#i just think its an interesting topic overall

[kiwibongos]

honestly i definitely think it wasn't *just* teruteru who dabbled in tasting human flesh while in despair and i dont see anyone talking about that

like i really think akane, gundham, mikan and perhaps ibuki, definitely got into that stuff

[bonestrouslingbones]

that one scene in atbb where russ is being a tall asshole to karma on purpose but instead of squatting down to his level he pulls this shit

[krockat]

hi i was randomly reading tags late at night on videos, and i saw yours you added onto https:// www dot tumblr dot com/krockat / 726501511214022656 a while back asking for the source of the music and not sure if you ever figured it out so apologies if you did, but its part of the ost from the anime black butler, not a game! but if someone did use it in a game i hope you find it too!

ouffh..... anon........

see... in that post in those very tags you speak of.. . I.. i did promise i would give plenty praise and love to those who would help solve my mystery.....

and you did nothing wrong anon.

you are a beacon of light, a shining example of a person just randomly going out of their way to be a nice little light-shedder-on-er-er, while prev just doing some'n simple n pleasurable (as pleasurable as the mixed crockpot of reading random strangers tags Can be) for themself.

but.. lemme tell you.... this is rough news.

to have a rare glance of something so similar to this great (i mean no, the quality of said game itself might be questionable, but a great soundtrack and alternative Weirdness and nostalgia of a seemingly never discussed old playstation game relic of my memory lossy past - it is despite it all quite great a) mystery -

it was so hopeful and enticing!

and then i learned.. and then i learned.. it was actually from my number one enemy-anime Black Butler!!

you see, black butler and I have history.

apart from it being a creepy show where two adult demons thirst for a child boy (that for some further context also had an unfairly banger ost that deep inspired my youth), it was, infact, and here comes an actual Real trigger warning for the content ahead:

.

.

warning you, here it comes! the tags will have what specific triggers this is about.

.

.

a tool used in grooming me.

so, while i really am grateful for your kind message and explanation - to find that this music that was so similar to what i remember from the soundtrack of the game - was actually from that show? Oh real unfortunate. just realllll unfortunate.

lemme tell ya when i woke up to read i got a notif w the beginning premise that someone had figured out this mystery song - meaning also maybe the coveted mystery game?

even barely awake and conscious as i was, and just really there initially wanting to check what time it was, because my alarm certainly hadn't called yet and the darkness seeping from my curtained window spoke of other promises -

and when then i ofc immediately opened that shit up and was left face to face with the reality of KROCKAT ENEMY-ANIME NUMBER ONE - ?

oh i knew it was gonna be a special kind of day.

so, sorry for no earlier reply but i was put into a certain state of reflection these last couple days.

and it's been interesting, actually

which might sound a tad bit morbid to those inclined,

but well you know us Aquarius Suns(TM) Hahoo - who often find morbid and sad stuff fun and entertaining to think about and toss and turn around like an old sausage in a corporate bodega hot revolver grill. just a lil interest in that

it actually got me to get into a creatory headspace. thinking about all that shit.

so yea pretty good now, but the first hour of gripping w that? yeah. idk how or that i would or could or would want to explain perhaps why or how or in what way that little fact did affect me.

but. you've still done me a great service. and i intend to make good on that reward i did promise whoever would solve my inquiry.

thank you you kind little folk! very very nice of you to come in to my ask and give me answers! you seem like a nice type.

...

but yes a post this long and involved (?) does got to have an end, and one useful trick to end things you don't know how to end is to put music at the end of whatever it is.

now, Best ending would be to have the music of the Actual game's ost i was talking about. but i still don't know what the game is.

Worst ending is probably just that bl*ck b*tler song that baited me (yes i am now "blurring" it out as this is the end part of the post that's meant to end as a reprieve)

and not to say that would necessarily be a bad way to end the post. hells, it might be the interesting (♒🌞) way to conclude this post.

but i think i will just leave you with this.

(sorry that it is a link to spotify. and that it is a from a corporate-y compilation album. and w songs i haven't vetted. i had no choice in what release it was. do you still like me)

(here also comes a youtube link. )

[image ID:

Black and white picture of Swedish jazz singer Monica Zetterlund - on a youtube thumbnail and link to a video upload of her singing the song "Att angöra en brygga".

end image ID.]

[gimmick-blog-reviewer]

WARNING: GIMMICK BLOG REVIEW AHEAD

Gimmick Blog: @hazard-symbols-that-fuck-hard

Gimmick: Posting pictures of hazard symbols, accepts submissions.

Gimmick Rating: 9/10, while it does definitely appeal to myself and many tumblr users, I'm sure there are many who would be largely unimpressed. However, within its niche I think this gimmick is excellent. With how fragile our lives are, I imagine there's no end to the hazard symbols one could find. Many of them, in an attempt to shock meaning into the viewer, come across as "hard as fuck" or "fucking hard". A gimmick to capture these symbols is a unique and interesting idea. As of time of writing, it is tied for the highest rating given to a gimmick.

Blog Rating: 8/10, largely dedicated to the gimmick but occasionally features non gimmick posts. Even among the non gimmick posts, many are related to the gimmick, though there's enough that aren't for me to care. For instance, HSTFH's tarot and poker decks. If someone were posting about their tarot and poker decks on a gimmick blog you might assume they're just shilling a personal project but HSTFH is much more reputable than that. Hazard Tarot and Hazard Poker are not only impressive art, but also topical to the blog. Even the... porn (which I will not link directly to for obvious reasons), featured on the blog is tangentially related to hazard symbols. However, HSTFH posted some stuff about the election and telling people to vote. While I imagine we have similar politics, and I would normally support such things, I don't believe politics should feature on gimmick blogs.

Overall Rating: 8.5/10, the highest score ever awarded as of time of writing. Hazard Symbols That Fuck Hard is in my opinion an account someone could only run on tumblr. It's unique, it's cool, I've been a fan for a while and I have been considering buying its hazard tarot and poker deck designs as those are things that fascinate me. I always keep an eye out for interesting hazard symbols so I have something to submit someday. Until then, I will wait with anticipation for the account's next post.

[maryrouille]

Toxic romanticization of studying

In a word of introduction, my profile partly shows that studying and exploring is wonderful. But as a person involved in science*, I would like to show healthy and true patterns of this beautiful adventure in acquiring knowledge.

The inspiration for writing this post this time was not the phenomenon from Tumblr (although you can also observe it here), but from Pinterest. There you can come across cycles composed of quotes and photos whose aim is to motivate young girls to learn, succeed and get good grades. These images often also show examples of characters from movies, TV series or real life that you can aspire to be like. Overall, I have to agree that it really works! But I would like to draw attention to certain elements that need to be verified.

1. You shouldn't get up at 5am

First of all, the correct amount of sleep is one of the most important factors affecting the proper and effective functioning of our brain. During sleep, nerve cells regenerate, organize information acquired during the day and consolidate memory traces, which is directly related to learning. Lack of sleep increases impulsivity, deepens negative thinking and slows down the body's reaction time!

2. You can be a genius without good grades

Of course, good grades are a pleasant confirmation of our knowledge and praise for hard work. However, sometimes it is worth considering whether the structure of exams themselves, especially those with closed questions, affects the results. We often study for one specific exam, the knowledge of which may be very… limited and sometimes not useful, so it is worth prioritizing the topics that we study hard.

3. It's not cool to think you're better than others

We are different and have different priorities in life. It is also worth considering how many people escape from the rat race and start a slow, stress-free life. So we have to agree that judging people based on grades or responses under stress (sic!) is not cool.

The good thing about romanticizing studying

As I have already said, these types of collages are really motivating. So let's talk about what's great about them and what's worth highlighting and saving for later.

