#the little shepherdess

[artthatgivesmefeelings]

Paul Peel (Canadian, 1860-1892) The Little Shepherdess, 1892 Art Gallery of Ontario

[clairity-org]

William-Adolphe Bouguereau, The Little Shepherdess, 1889, Oil on canvas, 7/20/22 #philbrook by Sharon Mollerus

[lemuseum]

[venustapolis]

Roadside Flowers, The Little Shepherdess (Jules Bastien-Lepage, 1882)

[nupaintings]

[lovelyllamasblog]

Lilly-Bo Peep

Daughter of Little-Bo Peep

Birthday: February 6*

Star Sign: Aquarius ♒

Little Bo-Peep

Royal

*Mattel requests trademark

[cliopadra]

Had some free time and energy today, so have a little GO repaint of Fragonard’s “The Shepherdess” 🤸

[stardust-swan]

The Kind of Girl I Want To Be

Buys herself pink peonies and roses

Wears scents like Parfums De Marly Delina and Oriana, Miss Dior, YSL Paris, Prada Candy, Mon Guerlain and Chanel Chance Eau Tendre (she sprays it in the morning, after showers, and before going to bed)

Bakes heart shaped sugar cookies and macarons

Spends rainy days sipping rose tea from floral china while reading beautifully bound classic novels

Has a bookshelf filled with first edition poetry books, gilded editions of fairytale books, volumes of the Little Books of Fashion series, leatherbound classics, and Harlequin romance novels

Drinks peppermint tea in the morning and camomile tea at night

Sleeps on pink silk sheets and has a satin kimono robe

Plays Brigitte Bardot, classical music, and soft jazz in the background

Takes ballates or yogalates classes

Plays the violin or cello

Watches Audrey Hepburn and Anna Karina films

Adds sweet almond oil and rose bath tea to her vanilla bubble bath

Has a seasonal pass to the ballet and regularly visits the theatre, old bookshops, botanical gardens, and art galleries

Keeps things like French Girl lip tints/Glossier lip balms/Too Faced lip glosses, a hand mirror, a comb, some bonbons, a book, a rollerball of perfume, hand cream, a piece of rose quartz, a scrunchie, a nail file, spray on SPF and bubblegum in her bag at all times

Is always up to date with Fashion Week

Writes in her diary daily in swirly writing using coloured gel pens, pressing flowers between the pages and spraying perfume samples on it

Lights Yankee Candle Fresh Cut Roses or Rainbow Cookie, keeps soap and lavender in her wardrobe, and has vanilla diffusers around the house

Lives in a cosy home filled with beautiful things, like paintings by local artists, lots of cushions and throws, soft lighting from salt lamps and fairy lights, potted herbs and succulents, vintage vases filled with floral arrangements, DIY macramé and embroidery projects, a bowl of different crystals, signature Barbies on a shelf, rattan furniture, fluffy towels in white, pink, baby blue, and lavender, pink Dove or rose Roger et Gallet soap and Jurlique rose hand cream on the bathroom sink, pictures of her loved ones in antique frames, floral patterns everywhere, antique mirrors, and beautiful porcelain teasets

Goes to French cafés to enjoy a vanilla oat latte with a millefeuille or almond croissant

Always wears diamond or pearl earrings (often paired with a charm bracelet or gold heart locket)

Enjoys rosé wine, champagne, and strawberry daiquiris at lunchtime occasionally

Snacks on strawberries, sugared almonds, dried fruit and nuts, and Turkish Delight

Applies powder, rosy blush, lipgloss, and puts ribbons in her hair at her vanity table, which is decorated with a ballerina music box, vintage perfume bottles, and trinkets shaped like swans, angels and shepherdesses

Has her morning and evening routines down pat: waking up to melodic music, opening the windows, making the bed, doing gentle yoga, simple skincare, getting dressed, applying makeup, and eating a simple but delicious breakfast in the morning, and having a warm shower, doing more decadent skincare, putting on comfy cotton or satin pyjamas, journalling, enjoying a calming cup of herbal tea, reading, looking out the window at the moon, and falling asleep to relaxing sounds like ocean waves, gentle rainfall, and white noise at night. Her life runs like clockwork.

Is gentle, sweet, romantic, and full of love to give

[riovidalharkness]

What does Death wear when she shows up to take a little boy from his mother? 1 had to sit with his question for a bit and eventually, I pitched Jac and Mary with the concept that Lady Death appears in whatever form the dead will recognize. In the case of episode 109, that meant something period appropriate, soft and inviting that wouldn't frighten Nicholas Scratch when she appears in the middle of the night. A shepherdess leading Nicholas the little lamb across the bridge into the afterlife The acid-apple-green hooded cloak took on a powerful quality in the springtime forest where we shot these scenes. She blended into the budding green trees and also stood out like a viper poised to strike. This is the first time we see her holding "the death flower". More on all of her flowers soon..

ACD: @christinecasaus ACD:@maddi_carroll Dyer: Annie Mary Lee cutter: Oksana Shore (in loving memory) First still: @chuckzlotnick

[littlemessyjessi]

"Consider Him Wooed": A Holiday Vikings Imagine: Ivar x Plus Size Reader

Vikings Holiday Imagine 

Ivar the Boneless, Ivar Ragnarsson 

Ivar x Plus Size Reader, PS Reader, Reader 

Yule Imagine 

Use of Y/N because ya’ll already know if I make a full character, we’ll all be lucky to see this by next holiday season.  So Y/N it is.   Fem identifying reader because, listen, I just love women, ok?  

Warnings?  Uh, it’s Vikings?  That’s enough of a warning.  

If you’re under 18, hit the bricks.  I love you but get out.  Saying this with as much love as I can muster… go away and come back in a few years.  

……

……

Kattegat was certainly cold during the season of Yule. 

At times, cold enough that it seemed to cut to the bone. 

However, there was a sense of merriment in the air given the season festivities. 

Even the merriest of folk could not seem to brighten the spirits of Ivar. 

In all fairness, the cold worsened the pain of his affliction and therefore his usual sour mood was pretty much rancid at this point. 

Everyone seemed to steer clear of him and though he’d sooner cut out his own tongue than admit it… the sudden loneliness only added to his frigid attitude. 

However, as luck would have it, his mood was easily brightened by the arrival of a certain woman. 

Y/N was undoubtedly Ivar’s favorite person in the world. 

Period. 

It didn’t even matter that he’d yet to see the entire world or meet all of its inhabitants. 

She was his favorite and that was that. 

Anyone who got within the general vicinity of him when she was near could see that. 

Long gone was that surly expression and the permanent frown. 

When he smiled it was full of happiness instead of the usual taunting smirk or straight hysterical laughter. 

No. 

Not with Y/N. 

With her, it was a true smile. 

She could make him look at her in the softest of ways and laugh with the fullest, richest tones of joy. 

The pair of them were opposites in so many ways. 

Ivar was toned and muscular while Y/N was soft and squishy. 

Save for his legs and even in that area she was his opposite with her strong yet soft cushiony thighs. 

Ivar had been born of chaos and determined for war despite being told all his life that it would only kill him. 

Y/N had been sought after for her beauty and her solid frame. 

A fine wife or shield maiden she would’ve made but instead she’d chose to be a shepherd. 

A damn good one at that. 

Many a men had lost their life thinking they would simply take from the soft little shepherdess only to find out that she was a bit of a wolf in sheep’s clothing herself. 

Her pretty clothes made from yarn of wool and round features served as a wonderful disguise for the Hel’s Maiden that resided beneath them. 

That duality had been what had drawn Ivar in in the first place.  

She had sweetness and spice… a mixture that intoxicated Ivar since the moment he’d met her. 

“Ivar, darling, what’s got you in such a good mood?” 

The woman in question seemed to appear out of nowhere. 

“What?” he asked, those piercing eyes of his flicking up to her soft face. 

He did love her face.  The fullness of her cheeks.  The roundness of her chin. 

She always looked so lovely to him.  

Soft, inviting, warm…

“Ivar….” her voice was teasing him. 

He recognized the lilt of amusement and the curl to her mouth. 

“I’m sorry, love.  What did you say?” he said, fingers reaching for the tie of her apron to draw her near. 

The attraction was clear between the two of them… to everyone BUT the two of them. 

And much to the annoyance of everyone but the two of them…

She laughed softly, letting him draw her near. 

Ivar had always been touchy with her and she’d never minded. 

Ivar, for all his wildness, had always been incredibly gentle with her. 

“I asked you what had you in such a good mood.  You’ve been smiling for quite some time.  I don’t think you even registered me standing here for most of it.” she giggled. 

He grinned, despite himself. 

He loved the sound of her laugh. 

Always had. 

“Oh, it was nothing.” he lied. 

In truth, it was everything. 

She gave him a look, nothing short of suspicion but he only smiled in the way that the both of them knew meant she would let it go. 

Because it was Ivar and she admittedly had a soft spot for him. 

“Fine.” she shrugged. “It’s not why I’ve come anyway.” 

“Oh?” he asked, drawing her a little closer than was appropriate truthfully. 

At her soft questioning gaze he quietly muttered, “It’s colder today.  Legs are hurting a bit more.” 

It wasn’t a lie but it wasn’t the entire truth either. 

He just wanted to hold her. 

“Well, I’m sorry you’re hurting, darling but I also think you’ll find my plans a bit more enticing today because of it.” she said, a coy little glimmer in her eye. 

He lifted a brow at her, “And what are these plans that you plan to rope me into?” 

“I’m not roping you into anything, dearest.” she said.  “You have a choice.” 

