you explain such creativity and versatility from musicians who all played in Napalm Death at one point?

—  Lee is absolutely correct, a lot of very young kids listened to John Peel, most generations did, his taste exposed music to many of us who were already enquiring at a young age that we would not have heard anywhere else and of course back then this centralised things, not fragmented them like the internet does; a kid now can absorb an artist entire catalog in an hour, speed listen to it all, then have an opinion, but it’s informed, no context, no history, no experience. We heard music then on Peel and then hunted it down. It took work, valuable work that paid dividends. Peel’s broad appreciation of eternally subversive music and otherwise told us that music didnt need to exist in such strict compartments, that’s it’s all part of a greater whole, so when groups of musicians collaborated even at such young ages, our tastes were informed and wide, very rarely singular.

Can you tell us a bit about you latest remixing output? What were the tracks that you enjoyed the most remixing? Those are the names I could find: Full of Hell, Oathbreaker and a lot of projects I've never heard of.

— I always and love to remix, I love the fact that I didn’t create this music but can make something new from someone else’s work. Music is endless, for me, it’s just when you wish to end it, but ultimately it can never end. I have some remixes that I love moire than others, but only over time, I never let a remix go unless I am as happy as can be with it. Sometimes I would’ve loved to have done more, my Killing Joke remix is a good example of that, I wanted to go further, but Youth of Killing Joke told me they were happy with where I was at, I think I could’ve made it much better. The Oathbreaker remix you mentioned is a favourite of mine from the last years worth of my remixes. I’ll remix anyone, if they can afford my fee and I have the time!

I'm curious, since you released some of your music with your own label with Godflesh, Jesu and other projects, did it have an impact on the revenue you got from streaming platforms like Spotify, compared to albums released on Earache or Hydra Head? I'm asking this in the light of the neverending controversy regarding streaming revenue for musicians.

— On my own label more money can be earned from these services due to no split with another label, which usually would be 50/50, but streaming is very small as is common knowledge. I never see any royalties from Earache so can’t compare their rates etc since Godflesh is constantly recouping an advance from Columbia / Sony for the "Selfless" album that Earache, contractually, can recoup from, even though they didn’t give the advance, so they’re making money from the band and from an advance they never paid, which these days you would think that besides being unethical that it would be criminal, but such were the contracts in the 80’s / 90’s. So I’ve never seen a single penny from streaming with Earache!

I know it might be pointless to ask you, since someone's mind can change with time but do you still think “Post Self” may be your last album with Godflesh? Your told us last year that you weren't sure if you had enough in you creatively to do another album and also that the constant screaming was a bit harder to do.

— Hah, the shouting/screaming live now takes its toll, it does with age, I’m unsure due to not performing for so long thanks to the pandemic how my voice would be for Godflesh now in a live setting, I’d have very little problem in the studio. I’m still struck on the fact that there may not be another full length studio album from Godflesh, I haven’t been inspired to initiate one for numerous reasons, and I don’t wish for us to repeat ourselves in any way, I do have a lot of interesting old material though, some good rare stuff, demos, “Us and Them in Dub” which is also in the works, but I work on that sporadically, when I feel inspired to do so. So there’s a lot of good stuff coming.

Last time I interviewed you in 2014, Aphex Twin was making his grand return with “Syro”. I remember you telling me that the album was still shrinkwrapped on your desk. Knowing you're a big Aphex fan, I wanted to know if you liked that album, especially knowing that a lot of fans were disappointed by it.

— Ahh it was such a long time ago now that we spoke last! I love "Syro”, but I love Aphex, and since I first heard "Didgeridoo" when it was released and then "Quoth", he will always be a favourite, "Syro" may not be an Aphex favourite for me, but it’s still amazing, he is amazing; creative, subversive and doesn’t give a fvck ultimately, he’d also never release anything if he didnt really have to, he does this for himself, for me the best art is entirely selfish and should consider no one. People are always disappointed, a lot of people just can’t live with the fact that an artist strays from their own personal conception of what an artist should be, it’s some sort of misguided entitlement, I lost that when II was around 14, a lot of people don’t lose it and now these people have the internet. No artist owes me anything, if they gave me one thing in my life then i will always respect their art, regardless of whether it works for me or not, and if I don’t like it much, I won’t be peddling that opinion on the internet in an entitled egotistical manner, I’m glad I did not know that a lot of people were disappointed, haha.

