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raven-at-the-writing-desk · 21 hours ago

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sebek and his big ol' heart

Y’all thought I would be writing an extensive analysis on [REDACTED] or Skully but JOKE’S ON YOU, I love my lame idiot child Sebek 😭

When I tell you I actually CRIED MULTIPLE TIMES reading his Nightmare Suit vignettes… because all the pieces fit together SO well…

Before reading this (long) post, I’d like to ask that you also take your time to read this analysis and this analysis. They will help you understand some of the points I made later regarding Sebek and his internalized racism + how he expresses himself.

Have your recommended reading done? Great, then let’s hop to it!

***Spoilers for Sebek's Nightmare Suit vignettes, book 7, and various other Sebek and Silver card vignettes.***

Sebek is one of those characters that lives in infamy for how much time he takes to get warmed up to. He presents himself as loud and brazen, with these traits often earning him the ire of both in-universe peers and irl fans alike. Worst case scenario, Sebek can be seen as someone who is outright hateful. He’s rude to most people (including Silver, his childhood friend, sometimes), denounces humans, acts like Malleus can do nothing wrong, and doesn’t seem to respect his own father.

Well, I’m here today to tell you those claims are false and that Sebek is actually capable of so, so much love. All you need to really do is look at his Nightmare Suit vignettes—and how well they connect with the rest of his lore—to understand what I mean.

The vignettes start with Jack Skellington finishing a bento that Sally made for him. Sebek tells Jack that he should now return the basket that the bento was delivered in to her and to let her know what he thinks of her meals, but Jack says he can’t because he’s busy with Halloween preparations. Jack asks Sebek and Azul to return the basket in his stead, which they do. They aren't allowed to see Sally because Dr. Finkelstein has locked her up for misbehaving, so they leave the basket. Azul advises that they also pass along Jack's comments (he had called Sally smart, thoughtful, and kind; he often forgets to have meals when he's absorbed with his work, so it's generous for her to prepare a delicious meal like this for him). Sebek loudly refuses, as he believes that hearing these grateful words from Jack himself would be much more meaningful to Sally.

He later confronts Sally at Town Hall and asks to speak with her privately (in an ALLEYWAY lol). There, Sebek flat-out tells Sally that such roundabout tactics will never help her feelings reach Jack because he's way too dense. Of course, she reacts with denial which sends Sebek into a passionate speech about the lengths Sally will go to for love (short of actually speaking about it). She literally threw herself out of a window and put herself in bodily harm to get to Jack when Dr. Finkelstein locked her in her room. She deliberately disobeyed her guardian and brainstormed a way to get out when theoretically she should not have been able to move around freely. If that's not motivated by love, then what is? Sebek declares that it's really annoying to watch Sally dance around the issue and to see her devotion go to waste. IT'S LIKE HE'S WATCHING/READING A ROMCOM AND THE TWO MAIN CHARACTERS KEEP PLAYING THE "WILL THEY, WON'T THEY" CARD... She admits that she can't share her feelings because Sally thinks she's not worthy of someone as impressive as Jack... They're not compatible. And you know how Sebek responds??? BY TELLING SALLY ABOUT WHAT IS BASICALLY TWISTED ROMEO AND JULIET... Sebek reading tragic romance confirmed 😭 He describes the story as one of two lovers whose families do not approve of their union. In desperation, the lovers try to elope--but their plan fails and they return to their warring families. Instead of committing dying like in the original tale, the lovers live the rest of their lives lamenting the outcome and how they can no longer see the person they love most. Sebek shares his own interpretation of the story and its moral: because the lovers gave up hope that they could get their families to accept one another... because they never tried to get their families to get along... because they could not properly articulate their feelings to their families... the lovers could not be together. He is convinced that if they had communicated better, the story would have a happier ending. Sebek is of the firm belief that a story itself cannot come to be without the author wanting to share their own thoughts or feelings; he even suggests that maybe the author of Romeo and Juliet experienced something similar--a regret that resulted from neglecting to express deep-seated feelings. It's not just this book either, Sebek claims to have many stories with a similar theme or miscommunication leading to conflict.

