#noé arqueueviste

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Man come to think of it, it's really funny how at the beginning of VnC once Amelia's saved, Orlock is so "I'm going to put you up in a hotel and keep you within reach and supervise you while you work," but since then, he's yet to ever once willingly give Vanitas and Noé a job.

The bal masqué and Gévaudan had nothing to do with him or with Vieux Paris in general, he didn't know about the amusement park 'til after the fact, he assigned the current miel issue to Dante and co rather than Vanitas, and he specifically told Vanitas not to get involved with the catacombs.

He's like the opposite of a quest-giver NPC. Guy who exists entirely to yell at the protagonists for engaging with the plot and whose office is the setting in which the protagonists get most of their quests, but from any source other than him.

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le petit miaou miaou

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Oh I just thought of the most insufferable queue tag for this blog. I’m so fucking excited holy shit

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I think this point got a little lost amid the general fandom glee at Dominique and Vanitas bonding (or at least it did for me), but looking back at chapter 60, the implications that this scene has for Vanitas are fucking wild.

It's not the only aspect of her relationship with him, but a huge cornerstone of Dominique's feelings toward Noé is the fact of her absolutely massive crush on him. Like, as much as she's venting about how he frustrates her, Dominique's thoughts on Noé in this scene are the thoughts of a woman that is canonically in love with him. And Vanitas apparently thinks/feels the exact same way.

As their shared venting reaches its fever pitch, Vanitas and Dominique both reach the exact same ending point. Noé is stubborn and overly straightforward and unrelenting, and both of them feel helpless against it. And they say as much!

They say as much, and then they both cut themselves off and flinch away in the exact same way, as though they've said too much. They've revealed some deeper truth about their feelings and the ways that Noé's force of personality affects them.

Dominique reacts this way presumably because she touched a little too close to the reality of her romantic feelings for him. The thing cut off at the end of "Since he's like that, I—" is some expression of the depths of her incredible fondness for and attraction to him. And Vanitas apparently feels the exact same way as Dominique. He expresses almost the exact same outward sentiment and catches himself and flinches in the exact same way. So if Dominique is speaking here in (albeit frustrated) love, then what emotions is Vanitas speaking from?

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Frankenstein—Mary Shelley

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[Image Description: A panel from The Case Study of Vanitas. The Chasseur Ogier waves and says "Your clothes say you're dham information brokers. Is that correct?" End Description.]

Y'know I always thought that Dante and co's little matching suits were really cute, but now that we know it's a dictated uniform rather than a choice the trio made to match each other, it's honestly a little unsettling.

I know lots of jobs have uniforms, but given the power dynamics involved, something about it is just. hm.

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Hey so I've been flipping back through volume 5, and what on the actual earth was this about?

We definitely don't see Naenia tell him anything besides "we meet again" when the big brawl with Charlatan happens, and I don't think this ever comes up again after he wakes up at Chloé's. The drawing here is a flashback to a panel that's completely without dialogue the first time we see it. Am I missing something? And if I'm not missing something, and this really is completely unresolved, then what the hell does that imply?

What did she tell him??

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I gotta say, I always assumed that Vani's trademark coat was something he started wearing after Luna's death as part of his "Vanitas" persona, so finding out it's actually yet another memento of them is uhh

Wow.

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Lord I cannot believe it took me this long to realize this, but. Vnc's refrain of Noé trying to grab Vanitas's hand is a metaphor.

This whole time I've been reading the constant references to "Noé grabs Vanitas and saves him from falling, but one day he'll fail" as very literal foreshadowing for a day when Vanitas is going to fall and get hurt (or die?) and Noé will fail to catch him. And I still think there's a good chance that's true! However, it's also really obvious symbolism for the idea of salvation in general.

I've beaten this drum to death, but Vanitas is more or less the ultimate example of a character doomed by the narrative. He is going to die; the entire story is the buildup to his death. And one of the main conflicts is that Noé wants desperately to save him (and wants it more and more as they grow closer), but by nature of the story, we know he can't.

At least by Noé's definition of salvation, Vanitas is unsaveable. His death and suffering cannot be prevented, and despite Noé's best efforts, he is going to die by Noé's hand.

Enter the falling metaphor.

The absolute certainty of Vanitas's death works like the force of gravity. He is constantly being pulled down and down toward his doom like an endless free fall. But then Noé steps in and tries to save him, and in little ways he even succeeds! In all the little less important ways, he grabs Vanitas's hand time after time.

