#how can i not experience something from my perspective. even when i learn from others….its processed by My senses and brain …..idk

[excurseon]

reminding me that something i’m saying is a projection / subjective doesn’t help me tbh like yeah … obviously

[michanvalentine]

Of course, Astarion wants to ascend. He wants it so much, it’s as clear as day. He has never hidden how much he ideally likes the idea of power—to elevate himself from his current position, to ensure his safety, to bend others to his will (instead of being the one who is bent). And if he can also walk in the sun and never feel the hunger pangs again, even better!

But let’s not forget that Astarion has a limited worldview. Cazador himself says it in one of his confrontations with Tav/Durge: "He is afraid. He is afraid because all he has ever known is you and me, and without us, he is nothing."

Astarion does not have a well-developed sense of self, and by default, he also lacks many of the skills that a well-adjusted adult should possess. So, to navigate life, he can either rely on the worldview presented by Cazador (power, power, power, and more power—to place himself above others) or the one offered by Tav/Durge, assuming they are a heroic figure. Otherwise, the only perspective left is that of power, and Ascending becomes almost natural in an evil playthrough (which I myself did in my villain run). Ascending Astarion in a good playthrough, however, seems completely contradictory to me, but whatever…

Let’s not forget that power is not Astarion’s driving force—power is only a means to an end. His real driving force is fear, as both Cazador and Scleritas emphasize. He would do anything to feel safe (like becoming a half-Illithid if scared enough by Tav/Durge—even though he rejects that idea with every fiber of his being, and yet…). The scene with the dryad, Naoise Nallinto, in Astarion’s origin run makes it crystal clear: when she uses her power on him, among all the possible choices (wealth, respect, power, etc.), Astarion’s personal wish is to feel safe, not power—even though power is explicitly one of the options. But it’s not his!

Oh, and Astarion himself spells it out, right before the final decision between Ascending or not. His exact words: "One final thrust, and I'll be free of you. I will never have to fear you again. And if I complete the ritual you started, I'll never have to fear anyone. Ever."

Everything revolves around fear, which is once again emphasized in the insight check—where it becomes obvious what is driving him and what is simultaneously holding him back from making a rational decision. Because while it’s true that he wants to ascend, he also wants to redeem himself. Well yes, it's shocking, folks, but two completely opposite desires can exist within the same person. They're called internal contradictions, and we all experience them every day or almost ("Oh, damn, I want to go out with my friends tonight, but I also want to just lie on the couch and watch TV").

Let’s not pretend this character is one-dimensional and that all these dialogue lines don’t exist when discussing Astarion. Of course he wants to ascend—he wants it so badly. The point is understanding why he wants it. And then questioning whether giving in to that fear is truly worth it, considering the consequences and what he would be giving up (because even Ascending comes with its own sacrifices, and I’m not even talking about his soul or the 7,000 people).

That’s why, if they choose to, Tav/Durge can intervene and make him reflect on the alternative (which, depending on how you play your Tav, could have been introduced to him from the very beginning of the adventure—it’s not something that just comes out of nowhere, unless you’re playing completely incoherently).

And it’s Astarion himself, in one of the most beautiful dialogues in the entire game, who explicitly states this lesson he has learned. When Durge is overcome with despair and fear—just like him—and tries to end the relationship, Astarion says: "This little adventure of ours has taught me that we can't let our lives be ruled by fear, or else we'll never truly live."

He has understood. He has grown. He has accepted that uncomfortable emotion and has decided not to be consumed by it—to choose for himself without letting fear dictate his actions. And I couldn’t be prouder of him.

One last thing, because I’ve seen it repeated a lot on social media: Ascending is not Astarion’s lifelong dream—it is Cazador’s dream. Astarion didn’t even know this kind of ritual existed until five minutes before it happened, so no, Tav/Durge is not cruelly ripping away his lifelong dream just for the sake of moral superiority. And above all, they are not forcing him to give it up—but I’ve already talked about this before, and I’m not going to repeat myself.