Above all, Sebek stresses to Sally that she must believe in herself and take swift, decisive action. And why does Sebek whole-heartedly throw himself into this belief? Because his own family is living proof that a happy ending is possible if you try hard for it.

If you've paid attention to Sebek lore prior to this, you'll know that he has a human father and a fae mother. Their marriage faced opposition and scrutiny in Briar Valley, a country which is isolated from the rest of the world and suffered greatly from human invaders pilfering the fae lands for resources. One of these sources of opposition and scrutiny is Sebek's own grandfather and his mother's father, Baur. Apparently, Mrs. Zigvolt married Mr. Zigvolt against the wishes of her dad.

Sebek shares even more details with Sally in his Nightmare Suit vignettes. To this day, Baur does NOT approve of his daughter's marriage--but Mrs. Zigvolt doesn't let that get her down! No, she does everything in her power to prove to her father that she made the right choice and she's perfectly content with her life. She'll send letters enclosed with photographs of her family, take her children to visit Baur's home, and invites him to join family dinners. Sebek adds that he's sure his mom made other efforts too--all to try and get Baur to acknowledge her marriage. More recently, Baur seems to have lightened up a little... as in, he always used to turn Mr. Zigvolt away at the door, but now lets him in about once a year (though Baur still avoids eye contact with him and continues to frown). Mrs. Zigvolt stubbornly believes that if she keeps this up, her dad will one day change and bless her marriage with the man she truly loves. Sally commends Sebek and his mother's ability to speak their minds loudly and proudly, but then disparages herself again by saying she can't do the same. Sebek then confesses that he can relate to Sally's frustrations. He related her feelings to his own inadequacy in serving Malleus, the powerful and noble king-to-be of his country. That feeling... Sebek describes it as akin to heartache. But instead of wallowing in that heartache, he pushes himself to close that distance between himself and his idol. If he keeps hesitating, then there is absolutely no way he can catch up to where Malleus is! Sebek must dedicate himself to becoming someone worthy of serving him. He encourages Sally to do the same through both her words and her actions! At that moment, Jack walks in and Sally makes good on Sebek's advice. (This part isn't important to the analysis on Sebek's character, so I'm glossing over it.) The vignettes end with Epel complaining about Sebek being loud as per usual. Sally doesn't take issue with his volume though. She simply giggles and informs Epel that Sebek speaks so loudly and clearly so that his words can resonate with others--like how his words gave her courage.

We have learned new lore about Sebek's grandfather and mother. What does this tell us about Sebek? A lot, actually--if you slate it with all the other lore we have on hand.

We see just how strong of a woman his mother is. I suspect this is where Sebek picked up a lot of his hard-headedness, as well as the tendency to express himself very overtly, from. However, it also speaks to the loving environment he grew up in.

His mother seemingly never questioned her own life choices and never gave up fighting to prove her happiness to a father--and likely an entire community--that rejected her marriage, her husband, and maybe even her children. She fiercely loves and defends her family and the life they have made for themselves. Sebek states that he looks up to her for her magical strength, but that he also admires her principles and strong convictions. Indeed, it was her who ardently pursued Mr. Zigvolt and did not allow naysaying to deter her.

Then there is Mr. Zigvolt. In Sebek's Birthday Boy vignettes, he describes his father as "a strange man" who is "magically deficient" and "never lets his smile fade, no matter what I say to him [...] he defies comprehension." Though Sebek doesn't seem to hold the same amount of respect he has for his mother for his father, we don't hear Sebek openly insulting his dad, just expressing confusion about him. When asked about it, Sebek denies depending on his father--but it's clear there is a fondness there that he's not addressing. Mr. Zigvolt is impressed whenever his children use magic, buys them snacks they never asked for, and talks with them for long periods of time in a calm, patient manner. His father, too, has given Sebek so much compassion and understanding.

We don't know a lot about Sebek's siblings, but they seem to get along fine! He has mentioned going to parks with them. They've also gone fishing together and witnessed magic competitions, which they were all amazed by. The Zigvolts in general (or at least the parents) seem to be accepting too, as they volunteer to take Silver in whenever Lilia is unable to take care of him.