“Out with it, Y/N.” he chuckled. 

“Well, as Yule is rapidly approaching…” 

“Mmm hmm.” 

“And I know things will be busy…” 

“Yes…” 

“And you’ll have things with your family and me with mine…” 

“Uh huh…” 

“And I’ll also have to set up more during the market since people will be wanting to get their presents for Yule and all…” 

“Y/N.” 

“And it seems an awful shame that we might not have any time together over the seasonal celebrations…” 

“Y/N, my sweet, though my patience with you is pretty endless…. you are wearing it thin.” he warned but that twinkle in his eyes, curl of his lips and laughter to his voice betrayed him. 

Sort of. 

“Well, I was thinking that if you weren’t busy you might come and stay with me at my home for a few days before all the business starts up for the both of us.” she said finally meeting those blue eyes of his that had widened substantially. 

He would love nothing more… but he also did not intend to pick a fight with her father. 

“And your Da would be alright with this?” he asked. 

“It is my own home, Ivar! I do not require permission as to who I invite in it!” she said, disgruntled at the very suggestion. 

“Her Da would be more than alright with it.” 

The pair of them looked to the voice to see her adoptive father poking his head around the corner. 

Y/N narrowed her eyes at him. 

“What?” the man questioned. 

She narrowed her eyes further, almost into slits to convey her message. 

“Oh aye! You listen, ye banshee! You insisted on moving off to nowhere with ye wee sheep and no one else! It’s in a father’s nature to worry about his child.  And if a strapping man should wish to keep the company of mah wild wee babe…and a prince no less…I support it! And I’m proud of it!” 

“Da, how many ales have you had already?” she sighed. 

“I don’t think it’s ale he’s been drinking, love.” Ivar laughed. 

She pinched the bridge of her cute nose as her uncle dragged her father off in the direction of his own home, likely to put him to bed. 

Thankfully. 

Ivar smiled again, eyes soft at the sight of her.  

“I’m happy to be a guest in your home by the way.” he said. “If the offer still stands.” 

“Oh, it definitely still stands.” she said.  “I’ve prepared enough food for us to stay in there a week and not have to leave for anything but checking on mah sheep.” 

Ivar bit his lip as he knew all to well not to point out that she picked up her father’s accent a bit more when she was flustered and irritated. 

That would only serve to fluster and irritate her more and while he did love the fire in her eyes…. he’d much rather stay in her good graces. 

“The point is, I am inviting you to spend some festive seasonal time with, dearest Ivar, and should you choose to accept the company of me and my sheep… you don’t have to leave the nice cozy little home full of delicious food, the best blankets of the finest wool, if I do say so myself, and truthfully the warmest, best smelling fire around because I may be a heathen but I understand that if you burn herbs in your fireplace your home will smell amazing. And that’s important for me, Ivar. I work with sheep.  Lovely little darlings but they can smell sometimes.” she ranted. 

Ivar was fighting his smile as he could practically feel the heat rolling off her. 

“I would love to.” he said, reiterating what he had already confirmed earlier but apparently she was so flustered she'd already forgotten.

It was cute if not a little concerning at times.

“And you needn’t worry about Hvitserk because he’s already been bribed by a basket of goodies that should keep him busy for at least a week.” she continued clearly not having even heard him.  

“I think you underestimate Hvitserk’s appetite.” 

“I think you underestimate my knowledge of you and your brothers.  There is a honey butter in there that has fruit soaked in mead to go with freshly baked bread.  There is also a jar of aforementioned mead soaked fruits.   Knowing him he will eat them all like the gluttonous little pig that he is and be too drunk to move until the morrow .” 

“You’re a wicked thing aren’t you?” Ivar teased, tugging her closer, pressing her side into his chest and inhaling the scent of her. 

“I’m a cunning thing, Ivar. There’s a difference.” she said prissily. 

“Oh?” Ivar said, playing along.  “Tell me, cunning woman.   Why is it that you’ve bribed my brother with a basket of treats then?” 

“Because, Ivar, if I didn’t the moment he became bored he would seek you out to annoy you.   As you would be with me, this would lead him to annoying me.   And more importantly he would further annoy me by eating up all the  delicious treats, putting his muddy boots upon my rugs and laying his body, painted with who knows who’s cum, all over my bed.  And then I’ll have to kill him.  And he’s your brother so that would be terribly inconvenient to have that between us as during this time when I had planned to tell you my feelings for you and this would ruin the whole thing and-”  she suddenly stopped her rant and timidly looked at him. 

Ivar caught her gaze, confusion coloring his as this was the first time she actually looked scared of him. 

 “You can’t possibly think that I would be anything other than completely thrilled with this news.  Because if there is one doubt swirling in that pretty head of yours that I don’t share this connection, please let me lay it to rest, love.” 

She blinked. 

And then again. 

Ivar’s brows furrowed as he watched those eyes that he so adored well with tears. 

“Sweetness, what’s wrong?” he said, drawing her face close to his.  

“I had a plan, Ivar.  It was supposed to be perfect and festive and full of all the magic of yule.  I had all your favorite things and I went to such lengths and now I’ve gone and ruined it!” she said, the tears finally spilling over. 

Ivar sighed. 

This woman. 

She was one of the toughest people he’d ever met in his life and therefore he knew that if she was crying it was probably a mixture of exhaustion, embarrassment and frustration. 

He fought so hard not to laugh as he tucked her face under his chin. 

She was so upset and she’d put in so much effort. 

While it was sweet, he was just as elated with this. 

All he’d ever wanted was to hear that she shared his feelings. 

He’d felt like he’d had a good idea at times but Y/N could be confusing. 

Her duality had his head spinning so he’d always felt a little unsure in telling her. 

The time of doubt and indecision had been closing on his part and he’d planned to tell her soon. 

She’d just beaten him to it. 

And apparently, had full intentions of wooing him. 

Consider him wooed. 

“Sweetheart?” he spoke to her gently only to receive a sniffle in response. “Sweetheart, I’m sorry that it didn’t go as you’d planned.  It’s obvious that you’ve put a lot of work into this.  However, I think you’re missing an opportunity here.” 

She lifted her face to look at him in confusion, “What are you talking about?” 

“Well, seeing as how we’re both clearly mad for one another… I say we use this little adventure as a time for celebrating our new relationship.” he said. 

There was an impish tone to his voice and a smirk on his lips but Y/N spotted that softness in his eyes.

It was one of the many, many reasons why she loved him. 

He was always so gentle with her. 

In their world of brutality and wildness… he had always made sure that they had space to be soft and gentle with one another. 

And that was a rarity and a privilege when it came to Ivar. 

She sniffed once more, “I love you.  Those are the words that I wanted to tell you.  I love you and I just want to show you how much you mean to me.” 

“I love you too, sweetheart.” he said.  “And I look forward to a week alone with my new love who also happens to be my old love.  I think you might’ve been my only love really.   Truly anyways.” 

“Blessed Yule, Ivar.” 

“Blessed Yule, sweetheart.” 

And the two of them made their way to Y/N’s humble home and were not seen for a week … or so. 

At which point, Ubbe informed her to NEVER give Hvitserk those fruits again. 

Apparently, he streaked through Kattegat for so long that he nearly gave himself frostbite on his dick… and several of the women wept at the idea of Hvitserk’s appendage being out of commission. 

Y/N, disgusted at the thought of a naked Hvitserk, swore to never give them to him again… as long as Ubbe NEVER EVER spoke of it for the rest of her life.

…..

….. 

Hello, loves!  I hope you enjoy this holiday content! 

Hope ya’ll are having a great day! 

Love you. 

— 

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K, Love you, Bye!

[sanjoongie]

All that's delicious is dipped in gold

To my lovely @daesukiii, here's a drabble I wrote in mind for you. I hope you enjoy and it brightens up your birthday 😘 thank you for being the seonghwa to my joong 😂

👑Pairing: Earl! Jung Wooyoung x Countess! Reader (f) 👑Au: Royalty Au 👑Trope: fuckboi to marriage 😆 👑Genre: smut, pwp 👑Rating: 18+, MDNI 👑Warnings: penetrative sex with no barrier (we are trying to make babies here), creampie, begging, nipple play, wooyoung just looking to take care of his new wifey 👑Word Count: 1,689 👑Summary: it's your first night with the earl and denying him only intensifies the pleasure he's about to bring to your marriage bed

You cling the luxurious sheets to your chest, your heart pounding a mile a minute. Any minute now the earl--your newly-appointed husband-- would enter this room. His domain, his rules. You needed to consummate the marriage, hopefully become pregnant with an heir. But you had married a scourge, a rogue, a lord with no honor. He was your husband now, however, and your body became his new plaything.

“I've arrived!” Wooyoung declared throwing the double doors open wide. He gulped deeply from a jeweled chalice and then threw the glass of wine against a wall, smashing it and letting out a loud noise of happiness at the beverage being consumed.

You flinched at the loud announcement and dramatics, clinging even tighter to the sheet as the footmen hastened to grab the handles of the doors and close them.

Wooyoung’s eager eyes sought out your body and he smiled slowly upon finding you naked and in his bed. “Ah, there you are, Countess.”

He strolled across the room, shrugging off his heavy jacket and throwing that to a chair before the roaring fireplace. He then pulled his flowing white shirt out of being tucked into the waist of his pants and then pulled his shirt off by grabbing the back of it and pulling it over his head. Bare-chest, Wooyoung began to crawl up the bed to you, toeing off his shoes momentarily. He got about halfway up the enormous bed until he started to pull the sheets downwards so that you would have nothing to hide behind.