1. Knowledge is beautiful, but your outfit and surroundings can also be

We know that we should never judge a book by its cover, but… the issue of social perception painfully confirms that we do and will continue to do so because this is how our brains work. And isn't it nice when someone looks at us and thinks this girl is so classy?

Moreover, a nice outfit that makes us feel good gives us a lot of self-confidence. There are also many studies confirming the positive impact on motivation and concentration of a neat and aesthetic workplace.

2. Not just cramming, but also discovering

Broadening your horizons is easier with passion and real commitment. And to achieve this, the topics must really interest us. Not everyone has yet found something that they are extremely passionate about in science, so that is why you have to dig deeper and discover different areas.

3. Don't be afraid to use your knowledge in practice

Schools and universities, unfortunately, have their own rules and they do not always allow you to show your 100% potential. Thus, share your knowledge with others externally, write essays, blog and social media. This form of activity also makes you learn things faster and easier. In addition, contacts with others will expand your knowledge.

Therefore, I must say that it is worth choosing your inspirations carefully. Nothing helps you enjoy studying better than a clear head and lack of prejudices.

*This post was inspired by my own experience with studying. If anyone is interested, I think I can share my mistakes that did not help me in an academic adventure :)

[kxsagi]

something kinda funny happened to me recently and i immediately thought about rin and your fics, so i'll send it as a req!! i hope you dont find it uncomfortable.

to sum up: ppl usually perceive me as a "nerdy and smart girl" (as in, "top of the class" kind of smart) bc of my looks but in reality i couldnt care less about paying attention to something if its not abt a topic im interested in lol. WHICH RESULTED IN ME RANKING 20 OUT OF 23 STUDENTS in everything but english. it doesn't bother me at all bc. well. i was expecting it. but my classmates are always shocked somehow.

anyways, i immediately thought about my dear rinnie, bc i think thats the kind of situation that poor boy would experience, since everyone in bllk sees him as an academically smart guy bc hes fluent in english, failingto realizethat my boy does NAWT cate about anything other than eng and soccer. . so! my req is basically just a fic where both rin and reader end up in the bottom of the rankings in everything but english (they were the only ones to ace it) and the others are like "?!?!?!" bc i think it would be rlly funny!! feel free to do it in any way you like! tyy! BTW SORRY FOR ANY TYPOS I HOPE IT DOESNT SOUND CONFUSING

“𝐭𝐡𝐞 𝐩𝐞𝐫𝐟𝐞𝐜𝐭 𝐩𝐚𝐢𝐫”

a/n: OMG I ABSOLUTELY LOVE THIS REQUEST BC i have a male coworker in his 20’s who looks like a geeked out nerd, like kind of skinny, glasses, black hair, asian. and my mom told me to talk to him to potentially gain connections bc i’m academic and i was still in high school at the time so i asked him about college and he said “oh yeah, i dropped out like… 3 times. i just didn’t have the drive because i attended raves instead of lectures” don’t let looks fool you 💀💀💀💀💀💀💀💀💀

for context, all the blue lock characters attend the same high school lol

title is a beabadobee reference bc i love her idc

(art credits go to immmso_ko on twitter)

in a cruel twist of fate, or maybe divine comedy, you and rin itoshi have somehow landed in the bottom tier of your class rankings. 

not just “average.” not “middle of the pack.” no. we're talking rank 21 and 22 out of 23. (it would’ve been 22 and 23, but shoutout to that one guy who never came to class and failed on principle. king.) 

the only subject you both aced? english. 

english was your salvation. your shared pride. your mutual delusion. you’d both walked out of that test with the smug confidence of people who knew the word “juxtaposition” and weren’t afraid to use it. and it paid off with perfect scores. 

but everything else? absolute academic carnage. 

math: rin got bored halfway through and started drawing soccer formations in the margins. 

science: you answered every question based on vague memories of a documentary you half-watched two years ago. 

history: you just… didn’t. rin got distracted by a headline about international players and spiral notebooked into a wikipedia hole mid-exam. 

and when the results were posted, the classroom erupted. 

“WAIT. RIN?! RIN ITOSHI?!” 

someone physically grabbed him by the sleeve. “bro. you’re like. fluent in english. i thought you were smart?!” 

rin stared at them, face completely blank. “i am.” 

“YOU’RE 22ND!!” 

“in english?” 

“NO. OVERALL.” 

“… okay. but in english?” 

he had a point. it was the only thing that mattered. 

you slinked over beside him, matching his blank expression. “hey. i’m 21st.” 

he looked at you. “you’re better at literature than me.” 

“damn right.” 

behind you, chaos brewed. karasu paced like a man discovering the earth was flat. bachira was cry-laughing, gripping isagi like he’d seen a ghost. otoya just kept whispering “no way. no way. no way.” like he was having an existential breakdown over his fantasy of rin being the dark, brooding honor student. 

“this is a scam,” reo muttered from the side. “i thought rin was our secret weapon for test prep. i was gonna ask him to tutor me in math.” 

rin tilted his head. “why would i do that?” 

“you got a 12%.” 

“i don’t need math to score goals.” 

“… you didn’t even attempt question two.” 

“it was too many words.” 

you nodded solemnly beside him. “same. too many triangles. immediate shut down.” 

someone behind you whispered, “this is actually worse than when nagi slept through the finals.” 

but you and rin? unfazed. you were both already planning how to celebrate your dual top scores in english. (you were thinking milk tea. he was thinking silence. compromise: milk tea in silence.) 

you sipped your drink later that afternoon with the confidence of two people who fully accepted their intellectual limitations, so long as they didn’t apply to soccer or essays on animal farm. 

“this doesn’t bother you?” you asked, curious. 

“not really,” he replied. “they’re just shocked because i don’t talk much. so they assume i’m smart.” 

“right?! same! they see glasses and a quiet demeanor and suddenly expect perfect grades.” 

he nodded slowly. “people are stupid.” 

you toasted your drink to that. “cheers to mediocrity, king.” 

and rin, for the first time that day, cracked the smallest smirk. “except in english.” 

“except in english,” you agreed, dead serious. 

the only subject that mattered. 

© 𝐤𝐱𝐬𝐚𝐠𝐢

[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-

[taki118]

Kirishima and Other Women

Among the criticism and complaints of Raise Wa Tanin Ga Ii aka Yakuza Fiance the most common is about how Kirishima "cheats" but what if I were to tell you this aspect of him actually serves an important point within the narrative? Because it does, in fact it serves a few.

First and foremost this is common in the Yakuza subculture. The series is a bit of a send off to Yakuza subculture and media with references that tend to go over your head unless you are into it (most go over mine). This is no different. While this isn't as narratively important it is important to know overall, the series embraces all things Yakuza the good and the bad (unlike some other Yakuza series but that not a rant for here) And like it's implied pretty much all the guys in the series to it to some degree yes even Shoma. I only have some knowledge of this myself so I won't get into it but I would recommend looking into cause it is interesting and makes sense for the series to incorporate on some level due to this and it would feel wrong to not mention it here.

Now lets go onto to something more meaty and kinda spoilery, so don't read if you dont want. (though I don't think it will ruin your enjoyment)

So these other women actually help to better understand Kirishima and his relationship/feelings towards Yoshino. One detail the anime leaves out is who these women are and they are women. All college age or older, and all some kind of working professional who has skills or connections Kirishima does not have. Remember Kirishima is not technically Yakuza so he does not have access to resources that actual members of the group have but because he is involved with that world still he has to find a way to make up for what he resources he lacks. The safest resource he has found over the years is women.