Thank you very much! Best JKB, Jan 2021

[bemused-writer]

VNC Chapter 44 Analysis

Well, I think the main takeaway most people had with this chapter is that Vanitas is a lot less collected than we all thought. And I completely agree. XD Clearly, I've given this fellow too much credit in my fanfic.

Anyhow, it almost goes without saying that we learned a lot about Vanitas in this chapter, but we also learned a surprisingly large amount about Roland, so let's dig in.

The first thing that struck me as noteworthy was Noé's complete and utter overreaction. We already knew that he never really had to do things for himself with Louis and Dominique constantly taking care of him when he was young. For example, Mochizuki pointed out that they always helped him clean his room, and he is now terrible at being tidy. In other words, Noé was a touch spoiled. This is relevant because it explains why he has never had to take care of an ill person once in his life, so if Vanitas says he can't continue on then, by Noé's logic, he really must be dying.

Thus, it's completely fair when Manet and Nox wonder if these two are children; they're both certainly acting like it. XD

Still, Noé is coming from a place of genuine concern; he's never seen Vanitas act like this just like we haven't.

Before I move on, one thing I'd like to point out is the difference between Noé and Luca's reaction to the people they care about acting oddly. Luca immediately goes to someone he knows Jeanne trusts--a friend in other words. Meanwhile, Noé goes to the nearest authority figure he can find: Count Orlok. I think this is telling on both their parts.

Luca is someone who was raised to be the authority figure. While he doesn't like it even remotely, he knows he has to solve things for himself. He probably also knows the value of going to someone you know you can trust; he's surrounded by the aristocracy and he knows you can't trust just anyone with delicate information.

Noé has blind faith in authority figures on the other hand. He obeys Teacher without question, accepts Ruthven's presence in his hotel room as something he has a right to do in chapter 19, and he always listens to Dominique no matter what. Both she and Teacher are the ones that choose what his clothes look like according to the extra in the back of volume 3.

I suppose what I'm getting at is that Noé is very comfortable, accustomed even, to other people making decisions for him. He's not the one who has chosen most anything in his life, and I think this attitude started when he was very young. Certainly being sold as a slave and accepting that whoever bought him would be his "master" was a mindset he probably had to develop to survive and he may not have fully grown out of it. I'm sure it was only compounded by being surrounded by people who doted on him and protected him and made sure he never even had to make a decision for himself. His attitude is born of a very strange mix of neglect and indulgence.

In other words, Noé has a lot of potential problems he needs to sort out, and I'm sure his independence is going to be one of them.

Getting back on track, all of this is to say it's not surprising Noé goes to Count Orlok when he can't find Amelia. In theory, he could have tracked Dante down, someone Vanitas sort-of trusts, but he doesn't. It could because it would have been too hard to find him, but personally I don't think it even crossed his mind. He doesn't know what to do; someone else is supposed to handle these matters.

As for Vanitas, he is a complete wreck in this chapter. XD I think Vanitas is the kind of character that likes to act like he's calm, collected, and definitely knows what he's doing. It's even easy for us, the readers, to think the same because he has the book, he has the powers, he knows all about vampires when even the vampire protagonist doesn't, so it would make sense.

But all of that ignores the fact that Vanitas has also shown some definite signs of being slightly unhinged in awkward social situations from the very start. How does he befriend Noé? He stalks him all across Paris. How does he react when Noé gets closer to understanding him? He draws a dagger at him and tells him to go away. Alternatively, he calls him a slur and tries to make him leave. How does he handle Dominique accusing him of loving VotBM? He goes on a full-blown rant in the middle of a vampiric ball and generally makes a fool of himself.