“Come come, little shepherdess, I promise to not be too rough with your sheep.” Wooyoung had the audacity to grin and then run his tongue along his bottom lip.

“You're hardly a big bad wolf,” You scoffed at him, rolling your eyes.

“That's not what your nipples are saying, my love,” Wooyoung teased you.

“It's cold in here and you're taking away the blan--”

Wooyoung grabbed both your feet and pulled you bodily down the bed. You squealed as soon Wooyoung had you boxed in: hands on either side of your head and knees on either side of your hips. “Wife, we are to become one,” Wooyoung said with a roguish smile, perking up one side of his face.

“Let's be reasonable, Wooyoung it's been a long day,” You whispered.

“I agree. I should already have been tongue-deep into you and would be working myself into your tight heat. But someone has a sweet tooth and wanted another serving of dessert.” Wooyoung’s eyes followed the lines of your face, down your neck and into your bosom. “Now it's time for mine.”

“Wouldn't you rather have a deep sleep in which you could ravage me tomorrow?” You managed to squeak, feeling your breath quicken by Wooyoung and his likeness to a wolf wanting to eat you up.

“Why are you avoiding this, wife of mine?” Wooyoung gently bounced your breasts in the palms of his hands, making you moan in response.

“You're going to make me dick-drunk,” You whispered conspiratorially.

Wooyoung blinked at you several times before he finally cracked into laughter. “Are you afraid to become addicted to my lovemaking?” 

“What if you take a lover?” You wailed.

Wooyoung let out a scoff. “We just got married and you're already worried about our passion going cool?”

“I just don't want to get my hopes up,” You grumbled.

Wooyoung dropped his head to hover his lips over yours. “I won't ever let you down.”

With his lips slanted over yours, Wooyoung kissed like he always wanted to leave you wanting more. His short tongue would sweep across your lip to request entrance but when your own chased his, it went back into his mouth. He would pursue you with wanton eagerness but the minute you pushed back into his advances and he would pull back. You whimpered into his mouth and Wooyoung chuckled deeply.

“Please, Wooyoung,” You begged when he broke the kiss.

Wooyoung studied your features and he couldn't look more pleased. “I haven’t even given you what you want and you’re stupid for me.”

Wooyoung ignored the ache between your legs, and the press of his hard-on against the tightness of his pants, and paid homage to the globes of flesh on your chest that had been teasing him all night during the ball to celebrate your marriage. His red-from-wine tongue took broad licks of your nipple, eyes rolled up to your face to view it screwed up into pleasure. He left your nipples so spit-slick that they puckered in the cold air again.

Your lower half began to buck upwards in the air. “Woo-wooyoung,” You panted his name again.

“Tell me what you want from me, Countess,” Wooyoung tempted you with a playful smile.

“I need you… inside me… please!” You pleaded with a whine. 

Wooyoung sucked heavily on two fingers and then found the juncture between your thighs. He hardly needed to wet his fingers because you were almost weeping there for him. “Wife of mine, you are practically dripping for me.”

You casted an arm over your face. This was incredibly embarrassing. You knew this was going to happen. “Shut up, Wooyoung.”

Wooyoung clucked his tongue at you. “That’s hardly the manner you should be addressing me, my love.”

Wooyoung began to play with your hole but only to torture you. He would push his finger only up to the first knuckle into your clenching hole and then he endlessly circled your clit but never actually brushed over your sensitive pearl. 

“Wooyoung,” You said his name through clenched teeth.

“Tell me properly what you want, Countess. I want the dirty words coming from your mouth. I want you to be improper just for me,” Wooyoung commanded, tongue caught between his teeth in anticipation. “If you can do that for me, I will fuck you straight to your orgasm.”

You whimpered and widened your legs. “Wooyoung, I need your pretty cock inside my wet hole, please, My Lord.”

The dash of manners tucked into the filthy sentence made Wooyoung’s eyes roll into the back of his head. Oh, he had lucked out by marrying you and making you his Countess. “It would be my pleasure, wife of mine.”

Wooyoung undid the ties of his pants and pulled them down his legs, only so far to free his dick and bare his ass. He played the head of his cock along the folds of your cunt, wetting up his thick cock so that he could penetrate you with ease. You swallowed in anticipation, watching as his head pushed past your wet lips and finally entered you. Your back arched as he fucked his way in; slowly making his way in with shallow thrusts that opened your tight heat to his intrusion. 

Once he was full hilt, all dogs were off to the race. His thrusts were accurate once he found the spongy area that made you gasp. He angled his thrusts so he could always rub over that place, no longer caring for his own orgasm and simply seeking out pleasure for his wife. 

“Woo--Woo,” You whimpered pitifully. At least you could still remember whose cock was inside of you.

“It’s okay, my love, I’ve got you,” Wooyoung cooed to you, pushing hair fondly from your face.

His thrusts were calculated, powerful, and you didn’t even know if you knew where you were right now. The rub of the velvet sheets under your naked body as Wooyoung coaxed an orgasm from you made you spare a moment to think, maybe, you could live the rest of your life in this bed with Wooyoung. “So good,” was all you could manage verbally.

Wooyoung was focused but he was losing his control. You were clenching around him like he was the only thing to keep you alive and that was his cock inside of you. His thrusts became sloppy and you whined at the difference of pace. Wooyoung blew some hair out of his face and mentally slapped himself. He said he would take care of you and he meant that. Did your cunt have to be so fucking good though?

“Gonna cum for me, my love?” Wooyoung said to you, searching to bring you back to him.

Your hands dug into the ample flesh of his ass, urging him deeper and harder inside of you. “Please, unload inside of me. I want you to drip out of me too.”

Well, there went all of Wooyoung’s good intentions.

His thrusts were harder, choppier, and he was gone. He needed the mental imagery out of his head and before his eyes. Wooyoung fucked you through your orgasm, single-mindedly. He didn’t miss the way you whined through the drawn-out orgasm. He didn’t miss the way your walls fluttered around him; like he needed anymore more encouragement to come inside of you. He thrusted deeply inside of you and then felt himself explode there. You had to be better than any well-trained courtesan in the realm. 

You were moaning his name, tossing your head back and forth, when Wooyoung suddenly pulled his cock from your hole. He crudely spread your cunt lips apart so he could watch your fluttering hole push his cum out. He watched with his mouth open in a small, pink ‘o’. He could get used to watching this, perhaps for the rest of his life.

“My lord…” You panted, attempting to push yourself up to meet Wooyoung’s happy grin at the sight between your legs. “That’s not going to get you heirs.”

Wooyoung made the rude noise of blowing a raspberry. “The night is still young. The first shot never matters the first time anyways.”

“The…” You blinked blearedly, “...first time?” 

Wooyoung moved his body up so that he could give your lips a quick peck. “Why, of course, wife of mine. I could hardly deny myself your body while it’s so readily available.”

You whimpered and Wooyoung laughed. “Perhaps some water first and a nice wipe down.”

Somehow you didn’t think that the wipe down was going to be as benign as he was selling it. And you found that you didn’t want it any other way.

[motdo-vn]

Introduction - Midnights of The Drowsy Owl

Visual Novel - Midnights of the Drowsy Owl

DEMO—TBA

Midnights of The Drowsy Owl is a novella magical realism, romance interactive fiction of five chapters. Romance is the foundation of the story, so there are no platonic relationships. It is influenced by mythologies with a lot of twists and turns, and a bit of Romanian influence.

When city life takes everything from you, you leave for a house you inherited from your late grandparents, in a town far away from the troubles of life: Caersolvita.

While strolling through the little town of Caersolvita after job hunting during the odd hours of the night, the old clock in the quaint settlement strikes twelve midnight, and a building down the dirt road illuminates the twilight.

Beads of light fall like stardust through the coffee-scented building. No one knows about it, and even if they did, they cannot find it. When midnight strikes, it all changes. Down the bricked pathway of the town, life clicks into light, and the twinkles of windchimes carry a bitter fragrance.

A “Looking to Hire!” board stands neatly by the doormat of the slightly tarnished place. With little hope of finding a job anytime soon, you enter the cafe. When offered a trainee position as a barista, you leave for home, unknowing of the wonders that await you when the dead hours of the night come about.

Features

Choose your gender: female, male, non-binary

Work at a quaint café in a rural town, shrouded in mystery and solitude.

Unravel the secrets of the midnight café.

Romance one of the four ROs and explore a fresh adventure with one of the three personalities chosen.

Deal with some snappy customers or different oddities.

Find out the history of Caersolvita through each route.

Enjoy a life of quietude and comfort, away from the worries of life.

Personalities: Loveable airhead, Taciturn fool, Sarcastic charmer

Character profile

(Gender-selectable)

Beautiful and dignified, Thana is the peculiar owner of the The Drowsy Owl. Behind the mysterious red eyes and snowy pale skin, the discipline of the body and grace follows each tilt of the wrist, where the whiffs of coffee beans stream along the cafe.

Admired by everyone in Caersolivita for sublime service, coupled with sweet words, Thana is the go-to barista if someone requires comfort or dark humor. Although the sorry state of the cafe, it is the first choice for everyone.

With every smile given to Thana, two more are returned, and with each heart that is offered, the more Thana guards the heart. Somehow, though, the trainee barista has a way with their words.

Unhinged. There is no other word that fits the young wolf-like Ylfa. A shepherdess along the hillside of Caersolvita, she meets each situation with the flash of her canines and a huff. With a beige bonnet laced around the edges, she fancies the lolita fashion, enjoying lavish dresses, contrary to her rambunctious voice. Or she may opt for a pink tank top with a red bow to match.