Just like how Yoshino unintentionally raises the ire of women, Kirishima does the same to men both intentionally and unintentionally. He has difficulty connecting with people which is a topic in and of itself, but because of this he has learnt how to gain connections on a superficial level so he only does so with those he can feel some control over or feels safer. AKA Women. Kirishima knows he's attractive, and he knows how easy it is to charm people but those he had an ongoing connection with are those who understand it's a game and want something back.

It's all quid prop quo, he does something for them and so they in turn do something for him. FYI I'm pretty sure what he's getting out of it isn't psychical pleasure, information, connections and a safe house for sure but actual enjoyment from sex? Not likely again the anime doesn't show it very well but many manga readers have noted how disconnected Kirishima looks during these moments. (Which I will fully get to later) It's an exchange when Yoshino calls him a gigolo she's not wrong, and there is a greater discussion to be had here about how early Kirishima started doing this and all the messy stuff that comes with it but because we don't have enough information on how that started I won't get into it. (and its a little off topic)

Overall all though this shows the audience that Kirishima has a kind of warped view of sex and intimacy, he views it as a resource he can use much like his fighting ability, to him it's the same thing. At least at the start.

When Tsubaki tells Kirishima that he is actually very easy to understand when she has Yoshino there to compare, I believe this was a hint the author was giving us. To understand Kirishima and how he really feels about Yoshino one just need to look at how he is with other women.

It is INCREDIBLY telling that the closest thing Kirishima has to an ex-girlfriend is Nao, because notice how that term is never used within the story by the pair as to what their relationship was. Nao calls Ozu an ex but not Kirishima, he's just a guy she had a fling with (with a weird age gap) even though she seems to care more about him than Ozu (another deep dive I'll probably do). Kirishima also never uses the term, he does note that he did like her to some degree more than likely a little more than the other women he has similar situationships with but it was still at its core transactional. They both wanted what the other could offer more than them as a person. (also just fucking for weeks isn't a relationship) Kirishima always keeps everyone at a distance, keeps everything close to the vest, makes sure the situation is advantageous to him so he can't get screwed over, every single one. Except Yoshino.

You see it constantly in the series as Kirishima WANTS to connect with Yoshino. He wants to better understand and connect with her in ways he has never bothered to before. In fact you can argue that Kirishima is actually more emotionally unintelligent than Yoshino as he has such difficulty in understanding what Yoshino wants from him. He's so use to being fake, to acting the way women around him want him to that it throws him through a loop that Yoshino doesn't want that. She forces him to be a person not a persona.

Because of that, like Tsubaki says, he is desperate to understand and connect with her unlike with the women who he is connected to in a superficial way. I know it weirdly upsets some viewers that these women "Know" Kirishima in a way Yoshino hasn't but they don't actually know him Yoshino does. People often conflate love and sex as being the same thing but its not, sometimes it overlaps (and like that should be the standard but its not). This series sort of forces you to confront that assumption, because the real moments of love are in the smaller things.

It's Kirishima helping Yoshino with her garden, its him trying to get her focus on him, its him talking to her about mundane things, its him seeking out the things she wants, its him telling her his birthday, and yes it's him sleeping with other women to keep her safe. A LOT of people don't realize this but it is right there in the text he only reconnected with Nao because it would make the situation in Osaka more advantageous for him to keep Yoshino safe. There is a very good likelihood that if the situation would 100% not get Yoshino involved that Kirishima would have just stayed out of it. (which like damn sucks for you Nao) In actuality Kirishima likely would have preferred just a normal trip to Osaka with Yoshino (even though the chaos does help him confirm his own feelings again) Kirishima wants so desperately to be connected to Yoshino in anyway he can but you don't see that in how he is with other women, and it's in seeing that you can see his authenticity.

For further reference to something I noted earlier look at how Kirishima looks in these scenes with women both during and after sex.

There's little to no actual emotion or care, he operates almost robotically like you see when he fights someone he doesn't really give a shit about. It is something he's doing cause he has to not cause he wants to. Now compare these reactions to how he reacts when he finds out he accidentally/unconsciously felt Yoshino up

It's this flurry of emotions you can't even fully quantify like he can't even fathom he really did that. Kind of a strange reaction to give to someone who has done way more for way longer, but it makes perfect sense if you remember love and sex are different. With these other women he didn't care, sex didn't mean anything they could have been anyone and in all honesty if he could get away with not doing it he'd probably prefer it. But he loves Yoshino so he actually cares, he is actually turned on, he actually feels something.

THAT is the point of the side women. Kirishima is very hard to understand his character is a mystery for a majority of the series (and to a degree still is) these women help to solve that mystery if you take the time to really look at what's happening and not get parasocially angry that he is "betraying" his love for Yoshino. In his mind he's not because love and sex are different, sex to him until Yoshino is just a tool, its one of the many things that Yoshino changes in him over the course of the series. Lets not forget that one of his side women actually makes him realize the situation with Yoshino isn't all that great (the scene is better in the manga) cause he doesn't have the emotional intelligence to realize that himself and is a catalyst for the two actually growing closer. Like I keep having to cut myself short cause I'll just go off on how wonderfully complicated and uncomplicated Kirishima is as a character, but this is an important aspect to understand and shouldn't just be written off as "He's a red flag".

These women give us insight into how Kirishima is Pre-Yoshino and shows us how far he's come Post-Yoshino, in a way that could not be done otherwise. So maybe it makes you uncomfy for a bit but it's not bad writing it serves a purpose that could not be done otherwise.

[olderthannetfic]

so, I’m not really the typical person who goes here, as a straight man who mostly reads fanfics for a couple stories/shows that I liked and wish there was more of. I’m not super up to date on the discourse, so sorry if this is poking a bear.

question: what’s the deal with fanfic about real people? Like, I don’t think this should be illegal or anything, you’re allowed to have sexual fantasies, but it’s weird to me how some people will absolutely go to the mat to defend posting this stuff. I don’t see the appeal, relative to how awkward it’d make me feel to read, write, or share.

I might just have some overall neuroses in this area, I honestly kinda feel mildly guilty for having sexual fantasies in general, especially about strangers or people who haven’t expressed interest in sleeping with me.

Like, you can imagine how a guy who feels awkward thinking about how hot Live Action Character A is, because irl she’s played by an actress who’s a real person and might not appreciate me lusting after her body, would find the whole idea of directly writing sexual fanfic about the actress in question extremely anxiety-inducing.

idk if there’s really a question here, just something that confuses me. Also, shoutout to the erotica fanfic writer community for making 18 year old me a much better lover than my socially awkward shy self might otherwise have been.

--

Wow, a unicorn. Haha.

FWIW, a lot of people find anything sexual awkward to write or post. They do indeed ask "What's the deal with horny stuff?" every five seconds. Should people waste time answering their silly "Why are other people not identical to me?" questions?

Asking "But why rando not = me???" is not less dumb just because you've picked a more perennially contentious topic.

--

RPF has been written since forever and posted since there was an internet. It has been a subject of vociferous debate for decades.

The vast majority of it, both in AO3y circles and outside of them, has always been about stage personas. Think kpop with its massively fake and curated media presence. Think rock stars on stage. Think youtubers who invite parasocial relationships for the money and clout. There is often more of a defined canon than you're probably imagining: that LOTR behind the scenes doc, kpop stars having literal reality shows where they all go to a cabin for a week, a youtuber's channel and their collabs.

Some tinhat wingnuts do escalate to stalking celebs, just like readers of tabloid rags occasionally do, but most RPF writers are just responding to a "canon" the way a lot of other fic writers do.

Many of these celebrities for the really intense megafandoms are ones whose money depends on intentionally inviting people to fantasize. They'll be coy about how overtly horny those fantasies should be, but "Imagine yourself spending a day with the band!!!" has been a staple of extracting money from teen girls since at least the 1960s.