And you'd think that's where it ends, but NO. Baur ALSO has a lot of love to give. Despite not approving of his daughter's marriage, he doesn't actively despise his grandchildren. Quite the opposite, in fact! Though he's rough around the edges and looks scary, Baur doesn't fault any of his grandchildren for being born half fae and half human. He actually makes it a point to bond with them, and especially with Sebek. It was Baur who taught Sebek the language of nocturnal fae and instilled in Sebek his love for reading (as he bought many books for him and tells many stories himself). He also personally reached out to Lilia to train Sebek, as the young boy (at around age 7) expressed an interest in martial arts. Sebek has a love for salmon carpaccio because he and his siblings would fish at Baur's house and then prepare the dish for him--Baur was so happy about it. Additionally, Baur values getting a good education and was proud when Sebek shared with him that he was invited to attend Night Raven College.

Sebek grew up in a country that dislikes humans, but he was raised in an household where he was loved unconditionally and provided with all the resources he could need to get a good education and become someone who is physically strong. So of course he becomes frustrated when he sees Sally, who is so nervous to act on her feelings. What would have happened if Sebek’s mother had been like Sally? Sebek, as the youngest of three, might not event exist. His parents may not still be together… or maybe they wouldn’t have gotten together in the first place. It’s exactly because Sebek knows what love is supposed to be like--courtesy of his own family—that he can see it so well in others, and wants them to act on it. His very existence is proof that love is possible, and it transcends arbitrary labels like race that serve to divide people into categories.

One quirk of Sebek's is how he's always dishing out back-handed compliments or making comments that come off as rude but aren't at their core. He can't seem to help but say a good thing that sounds like something bad. His Diasomnia classmates, usually Silver, have to translate these Sebek-isms for others, who misunderstand him or interpret his words in the worst possible way. For example, from one of Silver’s Fairy Gala lines; “Sebek said to me that no self-respecting disciple of Lilia’s would dare get a single stain on this clothing. That's his way of encouraging me.” In Silver's Dorm Uniform vignettes, Sebek tries to reassure his friend and tell him to not let other people's opinions hurt him--but he phrases it as, "Hmph, ridiculous! I see no reason for you to heed a few random comments from some humans." The duo is also shown to be competitive with one another in training; it's never malicious, they both want to prove themselves as the superior knight, and the other serves as motivation to improve and/or a means of measuring one's own growth against a fellow disciple. When the mostly elderly population of Harveston is in need of physical labor, Sebek comments "[...] the humans in Harveston are woefully out of shape," yet he insists he "still [has] energy to burn" (as if to volunteer himself to do more work) and call such tasks "simple" (as if to point out how easy it is for him to do, so don't worry about troubling him). He hauls apples and helps the villagers with whatever they need, declaring that they should "be grateful"--but if he truly did not care, he could have stopped at any time or settled for just making fun of them. But Sebek doesn't, because he DOES care deep down. This aspect of Sebek is made even more obvious in Fairy Gala: What If. He appears at Ramshackle and opens by declaring, "NO! I am by no means worried about anyone! [...] Don't mistake my intentions. I am NOT here to help! If your mission doesn't succeed, the repercussions will definitely affect Malleus and Lilia. Hence... I shall lend you uneducated humans my aid! [...] You're welcome to weep with joy at my magnanimity..." Time and time again, we see Sebek demonstrating a lot of kindness, but deflecting or not being totally transparent with his intentions due to pride or embarrassment. This behavior is very reminiscent of Baur, the grandfather that Sebek loves dearly and spent so much time with. Baur, too, can be very passionate and loving, but struggles to speak of those feelings openly. Just look at how the man deals with Mr. Zigvolt. The behaviors of the family, then, imprint on Sebek and influence his behaviors--and being that Sebek is from such a loving group, it follows that Sebek puts out a lot of love into the world too.

A lot of times when the fandom discusses Sebek's attitude, I feel it's from the context of him being hateful towards humans. I'm not going to deny that Sebek has said some pretty nasty things about half of his own identity. The point I would like to make here is that Sebek can love just as strongly.

The most obvious thing that supports the claim that Sebek is capable of strong love is how he views Malleus. It's no great secret that Sebek practically worships the ground his dorm leader walks on. That's essentially Sebek's key defining character trait. What I'll ask you to consider instead is the nature of Sebek's love--not the obsessiveness of it, but rather the unconditional nature of it.