In the dead of night, a voice like a siren vying for love sings from the northern cliff at the very edge of the town. From the ruffled chestnut brown hair and perky ears gilded by the moonlight, her song willows past till dawnbreak.

Despite the tough and rowdy personality, Ylfa holds her hands close to her chest, sometimes shooting glances towards the trainee barista from the day they met eyes.

Idris (m)

Personal trainer by day, guardsman by night. Idris is often described as "too blunt for his own good." Towering over everyone in town, he is regarded as a dark warrior, a signature black hood hanging over his defined face. Polite and well-spoken, his sharp tongue still manages to overshadow such traits.

By the bridge that connects the mainland to the hook-shaped cliffside town, Idris guards the safety of the people. Always seen next to the old watchtower, most hear grunts from the place, running away in fear.

When he bumped his head against the door of Drowsy Owl, he meets gaze with the trainee barista, and color rose-pink erupts from the steely brown eyes.

Shaylah (nb)

Always smelling like honey and floral concoctions, Shaylah is a local apothecary who resides near the very edge of the cliff. Catching eyes everywhere they go, their sterling red hair shines like the sun under light. Always seen walking around town with a sunhat the size of an umbrella, Shaylah's ethereal voice wrecks the minds of people when their brash and uncouth words begin to lash out.

Spending the afternoon and night cooped up in their house, they take the blue flowers on the cliff, grinding them and creating concoctions. No one outside of the town knows what it truly is, and only Shaylah's family knows of it.

After spending a full day in their shop, taking a rest at midnight by The Drowsy Owl is usually what happens, accompanied by a cup of hibiscus tea. But now, where the bright eyes of the trainee barista caught them off-guard, they never forgot.

[fumifooms]

Marcille’s dress: threads and importance

This was supposed to be part of my upcoming Marcille & Chilchuck arc analysis, since it’s all about the themes of fantasy and confrontation with reality in Marcille’s arc, her mental state and fairytale coding etc etc, but that already was long af and this is something good to have as a standalone anyways, so. Here we go.

……….. So first of all it is 12 of august and suddenly my work phones are ringing to break me the news:

So this interview came in right when I was working on this analysis again. This now confirms the main intent of what the outfit was meant to evoke. There’s definitely a looot to look into just this and we’ll be going into it, but a complete analysis of Marcille & Momcille analysis would be ideal & that’ll be for another day. We will be bringing her up often throughout all this though.

So. "Why should I care about Marcille’s outfit?" Beyond possible story importance, on a metatextual and thematic level, analyzing imagery something provokes can be valuable and compelling even if it isn’t intentional or is flawed (historically inaccurate, etc). Less narrative wise and more character development wise, the lion does say the dress was to give her courage, and as her demon his job is reading her heart and giving her what she desires. What does her outfit say about her overarching character and her current mental state? Why does it give her courage, how does it do that, what part of it does that?

Like I just implied, when talking about this sort of thing, there are two aspects: the personal meaning something holds for the character, and imagery for the audience, which may or may not align with said character’s perspective or intent. Character vs meta. Because of the meta aspect, imagery can be disconnected from the character or the wider narrative, or that disconnect can itself be a tool to show the character’s mental state, unable to recognize or reconcile how different to their intent their being comes across as. This is to say that all of the analysis angles I’ll be bringing up in this post can apply to the same analysis of Marcille’s character and psychology, even all simultaneously. The different sections here are more or less ordered from most meta angle first to most character-motivated and strictly analyses of canon last, with little interludes examining specific aspects of the outfit regardless of reading. Imagery here will be looked at as a framing device, a way to comment on the themes and her character or her arc. For fun! Forward march!!

Table of contents:

Shepherdess: guidance.

Sorceress: power.

Princess: fantasy.

Funeral gown: mourning.

Mother: emotion, balance and identity. The conclusion ⭐️ Skip to here for strictly analysis of canon intent

Shepherdess

We’re doing an iceberg but I start from the bottom and make my way up, the shepherdess reading is the most meta one but it’s also the one I’m most interested in covering. It’s the longest section and the one with the biggest (only), um, history lesson. Feel free to skim if you only want the conclusions and not the reasonings.

Marcille? A shepherd? In action and wider imagery, the links are more or less straightforward (and will be discussed), but first I want to tackle the visual aspect because it was the most striking part of it to me and it’s the most complex one to explain…

The shepherdess look has been honed into a specific image in modern consciousness. There are always the same essential elements: a curved hook staff, a hat (often a kind that curls around the head), a poofy skirt for an elegant dress (wether fancy or modest), most often with lacing down the front and some cleavage. It’s of course not anywhere close to a perfect match if you compare Marcille’s dungeon lord outfit to pictures of shepherdesses, but it is very reminiscent. Nowadays, the classic hat of shepherdesses that Toy Story’s Bo Peep is emblematic of is indeed considered mostly a child’s accessory as well, halfway between a trimmed hat and a cap, has the shapes of a bonnet, so this coincidentally also lines up with the elven earmuffs as I’ll touch on later.

What

Wether or not seeing Marcille’s dunlord outfit will have reminded you of a shepherd probably depends decently on culture? I did research to get material for this and the start was real rough let me tell you— the only things I could find were… Bo Peep from Toy Story and illustrated nursery rhymes. In modern times, the image of a shepherdess, "shepherd woman that looks ladylike", is only a vague understanding we’ve gathered from the few woman shepherds we’ve seen in media that weren’t meant to be historically accurate. Myself, without Toy Story it’d only have felt like hazy fever dream memories of illustrated nursery rhymes from my childhood. It’s impressive that this concept still persists even if it’s only perpetuated through ONE character and a niche archetype, and for the word shepherdess to have had such a strong association with this look in my mind still.

Above: concept art for Bo Peep from Toy Story by Daniela Strijleva and Jean Gillmore, herself based on the nursery rhyme Little Bo Peep whose depictions are always in this style of outfit. Top right is a depiction of Little Bo Peep in a 1913 postcard, unknown artist, but if you want you can look up for vintage picture book depictions as well.

So what the hell? Where does this very specific look for the concept of a woman shepherd come from? Where does this conception, this specific shepherdess style wear and figure originate? Well the specific term that’ll get your research results is indeed "shepherdess". Art history time let’s go.

Okay so there’s no way those people were actually shepherds, right? What’s with that? To cut to the chase, turns out it’s mostly a trend that popped up in 18th century, one most associated with rococo but also with romanticism. Yes yes, a trend. The bourgeoisie deciding from hearing about the painted selfies of other ladies that dressing as fancy versions of poor people is hip. The new hit, becoming a dainty ladylike shepherdess for a day!

Artwork credits: In order, 1: Thomas Hudson (1701–1779) / 2: Arthur Devis (1712-1787) / 3: Jean-Honoré Fragonard (1750-1752) / 4: Sir Samuel Luke Fildes (1844-1927) / 5: Léon Sault (1839-1921) / 6: T. H. Lacy (1865) Some fun extra sources: Anecdotes: "Marie-Antoinette playing shepherdess", statues by John Cheere, Essays: Extravagance in revolutionary times: ladies of rococo, cottagecore through history, haven’t read this one but focuses on the shepherdess figure in 18th century plays and scultpures

Googling "ladies dressed as shepherdess" will give you a slew of 18th century portraits of, indeed, well-off noble ladies having portraits of themselves painted while dressed as "shepherdesses", well, the romanticized version of one anyways. I also found one from the 1650s. The trend also continued onwards, albeit less so once culture moved on. The word definition itself acknowledges this, unlike its french equivalent, as far as I know women shepherds are often still just called shepherds, meanwhile the shepherdess as per the Oxford dictionary: a female shepherd, or, an idealized or romanticized rustic maiden in pastoral literature. I don’t think I can do the explanation of the phenomenon’s origin and cultural context better than the essays I linked so I’ll quote:

"During the 18th century, an artistic movement known as Romanticism spread throughout Europe, seeking to evoke an idealized world of rural simplicity in contrast to the urban, industrialized centers of the cities. This nostalgic vision of a peaceful countryside was expressed through various art forms, including oil paintings and lead garden statues. The subjects of these artworks often depicted shepherds, huntsmen, and other rural figures, presenting an idyllic way of life, particularly for urban audiences." -Vizcaya Museum

"The cottage core aesthetic that people think and strive to attain, follows the ability of the wealthy class to be able to get away and take a break from the aristocracy and city life by escaping to the country. Marie Antoinette was an example of this, “… she had an entire hameau (rustic village) built as a place of leisure: it comprised meadows, lakes, grottos, streams, a dovecote, a dairy, cottages, vineyards, fields, orchards, vegetable gardens, and pagan temples. It was a fully-operational farm, where the queen would host social events. She and her entourage would “cosplay” as farmers and shepherdesses.” Marie Antoinette shows the “pretty,” the fantasy that people want, people want an escape from their reality. Cottage core is very different from one’s life, and the lack of knowledge of the true struggles of simple living, farming, and other cottage core elements makes people imagine and create a fantasy." -ZOESTAM1 (you’re a legend ty)

"Renowned for her great interest in fashion and more notably her extreme extravagance, Marie Antoinette set this ideal of the common shepherdess or milkmaid through her enjoyment of dressing in costume. She would often don the clothing of a dairymaid, a pastime that went so far as to see her commission the building of her own personal dairy at her palace Le Petit Trianon. These Rococo versions of lower class dress feature heavily in rococo painting such as in Fragonard’s The Shepherdess (1750-52), where a middle class woman is seen wearing a highly exaggerated interpretation of the dress of a lower-class woman. However, despite complying with the details of shepherdess dress it still features the expensive fabrics that are seen in images of Madame Pompadour. This interest in the pleasures of pastoral life shows the extent of the ‘myth and fairytale, festivity and fantasy, theatre and music’ that was epitomised in the paintings of the elegant women of the Rococo. The dresses made for and worn by the ladies of the Rococo are emblematic of the changes in society. The newly found ease of life for the middle class is seen in these images through the mythical landscapes, statues that appear to come to life and through the elaborate dress of the figures that combines a sense of the élite with that of the costume of common man. Wolfgang Menzel describes the Rococo in 1859 as a time that represented ‘empty and meaningless ornamentation’, a feeling that was certainly shared by the lower classes of Paris and one that was expressed in the French Revolution in 1789. The revolution sought to punish those of a higher class, meaning that figures expressed in the paintings of Fragonard, Boucher and Watteau would be guillotined within the same century." -Gabriella Sotiriou

To be sure, there have also been depictions of shepherdesses in history that were realistic and accurate, humble, commonfolk, both before and after this movement. There’s just this… Sweep in the 18th century that forever changed the aesthetic associated with the shepherdess figure in a part of culture.