Fantasies are not actions. It is fine to fantasize about people: famous people, hot strangers you see on the bus, people you sit next to in class who aren't into you. It's fine.

Why do people post stuff? Because it's fanfic and they're sharing with other fans of like tastes. I probably wouldn't post a story about a classmate, but about a famous boy band dude none of us will ever meet? Who cares? It's fiction. It's fine.

[theduckeminence]

I can’t stop thinking about Eddie Dear y’all.

First off, the probable reason behind what had occurred to him is most likely due to him being scrapped/taken off the script of the show is just both saddening and dreadful on his part. Like he exists within the realm of the Neighborhood, but considering his absence throughout the recent update, aside from him giving the viewers a decoder + clips of him throughout the Home-warming ad compilation, its safe to say that Playfellow Workshop had most likely taken off him of the show, or at the very least, lessening the amount of screen time he receive (in this case being the ads/commercials).

And now onto the actual possible reason why Eddie Dear would be taken off script. Now thinking back to the fact that Eddie & Frank being a couple is canon, it’s also safe to say that because of their connection in the show — even though Playfellow Workshop attempts to have them be distant or lack any sort of significant interaction onscreen — Eddie & Frank’s relationship, or at least Eddie’s love for Frank, could certainly be the reason why the he was taken off script.

After all, if two male characters are shown to be gay for each other in a kids show from the 1970s, chances are Playfellow Workshop would rather scrap the homosexual (derogatory) mailman character than have Welcome Home be taken off the air entirely just because of said mailman character.

Furthermore, what’s more interesting and ironic about Eddie being a prominent character who became intensively aware of his situation is the fact that he first appears to be a character who could be considerably perceived as“insignificant” or “irrelevant.” Of course I don’t actually think he is, but from the way Playfellow Workshop and the Homewarming commercials are framed Eddie, it can be interpreted that Eddie is seen as a rather character of little relevance.

It is partially due to him being taken script, but it’s also the fact that his only thing going on for him is being the mailman for the neighborhood — as well as a bit of a comedic relief. Eddie said himself in the Homewarming video from the secret site — if I’m correct, he feels that nobody appreciates him enough for his work (though correct me if I’m wrong). And that since there’s no one there to ask him to deliver something, or call, or check up on him, he feels as though that — somewhere inside of him — he feels both left out and “irrelevant.”

His one role is to be the neighborhood delivery man, and without that, then what exactly would he be good for?

(this could further be emphasized when Sally told him that they made the deliveries for him to give him a day off — even though no one told him that, and chances are this is perhaps Sally trying to reassure him when in reality, he was just scripted out of Homewarming hence why no one came to talk to him. Getting lil off topic oops—).

Recircling back to the original topic, yada yada yada Eddie just being a mailman and besides that he views himself to be irrelevant so on and so forth.

One thing I would like to mention, relating to Eddie being the probable first of the group to become aware other than Wally, is that I find it surprising that Eddie Dear IS the probable first to become aware like Wally.

To tell y’all the truth, I didn’t think he would play such a significant role in the Narrative (and thus probably doomed by it too). I would have least thought Frank or Julie would have been next to become the more Self Aware.

But Eddie Dear? Our loveable, friendly, and reliable mailman — Eddie Dear? Suddenly depersonalizing right on the spot with a pea plate and becoming aware of both his sentience, the weirdness of his setting overall, and how he could hear Home’s heartbeat? How he knew that the moment he comes to this revelation of self-awareness, he can’t go back? That everything he has ever known is most probably not real and/or all a lie?

It just has me stopping for a second on why and how him, but after thinking about it furthermore, alongside reading analysis posts, it would make sense for him to be next on why he had become Aware.

And I can only assume that from here on out, things are bound to change. And I for one fear these colorful lil puppets — particularly Eddie in this case.

Lets just hope the existential dread doesn’t drive all of them over the edge.

[twelve-forfend]

Well, I did say this was a multi-fandom blog... Alright, let's do this.

The Qing Jing Peak Lord's Bamboo House

(and the symbolism therein, as recorded in the donghua)

I was snooping through the establishing shots of the Qing Jing Peak Lord's Bamboo House, and had to laugh as I always do at all the gay symbolism that managed to sneak its way inside. But then I looked a little closer, and was floored by just how much passive storytelling was packed into background assets. I talked about it at length over discord, and at the urging of others decided to make a shareable post on social media as well.

First, the shots which first piqued my interest in this topic years ago:

Shen Yuan transmigrates into the stallion-genre webnovel entitled 狂傲仙魔途 (translated as Proud Immortal Demon Way). The author's and his own usernames are dick jokes.

Notice the chrysanthemum vase, the cock vase, and the stallion statuette.

The stallion and cock are obvious nods to these jokes on their own, but for the uninitiated, the chrysanthemum is a symbol of gay sex between men, as the asshole itself is often euphemistically referred to as a chrysanthemum. This should have been Shen Yuan's first clue that not all is as it seems here! These are the personal quarters of Shen Jiu — the original Shen Qingqiu!

But let's move to the main room you first walk into upon entering the bamboo house.

There it is: the writing on the wall.

As the Peak Lord of strategy and the scholarly arts, Shen Qingqiu would naturally have calligraphy and paintings hanging everywhere! So let's break it down.

On the top we have 道㳒自然 ("Dao Follows Nature"), which comes from a Dao teaching by Laozi (founder of Daoism) meaning that life, death, the entire universe, the heavens and earth and everything outside and inbetween, all follow a set of laws referred to as the nature of things. Although unrelated to the Buddhist couplet below, it's certainly relevant!

Originally hanging in right-to-left order, I've arranged them to read left to right here to make things easier to keep track of. The calligraphy reads 西方竹葉千年翠；南海蓮九品香 and is a couplet commonly found in Guanyin temples. My classical chinese is not as strong as I'd like, but this translates roughly to "The bamboo leaves in Paradise are green for a thousand years / The fragrance of lotus flowers in the South China Sea is as thick as 9 sticks of incense."

The character 西 for West is used to denote the destination of enlightenment/purity: the buddhist Paradise (think Journey to the West). The South China Sea is where Guanyin was born. Upon the Lotus flowers is where Guanyin is commonly depicted as sitting. The "9 sticks of incense" though literal can also refer to the 9 tiers/grades of reincarnation lotuses with the 9th tier being the lowest, meant for those who in life committed the most evil of crimes — the 4 parajikas — and who can only manage a sincere Amitabha recitation 10 times and no more than this.

To put this in context with Shen Jiu (the same jiu as in 9/九), the 4 parajikas committed by the 9th Tier Lotuses Reborn (officially entitled the Lowest of the Low) are:

Sexual Intercourse

Stealing

Murder

Claiming attainments of stages of pure mental concentration that have not been achieved (in other words, rushing or lying about your cultivation/enlightenment, or maybe even becoming a Peak Lord without having formed a golden core beforehand).

From what we know in the context of the novel, Shen Jiu is innocent of at least the first of this parajikas, but the overall view of Shen Jiu in the eyes of others in the story is that he is guilty of them all. This calligraphy can be seen as a condemnation or a reminder for the character Shen Jiu, who even as the Peak Lord Shen Qingqiu is widely thought of as a scum villain and the lowest of the low.

Phew! That's a lot to unpack.

But if you turn your gaze to the original screenshot, you'll see to the right that there's a vase painted with a blue bird. This vase appears in several rooms of the bamboo house, and seems to be the image of a qingniao (青鸟; lit: Qing bird, wherein 青 can mean blue/green/clear-but-brackish black).