When Vanitas goes toppling off the ledge in Gévaudan, Noé catches him and shortens his fall. When Vanitas sinks into despair in Moreau's lab, Noé snaps him out of it. And when Vanitas gets lost in his own trauma and self-hypnosis at the amusement park, Noé brings him back to reality. For all of the little free falls, both literal and metaphorical, Noé is there for Vanitas before he hits the ground. The beating heart of their relationship is Noé's constant attempts to catch him.

However, Noé is haunted by the fear that he is going to fail someday. When Faustina reverts back to Naenia and dissipates in Gévaudan, he's shown a vision of Charlatan(?) telling him his hand cannot reach Vanitas. Naenia preys on people's worst fears and weaknesses, and this is one of Noé's. He fears that his hand will not reach the one he's grasping towards, and he will fail to save those that matter to him. The very broad line "you persist in reaching out for them" in the middle of Noé trying to literally catch someone more or less tells us outright that the falling and catching is a metaphor for salvation.

And when he speaks from the future, Noé confirms that this exact fear has come true. Noé in his narration is haunted by the regrets of "that day when I didn't grab your hand." His grand attempt at Vanitas's salvation has ultimately failed, and he didn't catch him when it mattered most.

The night that he first meets Vanitas, Noé throws himself out of an airship in the attempt to catch and save him. And from that point onward, he tries to catch him over and over again. Their relationship is one long straining outstretched hand as Noé attempts to pull Vanitas from his endless plummet downward. He is the one person deeply focused on Vanitas's salvation. However, Noé cannot ultimately stop the forces of tragedy and gravity and doom, and in the way that matters most, he can never quite reach Vanitas's hand.

There is going to be a day when Noé will be unable to catch him, and that day is the day that the entire rest of their relationship (and the entire rest of the metaphor) is building to. Noé is constantly reaching out, but he cannot save a man that is already dead, no matter how passionate the outstretched hand.

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I haven't seen anyone else point it out yet, but this line has to be alluding to something important, right?

I can't think of any context in which the description of "unstable existence" could apply to a normal vampire like Noé or Dominique, but we have seen talk of "stabilizing existence" back with Naenia in Gévaudan.

There's no way to know what's wrong yet, but something is *up* with Teacher. And based on "how long have you been like that," it's possibly a newer problem that he's developed since the last time he saw the lady Archiviste.

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Looking at this cover again in the full context of the chapter, it occurs to me that. this page comes immediately after the chapter is introduced with "this is a story."

This chapter's first two pages say: remember that this is a story, now here's the characters inside a box. Contained like they are within a narrative. Within manga panels.

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I have not stopped thinking about The Vampyre since I read it, so here's some extra trivia for y'all about Lord Ruthven's name:

VnC's Lord August Ruthven is, of course, named after the Lord Ruthven from the short story "The Vampyre." Written by John William Polidori and published in 1819, "The Vampyre" is often cited as the first piece of true modern vampire fiction. It makes sense for Mochijun to want to reference something so genre-founding.

However! The circumstances surrounding this short story (and thus the Ruthven character) are both deeply weird and deeply fascinating.

For starters, do y'all know the famous story about how Frankenstein was written? It started as a challenge between friends stuck inside due to bad weather—write a frightening story for everyone's entertainment. Mary Godwin (soon to be Mary Shelley) and her future husband Percy Shelley were there, of course, but so were the poet Lord Byron and his personal doctor: a man named John Polidori.

While Mary penned the beginning of one of the most famous books in history, Byron's own attempt at horror was abandoned partway through. He wrote a fragment of a novel about an aristocratic vampire and a foolish young man that traveled with him to Turkey, but he never inteded to finish it. However, after learning how Byron thought the tale would end, Polidori eventually came to write his own (complete) version of a similar plot.

The Vampire in Byron's fragment went by the name of Augustus Darvell, but for the majority of "The Vampyre," Polidori's titular monster calls himself Lord Ruthven. This name comes from the novel Glenarvon by Lady Caroline Lamb, a book that openly parodied and mocked Lord Byron (Lamb's ex lover) with its main character.

Now, why did Polidori name the monstrous, cruel, almost parasitic monster in his story after a parody of his patient and boss? That's because their relationship was deeply fraught. I am not the person to speak accurately on this history, so let it suffice to say that Polidori did not have a rose-colored image of Lord Byron.

Byron was famously promiscuous and often in terrible debt. He doesn't seem to have been particularly nice to his doctor. If you read about their time together in any detail, it becomes obvious why Polidori might feel the urge to mock him as a monster.

Polidori wrote a vampire that seduced, tore through, and ruined innocent young maidens. He wrote this after traveling Europe with a man who was forced to flee England with a rake's reputation and a charge of sodomy. He named his vampire Ruthven, after a caricature of Byron, because his own Ruthven was also based on the man.