So to summarize. Rich ladies LARPing as rural peasants for fun and portraits. From there you can easily see the throughline of how this very elite vision of a shepherdess would become the model for if, say, a children’s book illustrator wanted to design a shepherdess for a nusery rhyme, books which at the time would be luxury goods, the target audience noble little girls who should aspire to look as cute, elegant and well dressed as the shepherd girl in the book. Okay! We just have to get lost in the sauce a little more before getting to a full look and conclusion.

More fun context, in english the main shepherdess nursery rhyme is Little Bo Peep, don’t ask me how it goes I have no clue. But in french I could mention many like the nursery rhyme Il était une bergère (there once was a shepherdess) that comes from the 17th century, but the most sung one and the one I knew growing up is Il pleut, il pleut, bergère (it’s raining, it’s raining, shepherdess) originally from 1780. I did not expect this when starting to fall down this whole rabbithole going "Haha dunlord Marcille kinda looks like Bo Peep", but looking at that latter song’s wikipedia page there’s a whole thing there too. It was sung right after the storming of the Bastille during the very beginning of the french revolution in 1789— In which the opening lyrics, warning the shepherdess that rain is starting and a storm is coming, to "get your sheep, go home, and take cover"(though more poetically), became more goading than the original fairy godmother energy. The shepherdess here in this revolution context became the queen Marie-Antoinette, and the rainy storm is the french revolution brewing. It is said that that the author of the song hummed it at the gallows before being executed at french authority’s decree. We see then just how much the figure of the rococo shepherdess became a symbol with hated connotations and ties to rebellions.

So! The figure of the shepherdess is hazy to most people nowadays, but historically it was associated with excess, extravagance, classism, misused unearned power and the then-queen of France. It was both the ignorant and selfishly idealistic aesthetic that the queen wished to embody and that twisted the original commoner humble conception of a shepherdess, and the infamous image embodying her faults that was then used against her in mocking resentment and revolutionist sentiment. The representation of the fantasy world she created for herself with her power, and the ironic reminder of the real world she was exploiting and ignoring to do so.

You’ll notice the shepherdesses are typically blondes, especially in Bo Peep or more modern depictions. Marcille’s name is french.

What

… But all of that was just to inform on the topic before we got to the links and parallels that can be drawn between it and the story & Marcille, and to prove I’m not making up "the shepherdess look" in the first place. I already briefly went into visual similarities and appearance-related connotations (bonnet, rounded staff, dress with cleavage, lacing like a corset, poofy skirt, elegant and formal yet promiscuous undertones) in the previous section, so now I’ll be properly going into what this comparison can mean for her and for the narrative.

I summarized this section as shepherdess: guidance, and ultimately that’s what I think this focuses on best about her.

I do a quick overlook of her mom friend tendencies here (+ here) if needed, but I think we can agree Marcille often acts motherly through canon, not only fussing over her friends and coworkers often overbearingly so but also directly caring for them like helping them bathe, enjoying being able to do that for people she cares about (washing Senshi’s beard included). But also, often deciding herself to adopt a sort of wisdom-imparting dynamic within a group or relationship where she knows what’s best for others better than the individuals concerned do, where she’ll scold or push others out of their comfort zones as if she’s doing them a favor (Chilchuck), where she’ll talk in a holier-than-thou tone about a topic (often an academic or moral one), that classic long lived race condescension as some characters put it.

So isn’t the figure of a shepherdess, one who cares after sheeps, one who directs them in a direction she chooses and watches over them grazing the grass as their protector guardian and guide fitting? Isn’t that what she figuratively wants to do, obtaining unfathomable power to shape others’ lives quite literally even to the point of changing their lifespans regardless of their thoughts on the matter, being a figure that chooses for them and keeps them safe as someone who knows better? A bundle of good intentions and genuine care, but still patronizing and robbing them of their freedom of choice. I’d argue this is a large part of her arc with Chilchuck, and even for her dynamic with Izutsumi! Looking at Marcille saying farewell to Izutsumi near the end when she thinks she’s going to prison, it’s easy to wonder about how this is the same Marcille who once refused to trust Falin’s judgement and choice to be with her brother, thought she shouldn’t be away from her and what Marcille decides to allow and not allow for Falin’s career— the same Marcille who here in tears with Izutsumi is telling her to take care of herself as she leaves to travel alone, trusting her to make choices for herself by herself and supporting her in it even through her heavy emotions and the grief and loss she’s already anticipating, but learning to accept.On a more literal parallel level, in this last arc she commands an army of monsters at her will effortlessly, making them march towards the surface and then into battle. Sending out orders through her hands, words and staff like a war general, ready to choose to change the world to fit her wishes.

As to what feelings dressing like a shepherdess could quell, I think it’s a way for her to reaffirm her goals and feel certain in them. Her friends she respects just told her that her lifelong goal of extending everyone’s lifespans is a pipe dream that could do harm as much as good, and even though she ignored her it did shake her, it is after that and just before the upcoming battle that the winged lion deems she’s in need of a morale boosting wardrobe change. Marcille feels more directionless and aimless than she should, so the winged lion gives her an outfit that reaffirms and steels her goals, examplifies her motherly and controlling instincts and validates them, encourages them. Wouldn’t a shepherdess figure make sense then?

The fakeness aspect of the shepherdess fashion also reflects how she’s not fit to be a proper dungeon lord, as that requires maintaining an ecosystem that she doesn’t have the knowledge, experience or will to manage. She’s a shepherdess in looks and has the power to command people places, but she doesn’t have the hands-on farming experience that is needed to make a dungeon lord a competent one, a good gardener so to speak. Marcille has high academia knowledge of dungeons but when it comes to basic care that’s more in line with farmer experience, she’s largely stumped. She lets herself be moved by aesthetics rather than practicality, like with her spiders and her coatl.

If we put the history of the shepherdess figure in context with her arc, she wants to mimic the look of a folk hero, while still being privileged with power she can exerce over others. It gets to a key trait and arc theme of Marcille: romancitization. Which is in big part tied to her idealism, and that idealism often makes her more resistant to accepting things, but now I’m getting ahead of myself.

(Ironically, as we’ll go over in latter sections) This can also reflect how Marcille’s mother was an elf, presumably from high elven society from her elegance, court etiquette and magical skills- (meaning she likely got a good education), but moved to a tallman region feeling its culture less stifling and more fun, prefering its food and clothes etc etc. She’s still court mage, but to elven society being part of a short lived race’s court is a downgrade from being part of elven society at all, so here the "noble willingly becoming "lower class" because they find it pleasant or fun" is fitting. (Not an actual critique of her choices or morals whatsoever, just an observation.)

Marcille is not seemingly in touch with her elven culture. The dress tallman fashion, but the earmuffs would be elven, perhaps denoting the wrong or fully romanticized usage of it. Like meshing two things together that clash— in-world in this case cultures, but here in context it’d be class, and as we’ll touch on later in another section, identities.

Marcille also grew up around in a rural region surrounded by "books and chickens", so it’s not like a rural identity or a relationship with farm animals is fully irrelevant or separate from her as a person. The chickens make the egg imagery Marcille uses to explain souls in the same body and in some art extra interesting.

Like mentioned, shepherdesses also obviously have an association to lambs and goats especially. Which is fun not only for figurative parallels like her leading the monsters and everyone like lambs to slaughter into war but also how the demon has been shown as a goat and a sheep before. In a way though, Marcille is the lamb innocent as she is and the demon is the shepherd. After all, Marcille’s dress even has some animal-like features, fur all over including her ears and even a tail. The dress is not only to make Marcille feel more confident, but to distract Marcille from having second thoughts and self-doubt that could make her think better of being a dungeon lord, like she ends up doing after talking with her party in the tower. The demon takes on forms to lure in his victims, as the adventurer’s bible puts it forms that make his victims trust him. At his very beginning, he would take on the form of food and offer himself up for eating. Similarly, I think it’s interesting to consider the dynamic between Marcille and Winged Lion as one where he presents himself as a servant, as the one guided and ordered and not the one pulling strings and walking her like a sheep to breaking him out of the dungeon. You could also mention how the sheep form the demon has taken before is when he was traumatized in a way— The time all humans died around him that made him live in loneliness for what’s implied to be quite some time, the time when he reconsiderd his whole approach from people pleasing towards cunning and control.