These qing-coloured birds are messengers and foragers of the Goddess-Mother of Paradise (Xiwang-mu 西王母, the "west/paradise" character from before, lit West-King(unisex)-Mother). They're a highly intelligent species who are exceptional in song (a good representative for Qing Jing's scholarly arts and pursuit of qin!), and the older ones might learn to speak human tongue. As a subspecies of luanniao (鸾鸟 lit: luan bird), they're thought to be related to The Phoenix and indeed thought to be the lifetime/samsara just before being reborn as a Phoenix.

If given to a "master" they don't like, the qingniao may refuse to pass messages or sing until they're set free, but if they do get along with you then they're loyal to the end.

As a point of interest, the Qing generation of Peak Lords uses the character 清, which is 青 ("colour of nature; brackish black, blue, green; young) + the radical for "water," resulting in the meaning of clear (as in water or heart; see-through); distinct; quiet (as in still); just and honest; pure; to settle or clear up; to clean up, expunge, or purge.

And as a bit of trivia, Liu Qingge's sword Cheng Luan 乘鸾 means "to ride the luan, take flight on the back of a luan." (Relevant, because the qingniao is considered a subspecies of luanniao).

With the Lords of both Qing Jing and Bai Zhan referencing this bird, I really wonder about its significance! It's spawning plenty of theories and headcanons for me.

Heading back outside for a moment, you'll find that in the Quiet Pool (清静小池 qingjing xiaochi (yes, the same Qing Jing the peak is named for)), there are lotuses, and on land there are flower shrubs which are either wide-petaled chrysanthemums (gay bottom jokes ahoy), or a type of peony, the king of flowers demarcating wealth and prosperity. Either way, a blossom fitting of our Qing Jing Peak Lord Shen Qingqiu!

My one regret is that I cannot get a clear shot of the fan hanging on the wall to try and translate the calligraphy on it. If anyone can snag one, please tag me! I also couldn't translate the paintings with poems hanging in Shen Qingqiu's bedroom (it's just too small and blurry for my bad eyes to make out). If I make another post attempting these things, I'll append them to this initial post in an edit afterwards.

[thedubiousdallon]

Okay, fuck it, I've built up enough goodwill with this sideblog - let's risk it all by sharing my opinions on how Amy is handled in Ward.

It's kinda complicated I think.

Okay, now that I've resisted the urge to immediately hit post for the bit: I think the way her interludes are written substantially flattens her character in a way that I find distasteful and unpleasant, but I find the overall shape of her arc and her role in the narrative compelling. The things I dislike have been well-covered by plenty of other people in the fandom, so I'm going to focus on the things I like.

To talk about Amy's role in Ward, I first need to talk about my interpretation of Ward as a whole. To me, Ward is, above all else, about trauma and recovery. Society is traumatized by the end of the world, the shards are traumatized by the death of Scion and their loss of purpose, individuals are traumatized by all the things individuals are traumatized by. As an aside, this reading is a big reason why I'm not too bothered by a lot of the world building choices that other people frequently (and fairly) criticize - I think many of them serve this theme effectively.

One specific facet of that reading that I find particularly compelling is Ward's interest in people who are traumatized not just by the harm done to them, but by the harm they've done. Characters don't just regret what they've done, they don't just want to be better, they are traumatized by it, and their reactions to that trauma are as messy and complicated as any other traumatized people. I don't always agree with the stances the text takes on how to deal with having done harm and been traumatized as a result, but I find the exploration of the topic compelling.

Enter The Altruistic Amy Dallon.

Amy's arc in Worm was, to a degree, a prototype of this kind of storytelling. She is repeatedly and horrifically traumatized, the actions she eventually takes in response to that experience inflict equally horrific trauma on her victim, and she is further traumatized by her own actions almost to the point of ego death. She removes herself from the environment she was in, begins rebuilding her sense of identity and ethics, and reemerges having grown, prepared to do better going forward and to make reparations for her past actions as best she can. Arc done! It's satisfying and cathartic, and we leave content in the knowledge that the part she's on will take her to better places. It's the quintessential appeal of a redemption arc, and it's a strong example of its type.

There's something people like to say a lot when talking about mental health and personal growth in real life, and that is that progress isn't linear. It's an important truth to understand.

It's rarely true in fiction. Very often, in redemption arcs, in personal growth arcs, after a series of false starts and setbacks, the character reaches a critical point where they resolve their conflict and either overcome it or succumb to it. From that point on, their nature or behavior is fundamentally changed - if they've grown they never relapse past a certain point, or do so only fleetingly, or else never improve past a certain point. This makes sense from a storytelling perspective, but it doesn't map to how growth often works in real life.

In Ward, Amy occupies the very rare narrative position of being who completes her arc of growth and redemption, who crosses that critical threshold of lasting, meaningful change... but backslides anyway, to the point of essentially losing all that progress.

It's an outcome that I find very believable for her, honestly. Her newfound worldview and conviction were forged in the very insular environment of the Birdcage - of course they would be impacted by her new environment. She says at the end of Ward that she had been able to excuse all of her worst behavior because she had convinced herself that she could fix anything - and at the end of Worm, I can see how she would come to think that! She's been pardoned and released from Forever Prison, she overcame her old aversion to brains to create Khepri and thereby saved the world, she's formed a positive relationship with the father she never thought she'd meet, she's receiving love and support from parents she never felt good enough for, she's using her powers to help people in a way that doesn't make her want to die, and she even "fixed" Victoria, when failing to do that before was the final nail in the coffin she just finished clawing her way out of! The sheer number of seemingly impossible things she's accomplished, of apparently irreversible failures she's seemingly put right, is mind boggling! It'd be the easiest thing in the world to let that go to your head!

Her social circle is also a perfect environment to enable her worst tendencies - there's no one left in it whose opinion she trusts that's willing to call her on her shit. Marquis doesn't see anything wrong with her behavior, Carol is trying to make up for a decade of neglect and unwarranted criticism, Mark just wants everybody to get along and be happy, and Riley and Rinke are pretty shaky on this whole human decency thing themselves! With a (not unjustified) pride in how far she'd come, a circle of willing enablers, a complete lack of moderating influences, and a bulletproof get-out-of-moral-culpability-free card, and two years to spiral, I find her backsliding to be completely believable. And given that Victoria is the fly in the ointment to all of this, that her continued refusal to have anything to do with Amy gives lie to Amy's belief that she can fix anything, and thereby puts the entire edifice of her self-rationalizations at risk, it also makes perfect sense to me that Amy would become fixated on her, on proving that she really can fix anything.

Of course, being believable isn't the same thing as being compelling. The thing that makes all this so resonant for me is that, at the end of Ward, after being this grasping spectre that haunts Victoria the whole book, after rejecting countless opportunities to demonstrate a hint of self-awareness or the slimmest motivation to change - Amy does. She sits down with a therapist. She rips off the band-aid - both the metaphorical one and the literal one made out of Victoria's skin, jesus christ Amy - looks at what she's done, at how she went awry, and resolves to do better. And we end with her in essentially the same place she was at the end of Worm: prepared to do better going forward and to make reparations as best she can. But the journey she has taken to get there gives the destination entirely new meaning for me. She's already fumbled her chance at redemption! But her journey gives lie to the idea that you only have one chance, or two, or any finite number! Every moment you draw breath is a chance to do better.

To me, Amy Dallon's arc in Ward shows that the most important step you can take is the next one, and no matter how many times you walk up and down that road, it never stops being true. And I find that compelling as hell.

[pumpkin-piiee]

I've seen people making up different story arcs on what will happen after the Noroshi War so here's mine.

*Manga spoilers ahead*

Maybe in the future, Nii Satoru-sensei might create a story arc about a sukeban*.

*A sukeban is a delinquent girl gang that emerged in Japan from the 1960s to 1970s.