In Lost in the Book with Nightmare Before Christmas, Skully laments that Sebek has not been disappointed by his idol, Malleus. Sebek actually corrects him by saying that love isn't imposing your own views on your idol, it means preparing to accept them, flaws and all. He says the same of Malleus; should the time ever come where Sebek's expectations of Malleus falter or their paths have to diverge, then he will still embrace his young master, never once turning his back on him. And where does Sebek gets this from? His parents. The father who loves his children no matter how critical Sebek may be of him. The mother who remained so strong in the face of her friends and family being against her life choices.

A common fandom sentiment regarding Sebek is that he blindly follows Malleus--but when speaking about his idol to Skully, Sebek says that agreeing with someone and continuing to love them are different things. You can disagree with someone's actions and still continue to love them and accept them. This follows what Sebek does in book 7; though he is betrayed and hurt by Malleus turning his powers against the world, Sebek does not let up on the hope that he can bring his young master back. He even sillily calls the yet-to-be-hatched Malleus tamago/egg-sama, showing even an infant form of Malleus great respect after witnessing his OB. Skully took the opposite path that Sebek did; when he realized that his own idol, Jack Skellington, was not as he imagined him to be, Skully became enraged and lashed out over it. Sebek points out Skully's inadequacies as well, which ties back to how he spoke of his own drive to improve in his Nightmare Suit vignettes. Skully confesses to trying desperately to emulate Jack--so much so that he breaks down when Sebek's UM destroys his iconic shades. He wallows in his current state and doesn't make efforts to change or to be better; the past and his own vision is where he's comfortable. It's a strong contrast to Sebek, who has made it clear he will continue to train and work hard to prove his merits and to be someone worthy of protecting the great Malleus Draconia.

It is Sebek's passion and boundless love that makes him a hero both in Lost in the Book with Nightmare Before Christmas AND in the main story's book 7. He serves as a foil to Skully in the former and actively saves Silver when he's on the brink of despair in the latter. After learning that his biological father is the man responsible for killing Malleus's mother and leading the Silver Owls' onslaught on Briar Valley, Silver despairs and comes to the conclusion that his father must loathe him. "He could never love the son of the man he despised! He has to hate me! He has to!" Sebek rushes to Silver's side using Living Bolt, a UM he has yet to master (thus causing residual damage to him when he casts it), to correct him:

"You have this much strength... and you dare to say you weren't loved?! That you were hated?! [...] If [Lilia] hated you, he didn't have to give or teach you anything. He could've just raised you into a dimwitted coward and made you a servant. But he didn't--and look at you now. Even alone and helpless, you stood firm. You spoke up, unfaltering in the face of our liege's madness. Even trapped in the darkest despair, you kept on fighting! Who raised you to be so strong? LILIA DID! Why don't you see? Why do you doubt? You should have understood years ago! What can you call your strength, if not the direct result of Lilia's love?!"

WHETHER SEBEK REALIZES IT OR NOT, A LOT OF WHAT HE TELLS SILVER HITS HOME FOR HIM TOO... Like, thinking about it... Sebek must have faced a lot of prejudice from his community because of who his father is. He might have grown up thinking he, too, was hated, had he not been protected by his loving mother, father, and, yes, even grandfather, who is still struggling to accept the human in their family. Baur must have been feeling very complicated emotions upon meeting his half human grandchildren for the first time... but even though he dislikes humans, he could never find it in himself to dislike his grandkids. If he had hated Sebek, he wouldn't have wanted him to get a good education. Baur wouldn't be happy that he got into NRC. He wouldn't personally ask Lilia to train the grandson who expressed an interest in combat. He wouldn't buy so many books for Sebek or read with him or tell him stories or teach him his language. But Baur DID do all of these things, because deep down he loves Sebek no matter what he is. If it was anything less than love he felt for his grandson, if he decided to neglect his grandkids, then Sebek would have grown up as some "dimwitted coward". IT'S ALL CONNECTED.