Tldr: - History makes it a good comparison for aesthetic-obsessed well-off people who want to play folk hero while actually being selfish or misguided, it’s a paradox of a humble station represented by unattainably expensive fancy flourish and frills. - Marcille herself is of rural origins where she interacted most with books and chickens. She has a taste for over-the-top aesthetics and dresses (not as much as the golden kingdom’s people, but enough to desire her dunlord dress) and novels, and she is a mom friend type, caring after others (in bathing and dressing and healing and comforting and guiding) - As a dungeon lord, the way she commands an army of monsters in perfect synchrony with shepherdess-like staff in hand makes the shepherdess comparison very literal. The demon having been notably a goat, a sheep and maybe even a lamb in the past also makes this imagery more compelling and fitting.

This angle shows Marcille wanting to take on the role of the shepherd, the lighthouse so to speak, the mother that guides the people whom she wants to change the life & world of for the better. They need only follow her lead and they’ll be shown how great their life could be.

Where does this imagery fall? Definitely all meta and not in-world, this is for the audience and has no in-world acknowledgement whatsoever. Again. I know this was kinda insane, this is the most wild and meta section of the post like I mentioned and like I implied I don’t even personally think it was intentional on Kui’s part honestly! But as art doesn’t exist in a vacuum, even when there’s no intent, imagery can bring an interesting and relevant framing, angle or flavor to the original text. A lot lines up well and there are small coincidences, but again I am not saying Kui intended Marcille to parallel Marie-Antoinette help. Isn’t it kinda neat though… Just a little bit…

Okayy so things are calming down from here on out we’re cruising guys

Interlude: earmuffs, elven but childish

It was important for me to get a groundwork analysis done for the earmuffs before going into the next ones. This interlude has a focus on supporting the shepherdess section with comparisons, but I want to take a moment to focus entirely on elven earmuffs, their connotations and existence as an in-world fashion accessory, and thus environmental context for how Marcille may see them.

So, if we go back on the shepherdess for a bit— The shepherdess fashion had a hat iconic enough for it to be called the bergere hat, but the type that’s more associated with them nowadays is the type that Toy Story Bo Peep wears, which is a bonnet.

To me it’s intuitive to say that elven earmuffs are very alike bonnets, even in cultural context. I recommend browsing the wikipedia link I put for the pictures. It used to be very widespread and popular headwear, and to be fair probably still is even though not fashionable much anymore. It used to be, though, fancy pretty laces and this and that were put on it and trends were made of it. A type of bonnet especially has become emblematic of the shepherdess look, like mentioned.

The elven earmuffs are subject of discourse within the fandom and the biggest reason is the age connotation they have, and I do have to say it’s less strict in practice than people like to say. Kui not only keeps herself from explaining the social perception of them in a categorical end-all be-all way, but we also see a range of earmuff designs worn by adults in the doodles. We see that adults can and do wear them even if we don’t have much coherent context for it, and perhaps more importantly we see it implied that there is a market for earmuff designs especially with the fashion of it, which solidifies there are customers and adult customers for them.

Similarly to bonnets irl, it might feel weird to see an adult or anyone wearing it, but it’s not like it’s illegal or strictly reserved to some kinds of people. Rather, it’d be embarrassing, like the elven bonnets in Dungeon Meshi. It covers ears while still looking and feeling dainty, often accessorized and designed with lace or ribbons. It’s very strongly coded with babies and was very popular across baby dolls, ads, etc, though it’s starting mostly considered vintage nowadays. Though these are associations so strong that for example in Alice in Wonderland, the original book like the 1999 movie, when the baby gets transformed into a pig, understanding that the pig is the baby and A baby remains smoothly because it keeps its bonnet. It helps sell it.

(And if we’re referencing Alice in Wonderland while talking about Dunmeshi, psst, look up the chapter cover for chapter 64, rabbits 1)

Beyond babies the traditional simple bonnet is associated with rural people especially women. I do not want to sound like a bonnet expert because I am not— but from my understanding it does make sense if in occident rural people are the majority of who still wears them to this day. One reason being that more isolated less rich regions tend to care about being trendy less, and expectations on dress differ from region to region of course— And that’s a point I want to make about elven earmuffs, because I do think especially in colder regions like Kui mentions they would be more widely used and considered commonplace for older adults like perhaps the ones in the doodles. Just like how gnome hats go in and out of fashion constantly, Kui does have a good grasp of how fashion can be treated and coded amongst people and groups. It’s earmuffs for a culture Marcille isn’t fully in touch with, so it could take part in reaffirming Marcille’s identity and belonging in it, wether or not she knows all of what it implies. Like said, in the pages we see seemingly earmuffs high fashion for adults. It’s something young teens and young adults are said to be culturally ok to do, and people do generally like to look young so, it could be part of the cute hip young woman look. Would it be thematic for her to wear childish outfit? Yes, but I honestly can’t see it bringing her "courage" much if that’s the main intent. We’ll talk about it more later though.

Some do say that historical fashion is Kui’s weakness so to speak lol, and I’m not one to disprove that. Again, I can’t claim to know what Kui intended or didn’t intend to do and where she got inspiration from consciously or not.

Sorceress

Okay okay okay my enthusiasm for explaining historical/trope meta sorta started and ended with the shepherdess let’s get this done. I am interested in laying the groundowrk that I’m not making shit up in pop culture and for that I have to build up context so we’re all on the same page, but this is just what it says on the thin. If you want a recap of tropes surrounding black magic sorceresses and how they look beyond the minimum, here’s a couple relevant tvtropes pages: Evil Wears Black, Evil Costume Switch, Evil Sorceress, skimpy villains. More interestingly, you could argue that Dungeon Lord Marcille apparents herself most to the vain sorceress, even though what she would like to be is closer to the lady of black magic akin to her mother’s demeanor, and meanwhile the regular Marcille we know and love acts most like the black magician girl. The latest I would have never guessed existed is a trope of a spunky outgoing girl deuteragonist who’s gifted in dark magic and it’s honestly really fitting, which I find a really on the nose coincidence. This is still optional, beside the points I’m about to make.

Marcille, like Chilchuck, is concerned with reputation and social perception. Beyond other examples of it, there’s how Marcille prefers to let other people believe she’s a full elf and how Thistle’s shaming affects/embarrasses her — her reason for not being upfront about her origins socially not being shame but that it’s a hassle to explain and deal with, the questions and judgement and differential treatment, but moreso!!! There’s how similarly, she’s not ashamed of her dark magic research & knowledge, but she avoids talking about it. She knows it’s a touchy topic and kept the main topic of her research a secret for 2 years of working together. It only came to light because it was absolutely necessary to save Falin. She knows the reputation of dark magic and readily fires off counterarguments to Chilchuck talking shit about it with quick practiced ease.

But now as she becomes a dungeon lord and the canaries know everything and they’re are after her, there’s no more hiding or pretending or deflecting. She embraces the reputation of dark magic and her academic identity fully with an outfit that screams "I’m a black witch" and wears it like armor.

This is more in line with what the people who don’t know Marcille were framing her as during her dungeon lord stint, Marcille’s in-world image at that time, the same way Thistle became known as the mad mage with time. Evil sorceress. Dark witch. It’s the epic villainess look. Mixing Maleficient with a D&D seductress look. It does a lot of skin especially for Marcille, off the shoulder sleeves, a line of skin showing from inbetween her breasts to her navel, a skirt cut like Rin’s dress... The deadly sin of lust in french is the word for luxury— lust is desire but it’s for as money or power as much as sexuality.

Unlike with the shepherdess there’s less specific boxes to check. The main’s color black or at least dark, there’s magic (preferably black or forbidden or cursed) and the outfit’s feminine and elegant and a dress? You got the winning recipe. Then there’s extra boxes like having a fur or feather trim, having a magic staff, long sleeves… If you want examples beyond literal Maleficient, I’d google for sexy sorceress halloween costumes lol. Google also showed me some AI art that’s exactly what I’m talking about whole looking those up and that sorta drives the point that this has become a vague but striking figure. We’re not operating with poofy skirts here, that’s for the kooky villains. But the length of the skirt and the vibe is right, and fur and especially feathers aren’t unheard of tacked onto their dresses, which ironically Maleficient both wore in her important 2014 movie, funnily enough the year Dungeon Meshi’s serialization started. Though, especially with her barefootness it also gives her a of… Lost fey witch vibes more than dark sorceress, depending on how you see it.

Oozing maturity makes you feel in control. It makes you feel adult and powerful and independence. This is also very true for the mother section later on, but here we focus on the confidence aspect and less the assurance, if the distinction makes sense— Confidence coming from within yourself and assurance coming from an external source in this case.

"Fumi you’re saying Marcille wanted to look like an evil sorceress?" No! But unconsciously or not she’s drawing on these vibes. She’s done hiding and she’s done hiding the topic of her research and what she’s ready to do to succeed, the extent of her determination, her "dark" magic, that very term she’s been fighting against. She’ll wear a dress that reflects that and gives her confidence in pursuing what she wants in plain sight. It’s relevant for this to remember that Marcille getting her dunlord makeover is soon after she had a conversation with her friends who tried to talk her out of her biggest trauma and purpose and want, even laughed at her goal, and juuust before a huge life or death battle. She laid it all out bare and told the full story and the full truth and argued a bit, and now she’s sent them away for a time while she does her dunlord thing and bam here’s your confidence dress my queen. You’re scared about the canaries? You just need a fit to remind you you’re strong and kick ass. You know, because you’re a cool mage with convictions and nothing holding you back anymore and also you’re hot and in control.

She has power now, the demon even referring to himself as it, Power, and she’s going to wield it. Feels confident in seizing and using it— momentarily.