History

Credits: yaz1ska on Instagram

Sukebans were formed due to bōsōzoku a.k.a. male biker gangs or the yakuza not accepting female members. The rise of sukebans has a huge impact on the feminist movement in Japan. Each gang has their own rules, hierarchy, and ways of punishment. E.g. Cigarette burns were considered a minor punishment if a gang member was disrespecting a senior member or stealing a boyfriend.

My thoughts if it were to come true

If the author included a story arc about a girl gang, I would have faith in him. I mean look at how well-written & well-designed the ladies in wind breaker are.

Credits: Pinterest

Credits: Mangapill

*I love how the author would draw sketches of Kotoha with major characters such as Tsubakino and Sakura. This means that Kotoha is more important than we have initially thought. Moreover, kudos to Nii Satoru-sensei for not sexualising Kotoha. I am sick and tired of mangakas sexualising female characters for no reason.*

Credits: Nii Satoru on X

Not to mention many of us know that Nii Satoru-sensei is good at writing complex characters such as Tsubakino.

Credits: MyFigureCollection

Story Arc, Characters & Operation

As for how this story arc will be executed, I believe it will cover topics such as feminism, struggles of womanhood and mistreatment of women.

Moving on to how this sukeban operates, here's my input. I believe everything they do is the complete opposite of Bofurin. E.g. instead of protecting their own town, they protect themselves. This is because the town they live in is also the complete opposite of Makochi, hostile and narrow-minded.

*I just thought of making this sukeban the complete opposite of Bofurin because I think it's interesting to see their reactions. It's also hilarious because the opposite of a boy gang is a girl gang. Get it? Okay, I'll stop.*

I also believe maybe this sukeban and its base can act as a sanctuary for women of its town who were mistreated by men such as giving them food, shelter etc.

I believe the overall vibe that they give is going to be like the military instead of high school.

As for their leader, maybe she'll be the opposite of Umemiya, stoic and serious. However, it is interesting if she was a good leader like Umemiya because so far we've only seen bad leaders in Wind Breaker.

As for their gang name, maybe it will be associated with elements such as water or space. This is because the other gangs e.g. Bofurin 防風鈴 is named after the wind element, Noroshi 狼煙 is named after the fire element, Gravel and Shishitoren 獅子頭連 are named after the earth element along with KEEL is named after or related to the metal element.

*I know that Shishitoren are named after animals but animals are also related to Earth sooo*

Final Thoughts

Overall, this is just a random thought of mine that I just want to share. If Nii Satoru-sensei doesn't include a story arc that talks about girl gangs, I won't be disappointed or upset as long as he writes a good story.

*P.S.. this is my first time ranting about an anime so feel free to critique or educate me if I've made a mistake. Also, I still have some opinions regarding this sukeban idea so should I create a part 2?*

[the-autistic-vulcan]

The Righteous and The Wicked

Ch. 1: Will You be My Friend? (JOHN WALKER X F!READER)

Synopsis: Life seems to be throwing stones at you. Every instance you were in, somehow it went swirling down the toilet. You and John were pretty much in the same boat by the time you both got back in contact with each other. It's one phone call. How complicated can this be?

Warnings: talks of divorce, just overall bad stuff hitting our characters (they will never know peace), poor mental health, john being a bit of an asshole (he gets better, i promise), kind of ooc John Walker because I can

A/N: Reader is a former Black Widow but does odd jobs, any type of reader, Reader is female in the story, Reader's sexuality isn't made explicit in this chapter, beta read

A/N: I do imagine the reader's hair to be a bobcut (bc 'thunderbobs' is hilarious to me)

Note: Surprise! She's here early! Hope you guys enjoy!

word count: 2.5k

photo and gif credit: @blank-potato, softvttae, hannawaldenberg

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New York, 12:03 PM

It was midday when she woke up from a sleepless night. Her hair was strewn from the tossing and turning, her room swamped with clothes she swears she folded and put away, and her equipment still sitting on her bedside table - they had dried blood on them. Perfect. New York, as usual, was honking her horns, shouting down the street, and yapping about the danger of unlicensed heroes - glad she wasn't dealing with that anymore.

Y/n eventually gets up from bed and heads straight to her stereo player - a gift she was given by an old friend. She sticks her CD in and presses play. She began to pick up her room so she could at least see the floor she walked on.

The music helped set the mood - it was important for her. She folded the shirts, cleaned and put away her weapons and placed them in a secure little box that hid deep in her closet. Grabbing her towels, she later went to shower, the cold streams of water falling onto her skin to clear her of the oils and dirt that she could remove.

She wasn't doing well. She knew she wasn't. Y/n had pretty much gone radio silent when the Avengers were certainly no more, when SHIELD lost relevance, and, mostly, when some of her closest friends were lost in war with some purple space tyrant. All that, coupled with what the DSM-5 would call a psychological conspiracy, and she was set to go.

Once she got out of the shower and changed, she ran to her kitchen to grab something to eat - all she had was a packet of oreos, instant bubble tea and leftover Chinese food in the fridge. The stereo kept playing, blaring its music in all corners of the small apartment - her neighbours would hate her - but that's besides the point. She put the leftover food on a plate and put it in the microwave. All the while, scrolling through her phone, she browsed any of the news articles to see if any really gave her a kick. Nothing interesting unless you want to know celebrity gossip, congress meetings, and other frankly meaningless topics to keep people's gaze away from the city's nearly daily repairs.

One, however, did catch her eye - 'Captain America: Only a Concept'. It was something about an exhibition dedicated to Steve Rogers. Y/n knew him well, not very personally, but respected him when she was engaged with the Avengers in select moments. As she read through, she smiled fondly, only for a moment. Steve was kind to her, knew of her situation and bared no ill of her. Yet her face soured when a certain name was mentioned.

Now, they really knew each other. "...shit." She muttered under her breath.

She didn't think so fondly of him - they respected each other as soldiers and reluctant allies - but they weren't friends. Not in the slightest. But they had each other's contact. But they're not friends. At least, she thinks that.

As she ate her food, she contemplated. She hadn't heard from him in nearly a year. Maybe more than that when she thought about it. What was so hard about just calling. Or texting. What was so difficult, why is she making this difficult? No. He's probably busy. Maybe he isn't. Why they had each other's number, heaven knows why. But...just press 'call'. No.

She put her phone on the coffee table, pacing up and down the room. 'You're over thinking this', she thought, 'it's not like you've got anyone else, right?'

Well, she didn't have anyone else. This guy was her only contact. How hard is it to--

*99c Store Cap calling...*

He was calling. Oh no. She wasn't even prepared for anything like that happening - she dusted invisible dirt off, took a breath and swiped to answer.

"...yes?" She spoke.

"...Y/n?" He inquired.

"...John?" She questioned back.

"Yeah...it's me. Haven't heard from you-"

"Why are you calling me?" She asked, accusing, "...we haven't, uh, we haven't seen each other in like..."

"A year." He completed. "Yeah, uh...I've been going through a rough patch, right now. And yourself?"

And yourself? What was that supposed to mean? She stared at her living room, the food on the plate still, peering at the crack in her wall, and the pile of clothes still needing to be folded.

"I'm great." She lied.

"That's good. Hey, listen. Since we haven't exactly spoken in a long while, I was thinking, maybe we could...meet up?" He offered. In all fairness, actually talking to someone could do her some good. She thought for a moment.

"I, uh..." She replied, "I can't...I'm kind of busy." She lied again. She heard the audible disappointed sigh.

"Uh, yeah. That's okay. Just wondered. Let me know when you're free. I'll talk to you soon." He spoke, she couldn't see him, but a slight smile was on his face.