[felikatze]

ISAT and Ludonarrative Harmony: Combat is a Storytelling Tool

Or: How Siffrin is stuck in the endgame grind, forever

Please Note: This is primarily aimed at an audience that already played In Stars and Time, because I am bad at explaining things, and it's good to already know what the fuck I'm talking about. I tend to only bring up game elements as I want to talk about them.

Spoilers for.... all of ISAT! Especially Act 5!

(image to show how i feel posting this and as an attention grabber over my wall of text)

To pull a definition of ludonarrative harmony out of a hat, game writer Lauryn Ash defines it as follows:

Ludonarrative harmony is when gameplay and story work together to create a meaningful and immersive experience. From a design implementation perspective, it is the synchronized interactions between in-game actions (mechanics) and in-world context (story).

It is, generally speaking, how well game mechanics work hand in hand with the story. I, personally, think ISAT is an absolute masterclass of it, so I want to take a look at how ISAT specifically uses its battle system to emphasize Siffrin's character arc and create organic story moments. I want you to keep this in mind when I talk here.

So, skills, right? If you've played any turn-based RPG, you know your Fire spells, your "BACKSLASH! AIRSLASH! BACKSLASH!" and the many ways to style those.

Well, what does casting "Fire" say about your character? Not all that much, does it? Perhaps you'll have typical divisions. The smart one is the mage, the big brawny one is your tank, the petite one's the healer. And that's the barebones of ISAT's main party, but it's much more than that.

Every character's style of combat tells you something about them. Odile, the Researcher, is the most well-travelled and knowledgable of the bunch. She's the one with the expertise to keep a cool head and analyze the enemy, yet also able to use all three of the Rock-Paper-Scissors craft types.

To reflect her analytical view of things, all her skill names are just descriptive, the closest to your most bog-standard RPG. "Slow IV" or "Paper III" serve well to describe their purpose. The high number of the skills gives the impression there were three other Slow skills beforehand - fitting, considering the party starts at level 45, about to head into the final dungeon. She's also the oldest, so she's the slowest of the bunch.

Isabea, the Fighter, has all his skills in exclamation points. "YOUR TURN!!!" "SO WEAK!!!" "SMASH!!!" they're straightforward, but excited. He's a purposefully cheerfull guy, so his skills revolve around cheering on his allies. He's absolutely pumped to be here, and you see that from his skill names alone.

Mirabelle, the Housemaiden, is an interesting case. She's by all means the true protagonist of this tale - She's the one "Chosen by the Change God," the only one who survived the King's first attack, the only one immune to his ability to freeze time, the only dual-craft type of the game - just a lot of things. And her skill names reflect that facade she puts on herself - she can do this, she can win! She has to believe it, or else she starts doubting. This is how you get "Jolly Round Rondo" and "Mega Sparkle Heal" or "Adorable Moving Cure." She's styled every bit a sailor scout shojo heroine, and her moveset replicates the naming conventions of "In the name of the moon, I'll punish you!"

Even Bonnie, the Kid, who can't be controlled in combat, has named craft skills. And they very much reflect that Bonnie is, well, a kid. "Wolf Speed Technique" or "Thousand Blows Technique" are very much the phrasings of a child who learned one complicated word and now wants to use it in everything to seem cooler than they are, which is none, because they're twelve.

Siffrin's skills are all puns.

You have an IMMEDIATE feel for personality here. Between "Knife to Meet You!" and "Too Cleaver by Half," you know Siffrin's the type to always crack a joke no matter the situation, slinging witticisms around to put Sonic the Hedgehog to shame. It's just such a clever way to establish character using a game mechanic as old as the entire history of RPGs.

This is only the baseline of the way the combat system feeds into the story, though.

The timeloop, of course, feeds into it. Siffrin is the only character who retains experience upon looping, whereas all other characters are reset to their base level and skills. And it sucks (affectionate).