Is this angle character or audience focused? I do think both, because yes these powerful vibes would make her feel confident like I went over and theorized, but definitely a lot relies on an audience level. It’s our official sign, to both us readers and to Laios’ party explaning their reactions lmao, that "oh she’s truly lost it". This is her dark evil wardrobe change. We see her get her goth makeover and we know she’s gone to the dark side. Jojo Siwa moment. (Sorry)

Interlude: fur, luxurious but monstrous

Ok what’s up with all the fur on her skirt and sleeves and the furry ears though. Why a poofy fur dress. We’ve never seen Marcille show interest in fur lined outfits or such before. At most, there’s her trying out the golden kingdom outfit, with its antlers and leopard pelt uhh lointcloths? Which- that is a point to make I suppose lol, gave her a taste of bold high fashion. Her dress is pretty out there as the character reactions hint. Here’s even someone from reddit comparing it to Cardi B’s 2024 met gala dress! If you go back to the earmuffs pages, there’s one ear design with something that looks like fur too. More seriously, fur has long been a way to show class and wealth, because they’re expensive, especially on garments that are meant to be not just practical but pretty.

Quoting @room-surprise : "Costume design wise, the gown just screams class and wealth and power, like as a costumer when I saw it I immediately went 'evil renaissance queen on her way to war'."

But, especially the furry ears, for a manga about monsters that feels quite on the nose right? As revealed by the official dunlord Marcille acrylic stand pictured later in the post, she even has a tail. It definitely represents that her opinion on monsters has shifted imo. Like, it could be just visuals but then that defeats the psychological look into Marcille that the outfit gives us, it could just be a nod to who’s really in control or aesthetics, but I do feel it shows how Marcille has grown less repulsed of monsters. Let’s remember what Marcille said about eating monsters in the barometz chapter, that even if it isn’t logical she has a fear that eating a monster means taking something bad into herself, that it’s dirty and corrupting. Marcille, who takes horror in knowing that fertilizer aka poop has been used to grow vegetables that she then ate. She’s always had a bit of disconnect with ecosystems and the cycle of life so to speak, foiled by Senshi, she wants to defeat death and she doesn’t know how to balance a dungeon because she has trouble tending to ecosystems unlike Falin, she sees them like math when she should see it all as organic living balance. So in the end, it can either show that her mental state is so unstable for her to have been reduced to such a state alongside her barefootness, or on its opposite that she’s accepted the important place of animals and monsters more in the world, that she doesn’t see them as dirty anymore, or even that she likens herself to them. Maybe she’s become a bit of a monster herself, after all, because the dungeon does corrupt, the dungeon devours like how its structure was once compared to a digestive system by Laios, because if the demon isn’t a shepherd and Marcille isn’t a sheep the demon is still who actually has control over everything in the dungeon including the monsters, despite wanting to make believe it’s the dungeon lords who do, because the dungeon lord is a puppet of a demon, just another one of its monsters, its creatures in its guts.

Princess : fantasy

This is it this is the moment. I reworked my post structure after the interview but this was originally going to be the last angle explored after funeral gown instead of before it, this is also the angle that’s most important to my Marcille & Chilchuck analysis. Dungeon Meshi has some fairytale and princess prince royalty knights etc etc imagery and this is a continuation of that in a way, topic for another day though.

As we know Marcille is someone who loves aesthetics, she loves novels and pretty things and idealizing and romanticizing, and this can be seen as the core of the outfit to her. If her situation feels unsettling, it can be fixed by a change in framing, by an aesthetic by an angle by a cool look. Something that inspires and makes the situation feel less alarming, positioning herself as the protagonist rather than the villain. It was given to her by the Winged Lion when she started being more anxious to the battle that is to come, it has the goal to make her more confident but in this context very pointedly the goal to make that self-doubt go away— to keep Marcille from thinking about her situation some more and realizing she may be on the wrong path, it’s to isolate her in her dungeon lord world as part of her role, it’s to keep her in that malleable unstable state and encourage her to chase fantasy and stay in her own bubble of makebelieve. Do you follow me? It’s "don’t think about the stakes, don’t rethink your goals, what you’re doing is right and you should keep going however you want to", it’s "you don’t have to face reality, I’m here and now your dreams are the reality that matters". It’s fantasy.

It’s an epic poofy dress that makes her look cute yet cool. It’s the imagery of a princess in a tower. Calling out to her from beneath a balcony, overseeing her army and her kingdom. A princess dress not unlike the one she felt embarrassed in in the Golden Kingdom, where they talked of prophecies and kings, and wanted to be complimented in, to laughter and dismissal. And even though those things feel more disconcerting in real life than it does in stories then, becoming dungeon lord is good at blurring the lines to the point you can’t tell your doppelgangers of loved ones aren’t the real thing, and the Winged Lion chose her so that has to count for something, she was chosen.

If the princess imagery is left unnoticed by Marcille herself, then I definitely think it was meant for the audience to some degree. If not the poofy dress and heroine status alone, then the tower imagery and the balcony scene. The tower and the princess, the dragon, the knight, the prophecized king, the witch, the monster army, it’s all very reminiscent of fairytales like I mentioned. The balcony thing is a classic play thing though like that is Romeo & Juliette imagery right there, calling out to her from beneath a balcony?!! Aladdin too, Rapunzel, heroes and princes climbing towers to come see and save princesses.

This is the point that is most related to her love of novels and dalclan. Romanticization may be the name of the game for the history behind the shepherdess outfit style, but then fantasy would be the princess’. It’s also about twisting your current situation into something positive despite everything, but Marcille wasn’t that far gone yet, just struggling, framing and aesthetic still subtly help sell it all though. But if there’s something that’d make Marcille feel more confident and ready to do something, hype herself up or give her a twinge of comfort outfit wise, it’d be one that makes her feel like a princess.

Interlude: black, solemn but gloomy

Short one because it’s very straightforward but black is traditionally associated with evil and death, etc etc. Because of the former it’s often associated to powerful malevolent figures like villain sorceresses, but because of the latter irl it’s widely the color of funerals. It’s also cultivated this connotation of elegance, this sleek clean look both in modern and noble contexts, it’s very much this image of cool and ushakeable composure. Interestingly, we can’t 100% tell because mangas are in black and white, but black seems to be Marcille’s mom’s color, what she always dresses in.

Funeral gown

This was the most popular reading by the fandom before the interview and with good reason. As we got the confirmation, it’s nudging towards the intended one! It argued that the dress is a funeral gown, because her mother wore dresses like it and because of its black color, meanwhile the childish earmuffs are because her mourning her father happened when she was a child, because she feels frail etc etc. In her state with her current worries she’s feeling thrown back into her childhood, not unlike Thistle’s weird ambiguity there, feeling helpless just like then except now she has power to change it and a devil on her shoulder telling her all she has to do is affirm herself and take it.

It’s externalizing her trauma and validating it in turn, offering some catharsis and reminding her of her goal, defeating death so she never has to endure loss again.

As you may notice, both their outfits here are fur-lined too, so the amplification of that in her dunlord dress may be similar overcompensation to how she made the dress very revealing.

Interlude: barefootedness, filthy but earnest

Bloodstained bare feet no less. From what I can tell this is a direct callback to her being barefoot when resurrecting Falin. Again this could be a way of reminding herself of her goal and reminding herself all she’s accomplished, but it’s notable that Falin’s resurrection is something that made her feel very guilty and indecure because of how her becoming a chimera turned out. Maybe more about reminding her of what she has to fix and that she can’t give up on her goals including Falin.

Beyond that it’s interesting too though! Prim and proper Marcille who cares about her appearance and pouts at dirt just walking everywhere barefoot like nothing can hurt or bother her. There’s a sense of her being messy as a dungeon lord, her hair isn’t in an updo and looks unbrushed, she’s in a weird uncharacteristic outfit in a questionable mental state and she’s barefoot on top of it all. It also recalls a sense of vulnerability of course, reminding again an unstable mental state or showing desperation or how naked she might feel. Inversely, it can be more about acceptance, like in the last interlude we talked about knowing your place in the ecosystem and feeling secure in accepting it. Walking barefoot is to bare your skin to the ground, to walk knowing they’ll get dirtied and not minding it. Did you know humus and humilty are from the same word root?

In the end, it gives both ethereal forest fairy vibes and also poor little orphan vibes. Victorian sick child, especially when she gets carried by the winged lion all overwhelmed too haha. Very much gives her out of touch vibes, even if the bloodstained look is powerful. She’s willing to get her feet hands dirty to do what must be done.

Mother : balance

I turned this section into an excerpt post as well, here’s a link, serves as an essier to share highlight + allows me to put in more pictures since we hit the limit here…

Kui: "I just combined [a dress like what] her mother liked and [earmuffs] which are considered a little bit childish."

See what it’s doing here? Kui combined a dress from her mother with a hat for children, adult dress vs childish hat. Adulthood vs childhood. Mother vs child. It’s also notable that the dress is tallman fashion while the earmuffs are elven. Again she’s combining those distinct things into one. It’s about emotions and maturity. Stability and instability. Growing & potential vs having grown & knowing yourself. It’s about her cultures and expectations and how can she possibly keep up with all of them, like the genius child she was portrayed as? It’s duality it’s conflict it’s being pulled in opposite directions. It’s about identity.