"M'kay...bye." Y/n hung up. 'How could I be so...downtrodden?' She thought, throwing her head in her hands like she was incapable of speaking. Maybe the feeling will blow over. Maybe.

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22:47 PM

She was still thinking about the conversation from this afternoon. His words rattling in her brain like she longed for conversation. Supposing she did go meet with him again, what would come out of it? What would she gain? What would he gain? Everyone had their reasons, and she had none? Impossible.

Y/n laid in her bed, staring at the untouched message board of John. She typed, but then deleted it. Just play it cool, she thought. Not too cool, nonchalant. But still...care?

Soon, she just...got herself together and typed.

"Well...that was easy." She whispered to herself. She set her phone down and flipped over. Hopefully getting back in contact was worth it.

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Eagle Espresso, 9:20 AM

Y/n was often punctual - that was to an absolute fault. No matter the occasion, wedding, funeral, just a chat, or a life-changing conversation, she was always early. Never late. Never on time. That was how she conducted herself, and that didn't change. At least something was a constant - she was meeting someone she hadn't spoken to in over a year and having doubts of whether or not the meet up is truly serious.

She turned the corner on 4th Street to the coffee shop. It was her favourite place to go, besides the Natural History Museum and the library. It was quiet, calm and there was nothing major ever going on. Eagle Espresso, for lack of better explanation, sort of just showed up near her street - it was still in its infancy, only being around for about three years. Yet she went any time she got a chance to.

She found a booth, right by a window that faced the street. It wasn't picturesque, but it was her spot. Always. She pulled out her phone, reading the time: 9:30 AM.

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John was on the bus from his place. The cart rattling about from left to right, crowded to its brim with businessmen, school kids, the regular joes, and himself. He was lost in his own head, also. He thought about what exactly led him up to this point. For all he knows, she could be leading him into a trap, why else did she take long to respond? But, uncharacteristically, he gave her the benefit of good conscience.

He felt his phone buzz as the bus halted at the stop, he got off in the crowds and pulled out his phone once safely on the next bus over.

He couldn't help but smile a little at her texts. But his smile would falter slightly when seeing the coffee shop just a few buildings down from his final stop.

He walked with a fairly confident stride, but he had an air of clueless purpose. 'Why did I agree to this?' He thought to himself, the stride still greatly moving. He didn't have time to think for a moment, since in a matter of seconds, he was at the entrance. He took a breath, stepped inside and looked for Y/n - unfortunately, he was having second thoughts.

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She sat back in the booth chair. not really paying much mind to her surroundings, but was sucked back in when she saw someone walk in. He was dressed in a blue zip-up sweater, washed out jeans, work boots and dog tags dangling at his neck.

It was John. At least, she thinks it is. He had a beard, he was clean-shaven since she last saw him.

She stood up, and called out, "...Walker."

Once that name slipped from her lips, they just stared at each other for a moment. Taking each other in. Heavens it had been a long time coming.

"...L/n." He called back, a relieved smile appearing on his face. "...Been a while, huh?"

"Yeah, sure has." She spoke, gesturing for him to sit down with her. He sat in the booth chair across from her, trying to get comfortable. He noticed her own subtle attire - a plain white t-shirt, jeans, sneakers and her jacket - one she always wore.

10:06 AM

It got quiet again, until Y/n decided to speak again. "I'm happy you could make it. I didn't know whether you'd get here or not..."

John shrugged, "Well, I was spending the bus ride thinking it was some ploy for a mission, or something, so I guess you're not alone in that--"

"Do you seriously think I'd reach out for that reason?" She replied, "Firstly, you reached out to me. Secondly, if it was a ploy, you wouldn't be sitting here in front of me - you would've been dragged out back." Just as she said that, one of the waitresses came by with her pad in hand.

"Hiya, what can I get ya?" She asked, sweetly.

Y/n composed herself again, ordering, "I'd like a Caramel Frappuccino, with coffee and cream, please." She then gestured to John to order.

"I'll have a Mocha, extra caffeine." He requested. As soon as the lady left, they both sighed, partially in relief. "...you are so damn lucky she didn't hear that last part."

The former spy brayed. "Whatever. Besides, it's not like I can do that anymore. I do odd jobs now - New York never sleeps. Neither does the crime." She tapped the table aimlessly. "And yourself? You said you were in a rough patch over the phone. Why's that?"

John visibly tensed, his posture fixed. "Um, yeah. Wow...yeah, rough patch..." He stumbled, but ultimately tried to keep himself as in control of himself as possible.

"Uh, let's see. Last year alone...Captain America title - no more of that. Like I said in the text, my stuff was confiscated so I have nothing," he started, and it was only going to get loose from there, "my wife, Olivia, she left me. Took my son with her. We're supposed to be going to custody talks later. How much later, I have no clue. Life has been nothing but monotonous and frankly I'm tired of it--"

He was about to fly off the handle, but the waitress came back with our drinks. We politely thanked her, then we turned back to each other. Y/n interjected.

"I...I didn't realize it got so bad. Why didn't you call sooner? I would've helped." She said, sipping her drink. "...what stopped you?"

"You were busy." He replied, "Plus you were with Bucky and Sam at the time, things just fell apart from there..."

"Bucky and Sam have nothing to do with this. I may not have understood why you were Cap at the time, but I respected you. Didn't a call matter to you?"

"Didn't a call matter to you when Lemar died in front of us both?"

She knew he was going to bring this up. Lemar was important to him, more important that Y/n sometimes realized. She didn't know him personally like John did. She took a breath.

"Don't bring this on me, John..." She spoke, "We both know what happened to Lemar was awful. What was said was awful. I can own up to that." Y/n leaned back in her booth chair, contemplating. "...why did you call me now?"

A silence hung in the air, more so from slight tension more than awkwardness. John leaned forward, placing his hands on his warm mug, "Because I've got no one." He then looked up from his mug, "Why did you answer?"

She shrugged, and replied, "Because I haven't got anyone, either."

They both sipped their drinks. "I'm sorry all of that happened to you. If you called sooner, I would've made my best efforts to help. I just want you to know that."

They stared at each other for a bit, as if studying the lines and curves of the stress of it all. They both had tough lives. Whilst they would never align in experiences, there was always something that they could agree on. Stress lines and any sort of details like that were interesting to them both - whether it was scars from previous punch-ups, marks from menial activities, or just experiencing the borderline of completely deteriorating...

John's lips pulled into a tight line. "I'm sorry. I just--"

"I get it." Y/n spoke, "...we're both a mess." They both chuckled. They then stared again, until John spoke up.

"...those odd jobs. Anything interesting in that?" He asks.

"Well, aside from a good ass kicking, nothing particularly interesting. I come home with a bloody forehead every other week." He laughed a little, it was nice to hear it. "...if you're looking for something to do with yourself whilst in your slump, I'm afraid this isn't gonna be it."

John smirked, "Please, L/n, I can handle myself. I'm not a damsel."

"No, but your record needs cleaning. I'm a lost cause, don't get mixed up in that." She advises, knowing fully well he won't listen.

"I'm not getting mixed up with a vigilante." He retorts, "I'm getting mixed up with a friend.

"Oh, so I'm your friend now?" She laughs, "Very funny." But in all this, she smiles, a genuine smile - one she hadn't given someone in a long while.

"Will you be my friend?" A brief silence descends.

"I will." She replied.

With that, they finished their coffees and talked like old school friends. Some laughing, some venting and just enjoying each other's company. It felt like they were there for a few minutes.

In reality, they were there for almost three hours.

୨୧ ───── ୨୧ ─────୨୧ ───── ୨୧ ───── ୨୧ ─────୨୧ ──── ୨୧

John's House, 14:17 PM

John had later arrived home. He removed his zip-up sweater and threw it down on the couch, he kicked off his work boots into a corner and he sat in his armchair, staring out of the window of his house. The sky was still grey - but for the brief time he was out, the sun was close to blinding.