So, the fact that he's a complete mess when he realizes he has genuine affection for someone is actually a lot less surprising in this context. Vanitas is trying to be someone he isn't. In other words, all that pompous know-how is a complete facade. 8D

So, in line with him making a fool of himself at the ball, he proceeds to make a fool of himself in front of Orlok, Nox, and Manet and, frankly, Noé.

Manet understandably wasn't expecting this information, but what's more interesting is that it confirms the fact that Vanitas really hadn't told Noé a thing after Gévaudan. The fact that he has now snapped and is telling everyone in the whole room shows just how affected he was. But what's also interesting is that he only starts to talk about this when there are other people. He couldn't just tell Noé himself. Perhaps because he thinks Noé won't have any advice?

And this is the definition of oversharing. XD Even Noé looks like he's wondering what on earth Vanitas is saying.

Honestly, this is more the kind of awkward, wildly inappropriate confession I might expect from Noé except that Noé would have the sense to only say something like this to someone he trusts, like when he told Dominique he thought Vanitas's blood smelled good. Still not the most tactful thing, but a whole lot better than describing, in some detail, the torrid affair you're having to a room full of people you barely know. 8D

As a side note, this pretty much confirms what I was saying in my last meta: Vanitas didn't enjoy Jeanne drinking his blood previously, at least not all that much. This time he did, and that definitely shows a shift in their relationship. As for how all of that works, it could be because Jeanne is fonder of him as well. Perhaps a vampire's toxin is in tune with that kind of thing? Unfortunately, we just don't know enough at this point to say.

Regardless, it means that when Vanitas went on that long rant to Jeanne in chapter 12 about how great it felt when she drank his blood and how they were definitely compatible, was yet more lying. It's kind of, possibly, true now though, hence his freakout.

Anyway, Orlok and co. decided Vanitas's "emergency" really wasn't that much of an emergency and they were understandably kicked out. I like that they were apparently very careful with Murr and included some treats for him as well. They really do love that cat. Knowing what we kind of know about Murr now I have to wonder: is this some kind of elaborate manipulation...?

But Noé, apparently still taking Vanitas's malady very seriously despite all that weird stuff about Jeanne, is not content with being kicked out.

I suppose the point here is that, despite knowing what Vanitas said was improper, he still isn't quite catching the gravity of things, and he's still convinced Vanitas is dying rather than having an existential breakdown over love.

Meanwhile, Vanitas is walking around in a haze in Paris, thinking about Jeanne, her smile, and the promise he made her. We get a look at his face, and I think it actually gives some pretty solid insight into what he's thinking:

He clenches his fist, his face is flushed, and he looks worried, distressed. The problem here isn't just that he cares about someone and doesn't know how to deal with it. No, it's actually much worse than that: he cares about someone and he promised he'd kill her if she ever lost herself and Vanitas, cursed with a certain understanding of just how bad things can get, knows he might actually have to keep this promise, a promise he may now regret making.

So, he's flustered because he cares, frightened because he cares, but also terrified because he knows things can only go badly from here. And, more than anything else, he knows he might actually be in love.

It only makes sense he'd think of Noé's original question here. It's not just that Noé is the one who's been trying to figure all this out (not Vanitas), but Vanitas knows Noé is the reason he's gotten into this much "trouble" in the first place. Opening up, caring about people, making promises he might not be able to keep... He is definitely blaming Noé for all of that. I wouldn't be surprised if he finds a way of blaming Noé for his romantic entanglement as well, which may be the actual reason he's avoided talking to Noé: he blames him, but he's also supremely embarrassed.

And in the midst of all this confusion and pain who is added to the picture? None other than our one and only Roland!

I think that might be my favorite image of the whole chapter. XD

Earlier in this meta I mentioned that we almost learn more about Roland in this chapter than anyone else, and it's thanks to Vanitas's exchange with him that we do!

The first thing we learn about Roland is something we've already had inklings of in earlier chapters: he's far more tactful and calculative than he would have people believe. He refers to Vanitas as "Vincent" and says Olivier is his coworker. Immediately, he has established that, for one, he's very good with details. He remembers exactly how Vanitas introduced himself and Noé when they first met. Furthermore, he knows Vanitas likely doesn't want to get further entangled in chasseur affairs, so he lets him know that he isn't with a random friend: this is someone potentially dangerous to Vanitas.

