#just kidding around if anyone has any questions yall are free to send em! I'll answer to the best of my ability~

[incorrect-ikevamp-quotes]

@theeyethatbinds​ Girl SING IT. SING IT LOUDER FOR THE GIRLS IN THE BACK, SWEAR TO GOD.

Like I’m gonna be real wit y’all I was looking forward to le Comte for a while, but I was always side-eyeing Jeanne. He’s a blunt hermit and grump and 100% mood, so I hoped his route would give me more insight into how I feel about him.

Ladies. When I tell you. It was EXCELLENT. I mean there are so many gr9 routes in the game, I don’t want to take away from them, but there was just something about his that hit me so hard???? (MY KOKORO BROKORO)

More under the cut since his route won’t be out for a little while (we still got Isaac, then Theo, then Jeanne), as a little treat. As usual, pls don’t read if you don’t want spoilers, thanks!

Okay so going into this route I was fully expecting the big sads. I mean, if history has taught us anything it was that Joan D’Arc was a badass but good lord, that doesn’t mean the people of her time were kind to her. (I need to do more thorough research on her, so if I’m getting any of her pronouns wrong or neglect something, I do apologize.)

That being sad, I was like aight DECK MY SHIT WITH TRAGEDY, JEANNE. And at the beginning it’s p fascinating. He’s very ornery and resistant to any kind of consideration or attempts at friendship MC extends. But eventually, after a good deal of persistence, he relents little by little.

I’d also like to level with y’all for a sec. Being someone who knows a great deal in regards to the kinds of mental and emotional shit Jeanne struggles through, I think they handled that part of the route so, so well. Granted, I’m not the kind of person to launch a crusade over different writing styles--but for me it just feels all the more poignant when it makes sense; when certain dispositions or trauma are conveyed with that depth. To me, it made 100% sense that Jeanne would be so against accepting other people into his life immediately.

He and Mozart vibe because they’re so similar, but that doesn’t necessarily mean he’s comfortable letting just anyone in--much less a complete stranger. I think it’s more that Mozart and Jeanne share a kind of indelible bond/mutual recognition through their talent, actually. They were both prodigies, absolute geniuses in their fields (military vs. music) but their social skills were shot to hell for the very same reason. To be brilliant--beyond one’s potential posthumous legacy--tends to mean being hated. Plus, they’re both principled to absolute extremes. When they’ve decided on something, they will not waver. They’re stubborn and austere, but behind those walls lies a molten core of sensitivity.

This is important to understanding him, I think, before I move forward.

While one could argue that their reaction is a result of that deficiency of emotional and social support (which I entirely concede does contribute to the matter at hand, it shouldn’t be overlooked) I think the real crux of the matter here is control. Think about it. Among the oldest residents in the mansion (let’s say that were born more than 100 years within the range of the present period of the game) are Mozart, Jeanne, Isaac, and Shakespeare. What do they all have in common?

Extremity. For Mozart, it comes in the form of a kind of OCD, as perfectionism. For Jeanne, it is generalized anxiety and PTSD. For Isaac, it is primarily social anxiety--but it’s still noticeably severe. And Shakespeare runs around with a knife, insecurity through the roof, literally unable to trust anything or anyone (psychosis? schizoaffective? I’m really not sure, these are all ballpark assessments based on the evidence I have). In order to adjust to their new surroundings, there was a cost--and in some ways their coping mechanisms become noticeably maladaptive. They were born into eras that were mercilessly unpredictable, and the only way they knew how to cope was to was to either take the blame--make it a personal failing that tragedy struck--or try to immerse themselves into their craft. They all seek to regain some kind of control (this is even visible in Vincent, to a degree--painting was an escape from his emotionally turbulent world).

Granted that’s not to say that the others don’t struggle with such issues at all, I just feel like the characters from more unstable time periods tend (as a general trend) to mirror that instability within their personalities.

All that being said, (I apologize I am a tangent-monger and love meta), Jeanne’s self-imposed isolation is only partially caused by the above dynamic. Yes, he is unwilling to let people into his heart for fear of betrayal. (It’s almost like an entire nation clamoring to watch you burn for something you didn’t do after spending your entire life and talents trying to protect them would do that to you, but I digress >:| ). But there’s another devastating and potentially less obvious reason for keeping people out.

He thinks he deserves it.