In other words, the first finished story to create the modern trope of the aristocratic vampire was in large part a parody of Lord Byron. It is a monster inspired by him and named after a character that existed to sleight him. It is also based on a story that Byron wrote.

And in addition to this being generally fascinating, there's something so fun about this in the context of VnC.

The Case Study of Vanitas is its own story, but it's also so chock full of allusions and references that you could almost call it a pastiche. Half its characters are half-crafted out of pre-existing characters and historical figures, but they're only ever halfway stolen. There's always something new built from the base of the reference.

And in a big way, that's what Polidori did back when he penned the first piece of modern vampire literature. His first vampire was partly a reference to a real man, partly borrowed from a pre-existing story (Byron's fragment), and partly conjured from Polidori's own imagination. It's history and literature and new content all bundled together, just like VnC is.

Lord August Ruthven is a reference to Polidori's Lord Ruthven, who was in turn a reference to Lord Byron. He's named after both Byron's Augustus Darvell and Polidori's Ruthven, and Polidori's Ruthven is named after Lamb's Ruthven (who was also based on Lord Byron). He's yet another layer on this tower of self-referential Ruthven-ness, now totally abstracted from any real Byron traits.

As much as Mochijun is playing with the tropes and ideas of this era of vampire literature, it's really fun to see how her tendency toward allusion and reference is itself a nod back to vampire literature's beginnings. It's another way in which VnC slots in as another link in this 200 year old literary conversation.

Anyway, if you want to learn more about the bonkers story behind the Vampyre, here's a link to a not super scholarly but very entertaining essay about it.

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Guess who noticed a really interesting tiny detail again?

Beloved mutual torterrachampion recently pointed out to me that the special thanks page in each vnc volume always has a nice crisp lineart version of the frame from its cover, and there's some really interesting details hidden in there. A bunch of the thanks pages even show extra details that aren't there on the actual color covers themselves!

In particular, volume 2's frame has this whole bottom bones/flowers arrangement that's totally left out/hidden on the actual cover:

And right off the bat, there's a couple things about that bottom arrangement that really catch my eye.

First of all, the position of the hands there strikes me as pretty important, since uh

reaching out and down toward Vanitas is a pretty major recurring image for Noé. It makes a lot of cool symbolic sense that this shape of reaching hand would show up in his frame, since it seems to be so important to his story.

Even more interesting than that, though, is what's going on with the left eye of that bottum skull. It looks like the skull's been partially shattered there around the eye, and while Mochijun does generally seem to enjoy a bit of cracked bone imagery, this one stands out to me because:

Something happened to Noé's eye when he was a kid, but he's never once acknowledged it, and we've never gotten a single hint at what it was beyond it happening with the traffickers. And now the one skull featured on his cover's frame has a huge crack around its eye.

This doesn't actually give us any new information beyond just drawing yet more attention to the eye mystery, but. DAMN.

The rest of the imagery in this frame (the book and pen, the mourning lilies, the reaching hands) is all pretty central to who/what Noé is as a character. So while the cracked skull is/could be just a clever little nod to the existence of the eye mystery, its surroundings make me wonder just how relevant that injury is going to be.

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[Image Description: A reply from tumblr user aguacerotropical that reads "do u think he's an actual archiviste or just a shapeshifter? posted bout this earlier but I'd like to kno ur thoughts" End Description].

@aguacerotropical I'm somewhat of two minds about that at the moment.

On one hand, there are a lot of ways that Machina being an actual Archiviste wouldn't make much sense. Sir Francis Varney is a member of the vampire senate. If she's an Archiviste and this is her true form, that means that either 1, she's managed to keep her appearance, gender, etc fully secret from the vampire aristocracy for centuries, appearing at senate meetings and such exclusively in full disguise since the very beginning of vampire society, or 2, the senate knows she's an Archiviste but is keeping her secret perfectly from the rest of the world.

Like I've seen you point out elsewhere, the odds of other vampires keeping the existence of a high-ranking Archiviste secret are pretty low, especially once you get the de Sades involved, which makes me really doubt the possibility of option 2. And while option 1 is possible, it comes with its own kind of logistical dubiousness.

However, on a narrative level, I don't know how much sense it would make for her to not be an Archiviste. She's first introduced (in her lady Archiviste form) in the context of a sequence all about Noé's relationship to the idea of other Archivistes. This is an idea brought up more or less for the first time for the purpose of introducing her. Why, if not set up a plot about Machina, Noé, and the truth of what happened to the Archivistes?