And now here Sebek stands, able to tell others that they are loved and should be cognizant of that love. He reminds Silver that Lilia loves him. He advises Skully to reevaluate how he sees his idol. He tells Sally to speak honestly about her feelings, because it was his own mother speaking honestly about hers that led to Sebek and his entire family being as happy as they are now. He shouts at people to act and to speak their minds because he doesn't want them to live with regrets, because he doesn't want to see them be weak and timid--a version of himself that could have resulted if he hadn't been loved so strongly.

You can say many things about Sebek: that he's loud, that he's rude, that he's a fanboy, that he has big muscles. But of all those muscles, Sebek has a very big heart too. And what made him so strong? All the love he received from his family, despite growing up an environment that surely invited hatred for humans.

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lauren-ce · 2 months ago

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"A Nightmare at Green Lake" is a Queer Coming-Out Story

[This essay has a PDF version; the images are crisper there]

I'm probably nine months late to this particular party, but I just finished the excellent Reverse: 1999 event "A Nightmare at Green Lake" and wanted to make a case for reading it as a story about coming out, focusing on Blonney and her repressed sexuality. It's a love letter to horror films, and a love letter to girls that love girls. Crucially, it is more the latter than the former; Green Lake is a coming-out story that uses the horror film trappings as a storytelling device, not a hard and fast rule. Spoilers for the entire event.

(All my screenshots are taken from this video, which does a wonderful job capturing the entire event.)

The inciting incident in Green Lake began years before. Jennifer visits the camp regularly as a child, writing horror stories in her diary and reading them to Jessica, who loves them. Then, Jennifer suddenly has to move away, and thus, the Incident takes place.

Blonney/Jennifer threw her diary into the lake when she was forced to leave, drowning three things:

1). Her horror stories and love of horror

2). Her acceptance of her identity as an Arcanist

3). Her gay-ass self

She joins human society despite being Different and tries to blend in. She changes her name to Blonney, feigns an interest in fashion, and conforms to social norms. "Monstrous and forbidden" becomes a theme in this event which describes horror, but it also describes queer identity (this will be important later). Blonney discards her identity, drowning it in the lake.

Now allow me the rest of this rambling essay to make a point for that third thing (and to make the case that "loving horror" and "being an Arcanist" is the same thing as "being gay"). Throughout the first half of the event, we see Blonney consistently reject her love of horror movies. She calls them cliche and stupid, easy to make and low-class. Despite secretly loving them, she's built up a persona that isn't allowed to like horror.

Yet she takes an awful lot of offense to criticism of her script. . .

Anne, a recent hire to replace a sick member of Blonney's film crew (who is secretly Jessica in disguise), is mistreated by Blonney for being a naive, small-town country bumpkin that doesn't know anything. Within the movie that Blonney is shooting, Anne is typecast as the "Virgin": Christian, unassuming, sheltered, in contrast to Blonney's "Blondie": indulgent, vain, etc.

Oops, are the characters in the fake movie they're shooting maybe perhaps based on their real-world counterparts???

A contrast is drawn between the two by Blonney and the narrative at first. Throughout the rest of the event, the distance between them and their character archetypes will crumble. The important thing to remember is that Anne/Jessica is a representation of everything Blonney has rejected about herself.

As actual horror-movie type events begin to happen to the group, the characters are genre-savvy enough to realize they're in a horror story. The culprit, though this isn't revealed until later, is Anne/Jessica. She's an Arcanist and has been using her shapeshifting abilities to make a horror movie happen to the group. Ironically, the group looks to Anne as the "Last Girl", the pure and unsullied one that will survive the night.

In actuality, this is a false flag. Since Anne is Jessica is the Monster, she can't be the Last Girl.

The Last Girl is actually Blonney:

I spoiled it already, but the viewer doesn't learn until the halfway point that Blonney is actually from the area, having grown up and making frequent visits. This is why she sees herself in Anne, a gay girl from a small town. Game recognize game, gay recognize gay. Blonney uses a fake name for a fake identity. Jessica sees her actual self, and calls her Jennifer. This isn't a deadnaming, Anne/Jessica sees Blonney as she truly is deep down. Though Blonney doesn't realize it, Anne cuts her to her core, which directly leads to her mistreatment.