Loneliness, melancholy, aimlessness. These are all the punishments that he incurred on himself after a life of what he conceives to be considerable sin (hahaha battlefield enemies go ripppp). Whether or not he was operating purely out of a sense of duty, even if he felt sympathy for his enemy combatants, it’s not enough. And the condemnation of his king, of his entire nation, only served to magnify that self-loathing to a dangerous degree. (Don’t get me started on his parents I’m still so angry >:| they more or less disowned him since he was constitutionally weak as a young boy, and thus could not serve as an adequate farmhand. Don’t work? Don’t eat/live).

It’s hard enough living in a reserved way because you’re afraid of getting hurt, but to think that you deserve it when hurt finds you, no less? And my favorite part, that he’s so profoundly sure that it is an extension of a personal, fundamental failing? That for a person to survive, they must be strong, that there can be no other way--that there is no time or space for ruminations on fairness or unfairness, there are only those who manage to survive and those who die.

Now my friends, esteemed comrades, legendary sluts. Is that enough for us, Cybird asks, are we feeling enough pain quite yet? Fuck no.

Most of his route after we get over the hurdle of his hesitation is just him. Being. Bashful and gentle as all FUCK. Like he is the definition of “I'll kill you, but also I’m babie.” For instance, she insists on teaching him how to read and write at night when she finds him trying (and not succeeding) to read “The Ugly Duckling”. Yes I mean the children’s book. I CRIED THE FIRST TIME AND I’M CRYING NOW. So, naturally, MC buys him a notebook to practice with and he puts his name in big letters on the front. When MC sees this, she asks him about it--wondering why he would given he’s so self-conscious of his own writing (boy writes all squiggly like a little kid because he’s never done it before ;-;).

The scene goes a little something like this:

MC: Wh....whatcha go there Jeanne? Jeanne: ? My notebook? MC: I...mean that you wrote your name on it? Jeanne: Yeah? MC: Why? Jeanne: ._. It was a gift from you, and I figured it'd be hard to practice if I lost it...so I put my name on it... (HE WAS SECRETLY TOUCHED I BET AND IM--) MC: Why such big letters? Jeanne: So people can spot it quickly, obviously MC, inches from crying and laughing: Jeanne: Mademoiselle??? Why are you laughing? MC: Because you’re cute, Jeanne!

Like. They start out so rocky and Jeanne is so SIGH. I guess I’ll agree if it’ll get her to stop looking so sad and ask me to join her for stuff. But then he just can’t help but go full softe at how patient and kind she is, starts feeling comfortable just...being who he is deep down. A man that’s always hoped for better in life, a person that only ever takes up his sword to protect--that has an incredibly pure and clear heart, despite so much pain.

And good lord, they are GOD TIER romantic slow burn???? Swear to everything holy, I was BEGGING for them to make out by like chapter 10, I was just suffering for most of the route until the bangarang premium. Here’s probably my favorite moment in the entire route:

Basically Sebastian and Mozart pull out all the stops trying to bring Jeanne and MC together (once they see Jeanne show some interested in her). And so Jeanne asks her to join him in the courtyard the next morning, and they’re playing with Cherie (Jeanne’s pet baby white tiger). Besides being ungodly adorable--because Jeanne invited her for the sole purpose of hoping to see her delightfully surprised--Mozart begins to play a love song nearby. They don’t name the tune, but Jeanne canonically starts singing along (I wholeass cried, I WANT TO HEAR HIM SING????). And so she asks what the song is about, and he explains that Mozart once played it for him, but he couldn’t make out the words at first. Mozart explained that it was a love song that speaks to the difficulties of being in love (the worry, the strife) but also the beauty of the intensity and passion. He goes on to say that even when he learned the words, it never made much sense to him back then--it never resonated.

He’s singing softly with a fond look, and so she asks, does he understand it now? And he looks her dead in the eye, and says “...I think I’m starting to.” Like. AM I SUPPOSED TO NOT LOSE MY MIND AT THE TENDERNESS????? WHAT A SMOOTH MOFO????? MAN RAISED TO BE A SOLDIER, NO KNOWLEDGE OF ROMANCE OR WOMEN, AND KILLS ME IN MILLISECONDS?????? I DEMAND JUSTICE. (Or it’s just me thinking sincerity is the best aphrodisiac, but that’s beside the point.)

This has been your quarantine 2d boy meta and yelling, provided by your local mod Minnie. Now if you’ll excuse me, it’s time to get to the things I’ve been procrastinating on while reliving/dissociating about one of my favorite rts in the entire game. Stay safe and well out there y’all, peace out!