Not that it does much good because Vanitas isn't exactly thinking clearly.

This one, singular statement from Olivier is surprisingly revealing! I'd had a headcanon that Roland has had past relationships and it turns out that is absolutely true. Apparently, Olivier not only knows about them, he doesn't care, provided Roland isn't out and about doing anything else. He doesn't say what, specifically, because Vanitas is there, but we already know he's worried about what Roland is doing with the chasseurs and whether he's going to betray the Church. Not so much because he thinks Roland is wrong, exactly, but because he doesn't want any trouble for himself.

These two have an odd relationship. XD Olivier clearly understands the way Roland is, accepts it even, but he draws the line at Roland dragging everyone else into his schemes, hence why he offered to buy Vanitas the coffee in the first place.

Anyway, Vanitas ignores all that because Olivier brought up the only subject he cares about and wants advice on: women.

This is my other favorite image from this chapter. His face is the perfect encapsulation of "What are you doing? I was just trying to get you out of trouble and now you're sitting down? You're going to stay?!" The fixed grin, the panic. This is a thing of beauty.

Naturally, things only get more awkward because that's just the trajectory Vanitas has set for himself in this chapter.

I also just want to point out that the smoking, the string of relationships, the casual dining, the flying, the actual job, all point to Roland being a fair amount older than Noé and Vanitas. Probably mid-20s about? I'm sure that he and Olivier are the same age, regardless, though potentially from different class backgrounds. Olivier is decked out in aristocratic garb and Roland is dressed for flying. That doesn't necessarily mean he's poorer, but the impression I get from him is that he's probably middle class at most. I think there was an extra that mentioned he supports his siblings? I'm not sure now.

Anyway, after those 15 minutes of awkward rambling, Vanitas finally gets around to the question he's been meaning to ask. Apparently, Roland knows all about it.

There's kind of a lot to cover in those three images. Roland has not only had past relationships, he's had several. Judging by Olivier's remark, they've all been remarkably short. One has to wonder if we're talking one-night-stand kind of short or it-lasted-for-a-week-before-my-preaching-became-too-much kind of short. Maybe Mochizuki will enlighten us someday. XD

But the most interesting thing is how hesitant Roland is to discuss Olivier's relationships and how Olivier doesn't even deign Vanitas's question with an answer. Yes, he's popular, but no, he's not going to talk about who he's with and neither is Roland. When Roland says "I'm one thing, but Olivier...?" it could mean a few things: he thinks it makes sense for himself to be "promiscuous" but the thought of Olivier being the same is impossible. Personally, I find this the most likely for now. Alternatively, it's one thing to casually discuss his own affairs, but gossiping about a friend goes against his code of honor and Vanitas is kind of asking a personal question. There is also a third possibility that Roland can't imagine Olivier with a woman. Olivier's popular, but he's not interested. Naturally, Roland wouldn't announce that to the world and it isn't particularly relevant to Vanitas's question anyway.

Whatever the reason, it subtly demonstrates how well the two know each other.

Vanitas finally gets to the heart of things, and it fits in with what I thought happened:

This really was the first time Vanitas saw Jeanne for who she was, as an actual person, and not just someone he can mess with. Before that particular moment, he truly knew nothing of Jeanne. Now, he's finally had a glimpse of her actual personality and it's incredibly genuine, forthright, and strong. Of course, now that he sees that, how can he not find her at least a little appealing? And how can he not now be forced to reckon with his past behavior? He was horrid, there's no getting around it. Regret isn't something Vanitas handles well along with, apparently, emotions in general. Hence his next dilemma:

And at long last, Noé is finally seeing what the problem actually is. He didn't piece it together at Orlok's, but he's now hearing it from Vanitas directly. It's no wonder Noé surreptitiously sits away so he can listen. This whole time he's been wanting Vanitas to explain things to him, not just about the cold, but about love as well.