Just for the sake of resolving that thread, if she's not a real Archiviste, then I think she'll have to be tied to the Archivistes in some way. If she's not going to be the vehicle by which Noé learns more about the rest of the Archiviste clan, or at least start pointing him in that direction, then why introduce her like that?

Aditionally, the opening narration of chapter 58 discusses the nature of the Archiviste clan over the image of Machina in her lady Archiviste form, and Teacher refers to himself and Machina as both being "observers." What does any of this mean if she isn't an Archiviste? I suppose both of these things could be red herrings, but to what end? Machina is presenting herself as an Archiviste visually and dedicated enough to their role that Teacher calls her an "observer." If she's not really an Archiviste, then she must have a truly spectacular and somewhat unsettling fixation on them. It's not out of the question, but it would need some serious explaining.

While I'm at it, I'd like to better address the other replies I got to this post as well. I know Francis is a somewhat unisex name! However, my biggest concern here is the fact that Machina's last name is supposedly Varney. Is that a fake surname she uses to cover up the fact that she's an Archiviste? Is Varney her real name because she's an Archiviste by look and power but doesn't have the family name? I suppose that could help explain how she's still around after the others were wiped out. Or is Varney her real name because she's not an Archiviste at all, but merely making herself look like one?

The question of "is Machina's original surname Varney, Archiviste, or something else?" is inextricably tied to the question of whether her true identity is the publicly known Marquis Machina, her current lady Archiviste persona, or something else entirely.

Also, because I am occasionally a pedant, I have to point out that Francis Varney isn't actually that unisex a name. Generally, Francis with an "i" is used as a men's name, while Frances with an "e" is used as a women's name. Maybe this is just a quirk of translation, since you would probably write "Francis" and "Frances" with the same katakana, or maybe Franny was just given a masculine name, but it does feel worth pointing out.

Plus, the name Francis Varney comes from the character of the same name in the old penny dreadful Varney the Vampire, who was very much a man.

Anyway, even if Francis is her real name, it's been made very clear that the general public believes Marquis Machina is a man, and at this point, that doesn't seem to be the case. Either Machina is a man currently presenting himself as a woman, or some seriously fun gender fuckery is happening, or she's a woman who publicly pretends to be a man. If she's faking, why? Who knows besides Teacher?

Personally, I'm betting on Francis Varney being an invented name. There's gender complications regarding Francis if she really is a woman, and there's Archiviste complications regarding Varney if she really is an Archiviste. I think I'm overall leaning a little bit more toward Machina being a real Archiviste, but I could see the case for this turning out to be another trick. There's definitely a lot of explaining to do as to how there could be an Archiviste among the senate.

Okay actually here's a thought. Given this chapter's Big Reveal, it seems like there's pretty good odds that Francis Varney, Marquis Machina's so-called real name, is actually yet another alias.

I wonder if her real name really is something Archiviste

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So while I know it sounds a little counterintuitive on the surface, one of the reasons I'm really hoping VnC goes down the Vanitas/Noé path is that, out of all the routes the romantic plot could take, VaNoé is by far the most interesting outcome for Dominique.

It's been made pretty clear that Noé is going to end up with a crush on somebody in the long run, and the beginnings of that foundation have been in place since all the way back in chapter 12. And of course, given how Domi has very strong feelings for Noé, whoever Noé ends up pursuing is going to have a huge impact on her as well.

Personally, I'm just not very interested in the stories we'd get out of Noé having feelings for Jeanne or Dominique.

Although Domi's crush on Noé is often played for fluffy comedy, it's also clearly tied into a lot of the less than healthy aspects of her character. She tried to completely rewrite herself and transform into her brother to make him happy. She tried to kill herself because she thought it would save him, and the only thing that could snap her out of her suicidal mindset was the fact that her death would make Noé sad. It is incredibly unhealthy to tie your self worth so deeply to another person like that.

Domi's had a crush on Noé since before things got so unhealthy, and she'd probably still have these problems to some degree even if she weren't in love with him, but the fact remains that the two issues are inextricably linked right now. And going further with DomiNoé would mean either leaving Domi's issues about Noé worsening/unresolved (which I doubt will happen), or writing her working through her baggage and learning to value herself outside him, then coming back to her crush with a new, healthier viewpoint. And that could technically happen!

However, I think we would make a much cleaner narrative break if Domi's learning to live for and value herself coincides with her finally moving past her feelings for Noé. Her moving on romantically would be a really good way to symbolize her moving on from her unhealthy dependence on him, and I don't want to pass that up. She needs to have something in her life that isn't connected to all her baggage about Louis.

Also, from the Noé side, I just don't see much practical evidence of him having feelings for Dominique. Chapter 12's romantic foreshadowing coincides with Noé's obvious jealousy over the whole Vanijeanne situation, so I'm pretty sure his eventual crush is going to be on one of them. And that brings me to the issue of NoéJeanne.