Marcille wants to have all the answers and wants them all already, she already acts like she has everything figured out more often than not, when it comes to ways to harvest mandrakes or her image of Falin and Chilchuck and orcs or her rigid sense of ethics, but the story does show that she had growing to do, plus her main goal beyond keeping her friends safe and near her is that pursuit of knowledge for what she doesn’t yet have answers for— rewriting the laws of life and death. But, as we’ve all been told before, death is simply a part of life and we have to make our peace with that one way or another. Like Marcille says in the last chapter, this was in large part the lesson and arc she’s had to go through. A lesson that Marcille’s mother has learned herself, one that she has accepted and tried to pass on to her daughter, which didn’t work and kickstarted Marcille’s pursuit of extending lifespans. Marcille has to settle with uncertainty, with knowing life can end at any moment and knowing this is who she is even if the world has no answers for her as to what that means, she has to come to terms with ambiguity and inbetweens.

Marcille’s relationship with her mother is very interesting because it’s shown all in very small moments and implications, but we do see that Marcille’s mom is arguably her biggest role model. She’s the one who shows up in Marcille’s nightmare about monster food early on, she’s who told Marcille she’ll have to bear loss througout her life due to her lifespan, Marcille wears a choker like she does, it’s debatable that Marcille mimics her demeanor to seem more elven and dignified, in Marcille’s true nightmare she hides behind a portrait of her, she was the only living elven role model Marcille had around. Mother, who didn’t let grief of her husband rule the rest of her life, having even remarried, mother, who’s a court mage, mother, who pursued a life she wanted even if it cost her a lot. And we do know being an elf is important to Marcille! She seeks to conform to elven beauty standards rigidly, both in gender presentation and things like facial hair, and she’s masked as one since she was enrolled in the magic academy, as far as we know her first time away from home and her first big period of social contact since she isolated herself with chickens and books when she was younger. Books like the daltian clan, with an all elven cast except for the one half-elf she deeply related to.

Marcille’s bangs are also half down and half cut. Before she had to cut some hair to make familiars, long bangs were what Marcille wore for years, meanwhile in all of Marcille’s childhood flashbacks including at the magic academy her bangs were always cut short. As we know, hair is important to elves. Her hair is elfness. Her hair is elegance. Her hair is her age. Her bangs are uneven now. It’s part of accepting her precarious weird spot in an inbetween, half up half down haircut. Acceptance on her own aging, that there’s no empiric answer for what Marcille’s equivalent age is in elf or tallman or other, maybe just a ballpark if even that. Answers which are what she’s most desperate to know. What do you mean that student over there has got an astronomic result on her dungeoneum and what do you mean she doesn’t really care for how you did it? Falin who’s thus showing her another way to be, with less self-made pressure, that you can just go with the flow- that you can just… Be.

Her hair being all down and messy as a dungeon lord is part of making the characters and audience understand that Marcille is out of it, but… Like her barefootness there’s some flexibility it implies, for Marcille who’s so rigid on appearance. Accepting her hair to be messy, a sort of shedding of who she is even as she’s overdressed and trying so hard to look like something she doesn’t feel as.

That’s why her outfit makes her feel courageous. Because it makes her feel different from who she is otherwise, because it grants her a look she feels naked without, even with barefeet and messy hair. It’s externalizing how she’s been trying to hold it all together and all her confliction and her feelings and offering some catharsis, no more hiding herself, she’s a half-elf trying to do dark magic. Clean Marcille, clean clean Marcille— Overthinking the dressing, the superficial the aesthetic, without looking enough at the body it’s covering up, the laws of the world the ecosystem of the dungeon the opinions of her friends’— what’s standing right in front of her face, the underlying thing holding up the rest of what she’s trying to change, what’s truly important. She’s back to being like with meeting Falin, overfocusing on the details and the nitpicks and the theorics while oblivious to the slimes and the bats and the balance of mana in that small cave dungeon. She has the dress and the hat but as a whole she doesn’t look like a slay queen or a princess or a cool sorceress or even like her mother, she just looks like a mess. 

Ultimately after calming down she takes the hat off. She leaves behind the grip that her childhood trauma had on her and moves forward in the dress of adulthood, with maturity and emotional intelligence and logic to deal with her current situation instead of coping mechanisms and desperate grasps for control. And then when the dungeon lord becomes Laios her dress poofs, she’s in her very plain pajamas, plain Marcille, and it’s that Marcille who goes forward to help Laios save the world and defeat the demon. Hence why post-canon she starts dressing in similar dresses to her mother as well, and starts wearing more black. Black here is a color associated with her mother. She keeps her own touch and color here and there, like her red choker instead of a black one, but it’s a stark and sudden difference. She’s matured.

And her friends aren’t afraid to say it like it is and bring back her feet to the ground instead of up in the clouds of fantasy and power where she was, her feet back on the dirt of where they are right now instead of the theorics of "when" and "then" and "forever". She’s weird, she’s unique, in some ways she doesn’t fit in with any group anywhere, and that’s ok and she’s accepted that it doesn’t mean she can’t feel belonging and joy as herself with her flawed friends in a flawed world. After all they did stick with her even after seeing her whole tantrum and embarrassing breakdown makeover. Personally I do say, slay queen.

Her dungeon lord outfit is a coming of age outfit in a very literal way. A bridge between childhood and adulthood. We see her struggle metaphorically between the past and the future, moving on or holding onto trauma. The dress, from her mother, with cleavage and low cut sleeves and a lace gap going down to her stomach and a very short risqué skirt cut, represents maturity but it was very purposefully contrasted with the earmuffs, a childish piece of accessory associated with youth. This shows her mental state, battling with her emotions, wildly fluctuating between her academic put-together powerful self and the childish emotional outbursts the pressure is causing. Time moves on too fast but she’s not growing up fast enough to keep up or make the academic breakthroughs she wants— time is always running out and she’s both too young or too old she’s pulled in both directions and she can never be up to standards. It represents her struggle with her lifespan, her struggle to fit in, to know who she should be and what she should be doing. Considering this, it’s no wonder Marcille is someone who finds ecosystems and the cycle of life unappealing and unintuitive notions, because she has to carve her own space wherever she goes.

Conclusion

Her friends are laughing because she’s doing one of those over-the-top sexy costumes with a baby bonnet and both of those are extremes uncharacteristic of her and the whiplash of Marcille out of anyone in that weirds them out. They’d take plain old marcille in her pajamas over all-powerful dungeon lord Marcille in an epic revealing goth dress any day. Marcille with messy hair is crossing the line though someone braid it please.

Marcille had a flair for the dramatic, values the grand and the novel-like, big gestures and being swept away by knights. As was discussed in this post of mine and as will be covered in my Marcille & Chil arc analysis, fantasy is something she uses to make the world more digestible, less scary, more handleable. As such, I can totally see how a gown that makes her feel larger than she is, more important or, more narratively, like a protagonist, like a sorceress and a princess, and understood and validated in her mourning, would make her feel like she can tackle things more, better in her own skin, or perhaps, giving into the delusions ever so more. She needs a dose of reality and dw her party (chilchuck) will come to give out that.

Dunmeshi prones the importance of balance for both a healthy body and a healthy mind and hope & fantasy vs logic & reality aka optimist idealism and cynical pessimism are one side of that.

"Fumi, do you really think Kui intended all of this?" To a good degree I wouldn’t be surprised, but ultimately that’s not what matters bc this is still compelling cultural context and themes to read into the text, like I mentioned at the start. Diversity of interpretations is good!! It’s a sign of a deeply rich story! I think in 15 years we’ll still have essays being written on Dungeon Meshi and I think that’s incredible and no small feat.

[venustapolis]

The Little Shepherdess (Paul Peel, 1892)

[classyfruit]

[INKTOBER '23 | DAY 1 - Dream]

In fields of green, a shepherdess lies, Besides her flock, under starry night skies. Dreaming of valor, a knight on a quest, enjoying adventures at her queen's behest.

Well hello, I'm back from my little vacation, ready to try my hand at this year's Inktober-challenge! ⭐️ It's gonna be a story about a young shepherdess going on an adventure and it's gonna be fruity, don't you worry! 😉

[omgthatdress]

The fashion nerd in me is utterly thrilled by Felicity’s summer dress. This style of lightweight white cotton dress was eventually referred to as a chemise à la reine, after Marie Antoinette was painted (and immediately hated for) wearing one.

This style only really became popular for adults in the 1780s, but in the 1770s, it was popular summer-time wear for girls.

There’s not a whole lot to say about Elizabeth’s dress, it’s again pretty accurate and appropriate for her social status.

The straw hats are not simply straw hats. The proper name for that style is bergère, or shepherdess. They were pretty essential outdoor wear for proper ladies who wanted to protect their fine pale complexions.

(Kerry Taylor Auctions)

(The Victoria & Albert Museum)

(Musée Galliera de la Mode de la Ville de Paris)

Finally, I kind of feel the need to address what’s the elephant in the room when it comes to Felicity:

Everyone was acting all horrified and outraged by this, but, well.... have I got news for you about middle-class white families in Virginia in 1774. It would be very inaccurate for them to not have slaves.

If we want to get technical, Felicity herself never actually owned slaves. Her father owned a couple of slaves, and her grandfather owned a plantation. When her grandfather died, the plantation would have gone to her father, and then down to her little brother, William. Felicity likely would have grown up to marry a man who owned slaves, but she still wouldn’t own them outright herself. All that being said, there were special no-male-heir circumstances in which women could inherit property, and there absolutely were woman slave-owners out there.

Slavery is a part of American history and honestly it does us more of a disservice if we try to cover it up. The fact that Felicity’s family owns slaves is a great chance to teach kids about the big, messy questions of history. Kids are smart and capable of understanding complex historical issues. They deserve to know this kind of shit.