Roland is trying to be helpful here but, let's be honest, Vanitas is dropping a lot on him out of the blue, so I think it's understandable that he's a little confused right now.

And we finally get to the heart of the whole thing: Vanitas thinks he's a disgusting person. Someone like Jeanne definitely shouldn't love him because the only kind of person who could love him is someone who is as awful as he is and he's now been confronted with the fact that maybe Jeanne isn't. There relationship has a ton of issues, don't get me wrong, but Vanitas isn't seeing that; he's seeing that Jeanne has been kind to him, seems to care about him, and that definitely isn't the kind of person who would love him. Not genuinely.

The whole thing gets even more confusing if we take into account that his decidedly romantic moment with Jeanne reminded him of VotBM. They weren't having a romantic moment, but the discussion of affection, of hugs, were directly intertwined. Until we know more about VotBM I can't say if she was motherly or if things were decidedly more questionable there, but Vanitas must have gotten his twisted ideas about relationships from someone. Did VotBM have a bad relationship with someone? Did his past trauma simply color everything else in his life?

Olivier and Roland are understandably concerned, but it's Noé here that really stands out. He's pieced something together about Vanitas and now understands him a little bit better. After each arc, he and Vanitas have had a small conversation that brings them closer, but so far they haven't had that in this particular arc. My guess is it will be in the next chapter or the one after (since this one was labeled "part 1") and the arc will be wrapped up for good. There is, genuinely, a lot of stuff they need to cover about Gévaudan, Vanitas's relationship with Jeanne, and what they're doing next. There's also the small matter of Noé's injuries....

So, these two are going to have a lot to cover and Roland knows that right now, what Vanitas needs, is someone to talk to that he properly trusts. I almost wonder if he timed his dramatic God speech just so Noé could chase after him to begin with.

This really reads as "Go to him, Gilbert" and that amuses me.

Roland knew Noé was there the whole time (he's observant as we've mentioned) and he knows he and Vanitas have a powerful bond. He himself was inspired so much by it he changed his views on vampires completely. So, logically, he knows Noé needs to talk to Vanitas.

But Roland's motivations are still a bit harder to describe.

This much makes sense. The fact that he's had a string of lovers and doesn't seem particularly dejected by his constant breakups makes it obvious he wasn't particularly attached to any of them. He speaks about love as if he knows what it is, but he's never been that invested in a person to our knowledge. The only person we've seen him spend any length of time with is Olivier and they have a complicated relationship at best. Are we to assume he at least has an attachment to him? He threatened him before, but he also seems fond of him, and Olivier at least seems comfortable around Roland in turn.

And yet, Roland speaks of attachment as if it's a foreign thing to him. We know he has family, we know he has Olivier, he even has God, but like Olivier said: he believes in himself as a follower of God more than God Himself. Perhaps it's best said that the only thing we really know about Roland is that he's confident in himself, his own morals and beliefs.

And I think that's how Vanitas fits into Roland's worldview to a certain extent. Vanitas is a project of sorts: Roland wants to save him, very much in the religious and physical sense, and he knows Vanitas is in danger every day at least physically. Perhaps he worries for his soul as well, not necessarily that he's going to Hell, but that he has lost himself and could "shatter" at any moment.

Oddly, Noé isn't brought up in this conversation whatsoever even though the person Roland showers with blatant affection is Noé, not Vanitas. This could very likely be because he knows Vanitas isn't receptive to that kind of thing; it's a tactic that works great with Noé, but definitely not with his companion and Roland is above all a calculative person.

And that's all I've got for now! I do like that Roland and Olivier dropped their serious conversation about an actual Vampire Eradication Unit to deal with Vanitas's love life. That's pretty supportive. XD Also, there's a Vampire Eradication Unit that Gano is a part of and if that isn't one of the main plot points of the next arc it will be soon enough.

Anyway, I look forward to seeing how Jeanne handled things. It looks like she's done at least moderately better than Vanitas, but most people would. XD

[kristicles]

(I was tagged by @mirsan​ who I can’t believe is peer pressuring me *again* and @little-known-artist! )

RULES: Choose any three fandoms (in random order) and answer the questions. Then tag some friends.