Anne's peculiar interactions with Blonney are some of the first hints we get of the true narrative: Why is Anne so nice to her, despite the way she's treated? And more importantly, how would Anne, a newcomer to Blonney's film crew, know Blonney's real name/true identity? Blonney certainly never would've told her, she rejects her own identity, after all. This is a big nod to the true workings of the plot. Anne knows more than what she lets on. Why does Blonney not realize that Anne knows more than she should? Because Blonney is actively trying to reject that part of her—she's blind to it. If she were to acknowledge that Anne knows her true self, then the story would already be over.

On top of rejecting her love of horror, Blonney also rejects her identity as an Arcanist. This identity alienates her from her friends—they consider her a peer up until the horror story begins happening to them. The very second it is no longer convenient, they reject her as one of them and other her. The only member of her original film crew that doesn't reject her for being an Arcanist is, you guessed it, Anne.

However much you despise us, many brilliant playwrights are Queer. I mean—"Arcanists".

Horror events continue happening: a butcher chases around members of the group and monsters attack others. Vertin (R1999's main character), along with Horrorpedia, Sonetto, and Tooth Fairy, provide support, killing monsters and moving the plot along. In many of the monsters the groups find notes, pieces of paper that begin to tell a story—stories within the story. Using their knowledge of horror tropes, the main characters stay alive while Blonney's human film crew seemingly perishes at the hands of the various monster assailants.

After one such attack, Tooth Fairy (an Arcanist), gives first aid to Blonney. During the scene the two have a small argument. Tooth Fairy refuses to use Arcanist medicine to treat Blonney, because Blonney sees herself as a human. This gives Blonney a chance at some introspection, her first time opening up during this event.

Even Blonney's blood knows the truth she's suppressed.

All this happens while Tooth Fairy treats her wounds. Interesting that they're on her inner thigh, hmmm? A MILFy doctor rendering first aid to a girl's inner thighs while explaining that she's rejecting her own identity? I'm sure there's nothing to read into here.

As the plot progresses, Anne repeatedly risks her life to save Blonney. She leaps from a car to save her from a monster, and she later kills the butcher that's been chasing them. This earns her Blonney's trust, which leads to the big, plot-turning confession. At the halfway mark, Blonney is able to sit down with Anne/Jessica and confides in her.

A gay awakening ensues: Blonney feels down about her loss of identity, wanting to reclaim her love of horror. Her facade, she explains, is just that. Blonney threw away her identity as a horror-loving Arcanist in an effort to integrate with society. This conversation takes place after a danger has just been defeated, yet is one of the emotional climaxes. Blonney begins to want to accept her true identity. Throughout, Jessica repeatedly praises Blonney, telling her how amazing and wonderful she is, all the while the two cuddle on a couch.

*Does a gay little hair flip after holding hands. "You can be rougher with me, you know."

To her horror, the rest of the group hears. They had this discussion in the same room, after all, but in contrast to Blonney's old friend group, her new friends support her wholeheartedly. Then, Tooth Fairy hands Blonney the symbol of her self-actualization: her diary, which she'd found in the attic (yes, the same diary that had been thrown into the lake!!! Blonney has now retrieved her diary, her love of horror, and her identity as an Arcanist, all the things she threw away as a child.

Blonney retrieves her diary, which represents suppressed homosexuality through multiple metaphors, and achieves self-actualization thanks to her supportive friend group and a girl with a massive crush on her. The Monstrous and Forbidden are now part of her. Now the gay things really step up.

What happens next is a direct result of Blonney coming to terms with her queerness: a woman in a wedding dress shows up and attempts to marry her.

Monstrous and Forbidden, all in one package.

The woman is a zombie (because we're working with horror tropes, yeah?) but the message couldn't be more clear. Blonney has opened up to Anne/Jessica about loving horror (being queer). Now Blonney must face what that means. Consider: the corpse bride searches for her beloved (literally another bride, this could not be more fucking clear). Who is to play bride to the corpse bride? It's Blonney! The corpse bride forces Blonney down and puts a wedding ring onto her finger. The narrative has allowed Blonney to come out—now it will test her resolve.

The corpse bride is a mixed bag of metaphors. Textually, the corpse bride is a character from the horror story written in Blonney's diary. She was killed by her husband and searches for him so she can place the wedding ring back on his finger. Metatextually, the bride represents Jessica: Blonney abandoned her, effectively "killing" her. Now the scorned bride searches for her lost love.