As I've said before, I do think there's a small amount of evidence that could support Noé's eventual crush being Jeanne, so it wouldn't be completely out of left field. However, I'm personally hoping this isn't the route Mochijun takes, and the biggest thing that turns me away from this idea is what it would mean for Dominique.

When Misha manipulates Domi during the Amusement Park arc, he uses not just her crush on Noé, but specifically her jealousy over Jeanne as ammunition against her. Because Dominique has noticed Noé's jealousy over VaniJeanne, and she fully believes that Noé has feelings for Jeanne. But the thing is, the Amusement Park arc is almost entirely a story about the destruction and pain that comes from falsely assuming that you understand a loved one. Dominique almost dies because she mistakenly thinks it's what Noé would want. Misha's whole motivation as an antagonist is trying to bring Vanitas back to a family dynamic that Vani no longer wants or believes in. And Noé's big turning point is the realization that he has to look at Vanitas clearly and think about how he actually feels, rather than judging based on his personal feelings.

So with all that said, Mochijun turning around and saying "Domi's right about Noé's feelings for Jeanne, actually" would be really weird and out of place. I'm fairly sure that, although it's implied earlier, the first time "Domi thinks Noé has a crush on Jeanne" is called out explicitly is when Domi and Jeanne talk in chapter 45. This comes immediately before the start of the Amusement Park arc, and that scene in particular serves as the buildup to Domi's imminent breakdown, so her jealousy and the themes of the Amusement Park are pretty inextricably tied.

"Domi makes a false assumption about Noé's feelings, and it leads to her fighting with her dear friend Jeanne for no good reason" would fit very well with the rest of the arc. "Domi is right about the jealousy, but wrong to fight with Jeanne anyway" would be a much clumsier from a thematic and storytelling perspective, and I'm inclined to think Mochijun knows better than that.

In short, Noé having feelings for Jeanne is possible, but it would make Domi and Jeanne's part of the amusement park arc a lot worse.

So would Noé having feelings for Vanitas be better?

For starters, Noé having feelings for Vani would make Dominique's jealousy of Jeanne incorrect, which solves the thematic problem outlined above. Beyond that, though, Noé having feelings for Vanitas would also allow for the most interesting interpretation of the original "Noé is jealous" scene from chapter 12.

In that scene, it's obvious that Noé is jealous over Vanitas and Jeanne's new romantically/sexually charged blood drinking situation. Noé thinks it's because he's jealous that Jeanne gets to drink Vanitas's blood, and Domi thinks it's because he's jealous that Vanitas is getting close to Jeanne sexually/romantically. Noé being correct is frankly not worth considering, and we just addressed why Domi being correct creates problems. However! If Noé is jealous that Jeanne is getting close to Vanitas in the romantic sense, then Domi and Noé are each half right in a way that I find both logical and compelling.

Noé struggles to understand his own feelings on a deeper level, but he can understand his own physical cravings for blood, so it makes sense that, even when feeling other types of attraction, blood is the one thing that gets through to him. Meanwhile, Dominique dislikes Vanitas and is pretty obviously attracted to Jeanne, so it follows that she'd assume Noé thinks the same way. They each have an insight into Noé that the other doesn't, and they're both also a little bit misguided, which seems pretty in keeping with their characters and VnC as a whole.

Then, on a wider scale, a "Noé's in love with Vanitas" angle would also do some really interesting things for Dominique. My best guess right now is that Domi's arc will eventually end with her finding some self worth/reason to live beyond Noé, but she'll have a long and painful process getting there. And Noé liking Vanitas would help facilitate exactly that! It could force her to accept that she's not going to get with him, which could in turn help her move on and find her self worth elsewhere, but it would also put her through. just. so much suffering. On the pettier level, she'd have to watch her dear friend and crush fall in love with someone she finds rather despicable (and for the second time!!). And on the more serious level, she'd have to watch Noé once again link his heart to a doomed man and have to reckon with the aftermath of his death.

That sounds about like the kind of growth to angst ratio that Mochijun likes to go for.

So tldr: Noé's eventual crush is almost certainly going to be on Domi, Jeanne, or Vanitas, and out of those three, Vanitas is the only option that wouldn't get in the way of what I think/hope is Domi's narrative arc. In order for her to accept that she's been misunderstanding Noé and properly start building self worth, she can't end up dating him, and Noé can't have feelings for Jeanne. That leaves VaNoé as the best and only option for Dominique.

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Mochijun said you will consider the intimacy of leaning back to back against a loved one