I choose:

Inuyasha, Fullmetal Alchemist,and Game of Thrones

The first character you loved:

Inuyasha: Absolutely, 100%, always Sango. My first episode was Trap of the Cursed Wall Hanging and fell in love immediately.

FMA: Riza Hawkeye. Mostly bc Angie told me I would and I trust her judgment on who my favs will be. 

GoT: Hmmmmm, I think Jon Snow wins this, but Daenerys and Arya are honorable mentions.

The character you never expected to love so much:

Inuyasha: I’m kind of copying on this one, but Miroku. I liked him and he was my second favorite only because he kind of piggy backed his way to that spot with Sango. But I did a rewatch a couple of years ago and realized how much I loved him and fandom discussions (and squad convos) just made me love him more. 

FMA: Riza Hawkeye tbh. Like, I knew I’d like her, but I didn’t realize how much. She stole some of Sango’s thunder, which is saying something. 

GoT: Cersei! I think i just really love to hate her, but damn if I wasn’t cheering for her at the end of Season 6. 

The character you relate to the most:

Inuyasha: Miroku? Not his flirty aspect, but I do relate to how he is usually pretty quiet about how he’s feeling and is usually pretty logical about his emotions. I do get jealous though so there is some Sango in there ;)

FMA: I feel like I only say Riza Hawkeye on the FMA ones. But she loves dogs, I love dogs, she works hard, I work hard (sometimes). She works with a lot of paperwork, HEY ME TOO. I can’t shoot a gun though.

GoT: I wish I could say Daenerys but I’m not that bad ass. I feel like I relate to Sansa (who I think is actually pretty bad ass in her own way). She wants a good, secure/comfortable life, status quo, life. She’s kind of quiet and sometimes let people push her around, but she grows and observes and learns to navigate her surroundings. :)

The character you’d slap:

Inuyasha: Inuyasha for being the cookie cutter Shounen hero who’s loud and rude, even though he’s good underneath it all. Kouga, because he’s just...annoying and lest we not forget a baby murderer. (see @scribefigaro​‘s amazing Kouga take down.

FMA: Ed - see Inuyasha, Rose, bc she joins a cult. I don’t even care if it was because her boyfriend died.

GoT: ROBB FUCKING  STARK FOR BEING SELFISH AND GETTING EVERYONE KILLED. 

A character you liked at first but not so much anymore:

Inuyasha: Believe it or not y’all, I used to not mind Shippou. I didn’t like, him, but I used to not find him so obnoxious.

FMA: I feel like this is blasphemy in the FMA fandom, but Olivier. Hear me out that this is hard bc FMA has really good characters. I would say I just like her now and I don’t love her. I remember watching at first and falling in love because I love strong female characters, but I lost interest in her very fast, because while I do love my strong female characters I do like seeing a soft side too and I just feel like I never got that with Olivier.

GoT:  Petyr Baelish for sure. I actually liked him and I liked the unrequited love bit with Catelyn and how slimy and calculating he was, but the sliminess just got worse and no one fucks with Sansa and has my favor in the end.

A character you did not like at first, but they’ve grown on you (by a lot):

Inuyasha: I give credit to the fandom 100% with this one. Kagome. I really couldn’t stand her when I first started watching the series, but the fandom has made so many good analysis’ and are so great at writing her in fics that my mind changed. I still give her a hard time here and there ;)

FMA: Mei Chang, but only at the very beginning, she grew on me sooo fast. 

GoT: JAMIE LANNISTER! He pushed a child out of a tower in the first episoded for fucks sake after being caught sleeping with his sister. Then in walks Brienne of Tarth and she just changed his entire character for me.

3 OTPs:

Inuyasha: MirSan, KagSan, and InuKag in that exact order

FMA: Royai, Lingfan, and Edwin I guess.

GoT: Jon/Ygritte, Grey Worm/Missandei, and Arya/Gendry (Who’s ass needs to show back up very soon)

This was really hard and I’m bad at words, but I tag everyone and anyone!!!