To sum up: Jessica=Corpse Bride:

1). She searches for her lost love every night (Jessica misses Blonney)

2). She wears a hempen collar (brides don't wear collars, but Jessica does)

Blonney rises to the challenge, she defeats the corpse bride with her newfound arcanist powers, and the group pieces together the clues that the bodies carry. Her new friends are proud of her!

Horrorpedia (annoying fuckwad that he is) nicely sums up the message: by embracing their identities, they can fight back.

All the horror story clues lead to the dead body in the water. "But wait," you say, "Green Lake doesn't feature a dead body in the water." Wrong! Blonney was dead all along, remember? The corpse is Blonney's diary! Her dead body is the horror-loving gay self she killed when she threw her diary into the lake to reject her identity!

More plot happens; the story reaches a climax with Blonney using her magic to aid the group's escape from a lighthouse. On the same shore that Blonney first told Jessica all her horror stories, the same shore she killed her identity on, they confront Jessica, now revealed as the Monster. This whole plotline is the result of Blonney rejecting her identity; now is the time to make everything right.

Jessica is proud of Blonney becoming her true self. However, she's also tired of waiting for her. She's tired of being alone. Jessica offers Blonney a life of bliss: a soft bed of moss for them to share, the sweetest forest fruits, and monsters to keep her company.

When Blonney refuses to live at Green Lake forever with her, it's taken as a rejection. A fight ensues—Blonney and her group win, but the emotional arc of the story has yet to resolve.

Blonney has a chance to reject her queer identity once more. She both does and doesn't. Blonney accepts the monstrous and forbidden by accepting Jessica, a literal monster, and her queerness, the Forbidden. She rejects the monstrous and forbidden by asking Jessica to come with her, to rejoin society, to hide their identities as Arcanists (queer) and live together. Jessica rejects this. She will not be closeted. (The fear she feels at being outed as an arcanist is very similar to the fear of being outed as queer in a hostile society, eh?) This of course puts Blonney under duress—how can the story end happily?

Vertin comes in with a grenade of an offer: Jessica can come stay in the St. Pavlov Institute with her and learn to coexist with people like her. She can live with people that don't see her as weird, despite being monstrous (queer), an Arcanist (queer), and a lover of horror (queer). Vertin hasn't done much up to this point outside of moving the plot along and fighting monsters; this is her time to shine, and she shines like the lesbian lodestar we know her to be. Her conversation with Jessica is tinged with language that could easily be read as romantic, but Vertin isn't here to steal anyone's girl, she's here to offer a happy ending for everyone that guarantees the goal of each party is fulfilled. Vertin's presence is what allows this story to ultimately break free from its horror trappings. Her third option is not a compromise; it is the ending we wanted.

And what an ending it is! It's happy and good in every possible way it could be. The happiness of the ending is a large part of why I call this a coming-out story primarily rather than a horror tale. A slasher film like the ones this event draws inspiration from would see Blonney (the true Final Girl) as the only survivor of her group, still running from the monster and her own self. Instead, all her friends survive, having been held captive in Jessica's den. Blonney comes into her own; she and Jessica reconcile—we get the gay end!

Blonney leaves to finish college as a self-actualized queer woman; Jessica acheives her wish of never being alone and joins the institute to gain an education herself. I have no doubt that they will reunite, and soon: the entire plot of R1999 is Vertin recruiting every arcanist she can to ensure their safety from the Storm. Blonney's future leads directly to St. Pavlov. (For further supporting evidence, see her voice line about taking Jessica for a walk! Even before Blonney graduates, they get to be togetherrrrrrrrrrr!)

Even if you don't play R1999, please please check out this event. It has a lot to say, and it's one of my favorite things I've read all year. The soundtrack fucking whips, and it goes far in helping balm the weeping wound of the tragic yuri that is Vertin/Schneider.

Again, give some love to the video that made this document possible.

I've rambled long enough, so I'll let Tooth Fairy wrap this up with a bow: Love Wins

#reverse 1999 #jessica reverse 1999 #blonney #blossica #r1999 #reverse: 1999 #a nightmare at green lake #tooth fairy

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