He pulled his phone out and stared at Y/n's message board. He typed.

⋆⭒˚｡⋆🕷️⋆⭒˚｡⋆🕷️⋆⭒˚｡⋆🕷️⋆⭒˚｡⋆

She smiled as she read the messages. She was sitting on her couch, he feet propped up and soft music playing in the background, letting her drown out the noise of the outside.

Now they had each other. After so long, they both had peace again...

-------------------

Published: 28/05/2025

Taglist: @fandoml0vers @addywqlker @scre4mera @ratcatcher2world @olivia21blunt @linkpk88 @lovelyvaderx @dolphdrago, @king814318

[heytemporary]

So what broke you on MHA? Was there a turning point for you?

OMG MY FIRST ASK!? Never thought I’d see the day someone would use my ask button to the point I completely forgot its existence. But thank you!

Now to answer your question….hm. It’s been such a while since I’ve actually immersed myself with MHA, but let me give you a little backstory of how I got into it.

Around 2019 I believe, or maybe late 2018. I was 16yrs old and a friend of mine recommended it. I was immediately hooked, and that’s saying something because usually it’s hard for me to get into a show without loosing interest. I’m talking about hyperfixtating and obsession, not a one time thing or immediate drop.

My first favourite character? Fukimage Tokoyami. Then it was swapped for Hero Killer: Stain. Then I considered favouring Spinner before it was officially last swapped for Hitoshi Shinsou.

Pinpoint of when I began to lose interest? Sometime after the sports festival arc. It was still there, but my main driving force was because of Shinsou. Like I previously mentioned its been a while since I’ve actually immersed myself with MHA so I apologise I can’t give a detailed analysis of why this episode was the nail in the coffin.

Even when I first started watching the series I could already see the flaws and was highly critical, but I bared through it in hopes it couldve gotten better.

Also, I’m someone who’s a tunnel vision fan. Not the bias type fan, but I hardly interact with the fandom unless its to look at certain fanart or fanfiction or they’re likeminded people.

Imagine my surprise and disbelief when I decided to go out of my bubble and see everyone worship the ground b*kugo walked on. Honestly for a moment I thought I was going insane or was being too harsh on him, until I decided to download tumblr and found the critical tags

Sidenote I once did have a tumblr account that was active in the 2019-21 mha critical accounts before I decided to delete it.

Then I dropped it around late 2020- early 2021. Just didn’t feel like torturing myself with a show that disrespects its characters, and the overall census of the fandom lacking critical thinking skills. And also 16yr old me was just salty Horikoshi wasnt paying attention to Hitoshi but I digress that doesnt count lol.

Then sometime around 2023-24 the final war arc began gaining attraction. At first I ignored it cause I was just a tired hater, but then I just kept on seeing it everywhere and decided you know what let me check it out and see how far Horikoshi fell off.

And boy was that arc a cluster fuck within itself. Too many things going on at once. This arc and that arc and that character and this one and that. I was just hating the entire time.

But it was only after the dust settled, the episodes were animated and the manga finally finished did I decide to rise from the ashes and rejoin the tags under a new account that I originally used for Demon Slayer fan content.

While I can’t give you a dissect analysis on an episode or a character because that would require me to go back and watch the episode and truthfully I don’t wanna torture myself again…I can lay out the things that I never liked about MHA.

In no particular order

•The world-building. Not utilized in the grand scheme of things, and it being focused on Japan is not an excuse. This is not your average story where only a certain group of people hold powers and those powers are God like. These are your everyday people, born or not born with a Quirk thats unique and tailored to them. So many opportunities, gone and wasted.

•Addressing controversial topics (Lack of better word). Horikoshi would highlight it….and then forget it the next day. An opportunity to touch the darker side of Quirk society, or have a talk about the philosophy of it.

•Too many characters. You want to have a large cast fine, but if you’re going to do that please understand your limits and what you can handle. If you know you can’t write for every single characters then establish that, make it known that x character is a one off character, a side character or a plot device etc- As long as they all help contribute to the story in some way instead of leaving them to rott then suddenly remembering they exist and you try to make them have this important arc as if I should care when you never even bothered to make us care for them.

Or just reduce the cast, simple as that. Seriously, 20 entire classmates? Horikoshi, please take a page out of Danganronpa when it comes to handling a large cast. (Fyi: Im also critical of Danganronpa but I know when to give credit when due)

To be fair Horikoshi couldnt even handle his main characters properly.

•Tell don’t show. This is quite common in the Anime Industry, and for what reason I have no idea. Never liked this type of narrative storytelling, but I’m able to suck it up just as long as you know how to make it work. Horikoshi just did the most with it, and especially with too many flashback scene it just turned me off if anything.

•Lack of consequences. It took me a very long time for me to tolerate asshole characters turned good, and you can thank bakugo for that. Before I always had my foot on their neck everytime, and you could not convince me to even shed fake tears for them. Bakugo is coddled by both writers and his insufferable fans, so their love for him only fuled my dislike for him.

But aside from bully archetype characters there’s also plot type of consequences, and I can see Horikoshi lacks the nuances to delve or stick to the door he opened. The supposed high stakes are illusions, and that is best seen with the war arc. Like you knew all the heros and students were going to survive, except maybe like 1 or 2 no one should honestly cares about yet apparently everyone held a pity party for midnight lol.

•The disrespect of the Female Cast. Horikoshi had the perfect opportunity to address the sexism the female cast wouldve faced. He barely brushed it and he was only using his jerk off right hand to create these characters designs and story. He’s a disgusting pervert

•Favouritsm. Horikoshi favours Aizawa, Hitoshi, Mineta and Bakugo. 2 of them are confirmed to be his self inserts and that speaks for everything in itself.

• I may add more bullets in the future when I remember my other reasons as to why I dislike MHA. But this is about it really.

Thanks for the ask, and my first one! Honoured to answer your question.

[fooligandan]

Idk anything about kingdom hearts but tell me about disabled characters or disability in it?

Ooh.... On the one hand, case of "If this was realistic these people would be dead several times over from being slammed through buildings but the nature/tone of their medium (+ literal disney and fantasy healing magic also) prevents most cases of permanent injury" in general, such is fantasy video game non-realism I suppose

On the other hand, there's a little bit though or at least some topics of interest that's related to that --

1: Xigbar

Guy got an eye shot out by a darkness beam, owch. I imagine this was a difficult adjustment to make for him + would have its difficulties and struggles, especially regarding a new lack of depth perception

This gets little focus outside of the event where it happens to begin with though (IIRC; could be wrong or just forgot)

2: Riku

Rare case of someone getting hurt and the resulting injury sticking around and not getting heal-magicked away immediately(/presumably), had his wrist probably broken during a fight (shown in flashback) and for the game this is shown in and some afterward has a wrist brace-like sleeve on the affected hand (KH3 Riku has like half sleeves on both arms), and I THINK his fighting stance is different from then on too?

This is most pronounced in 2 tho where that side's hand just at his side and isn't used very much, due to recency. I'll have to pay attention to this again, interesting detail overall though

Also in 2 gets kicked in the hip and has to be supported for the following scenes but unlike the wrist thing seems to have recovered?

Get this kid a cane, good god

I think it would be very cool to have more characters show up that casually just have disabilities than just these two (unless I forgot someone/I'm meant to count anyone in the disney cast too? and i also forget from there?), SO I kind of just, like, play pretend with whoever I think could use some disabled swag or if I think it'd be interesting to think about. I've given Aced epic autism I can do it again to others as well.