You're extremely likely to battle more often the earlier in the game you are - after all, you need the experience (for now.) Every party member contributes, and Siffrin isn't all that strong on their own, since they focus on raw scissor type damage with the addition of one speed buff. (Of course it's a speed buff. They're a speedy fucker. Just look at him).

At first, the difference in level between Siffrin and the rest of the group is rather negligible. Just a level or two. Just a bit more speed and attack. And then Siffrin grows further and further apart. Siffrin keeps learning new skills. He gets a healing skill that doubles as an attack boost, taking away from both Mirabelle's and Isabeau's usefullness. He gets Craft skills of every type that even give you two jackpot points instead of one - thus obliterating Odile's niche. Siffrin turns into a one-person army capable of clearing most encounters all on their own.

Siffrin's combat progression is an exact mirror of story progression - as their experience inside the loops grows, they also grow further and further away from their party. The party seems... weaker, slower, clumsier. Always back at their starting point, just as all of their character arcs are reset each loop. Never advancing, always stagnant. And you have Siffrin as the comparison post right next to them.

I also want to point out here a change from Act 2 to Act 3 - Siffrin's battle portrait. He stops smiling.

Battles keep getting easier. This is true both for the reason that Siffrin keeps growing stronger even when all enemies stay the same, but also for the reason that you, the player, learn more about the battle system and the various encounters, until you've learned perfect boss clear strategies just from repetition. Have you ever watched a speedrunner play Pokemon? They've played this game so many times, they could do it blindfolded and sleeping. Your own knowledge and Siffrin's new strength work in tandem to trivialize the game's entire combat system as the game progresses.

(Is it still fun? Playing it over, and over, and over again? Is it?)

You and Siffrin are in sync, your experience making everything trivial.

As time goes on, Siffrin grows to care less and less about performing right for their party and more and more about going fast. A huge moment in his character is marked by the end of Act 3; because of story events I won't delve too deeply into, Siffrin has grown afraid of trying something new. And his options of escape are closing in. They need an answer, and they need it fast. He doesn't have the time or patience to dumb himself down, so you unlock one new skill.

It doesn't occur with level up, or with a quest, or anything at all. At the start of Act 4, it simply appears in Siffrin's Craft skills.

(Just attack.)

No pun. No joke. Just attack. Once you notice, the effect is immediate - here you have it, a clear sign of how jaded Siffrin has become, right at every encounter. And it's a damn good attack, too! The only available attack in the game that deals "massive" damage against all enemies. Because it doesn't add any jackpot points (at least, it's not supposed to), you set up a combo with everybody else, but Siffrin simply tears away at the enemy with wild abandon. Seperated from the rest of the party by the virtue of no longer needing to contribute to team attacks (most of the time. It's still useful if they do, though).

Once again, an aspect of the battle system enhances the degree of separation between Siffrin and the static characters of his play. You're incentivized to separate him, even.

Additionally, there are two more skills to learn. They're the only skills that replace previous skills. You only get them at extremely high levels, the latter of which I didn't even reach on both of my playthroughs.

The first, somewhere in the level 70 range, Rose Printed Glasses, a paper type craft skill, is replaced by Tear You Apart. It's still a pun about paper, but remarkedly more vicious.

The second is even more on the nose. At level 80, In A While, Rockodile!, a rock type craft skill, is replaced by the more powerful Rock Bottom.

I didn't get to level 80. If you do, you pretty much have to do it on purpose. You have to keep going much longer than necessary, as Siffrin is just done. And the last skill he learns is literally called Rock Bottom.

What do I even need to say, really.

Your party doesn't stay static forever, though.

By doing their hangout quests, side quests throughout the loops that result in Siffrin and the character having a heart to heart, all of them unlock what I'd call an "ultimate" skill. You know the type - the character achieved self-fulfillment, hit rank 10 on their confidant, maxed out their skill tree, and received a reward for their trouble.

These skills are massively useful. My favorite is Odile's - it makes one enemy weak to all Craft types for several turns, which basically allows you to invalidate the first and third boss, as well as just clown on the King, especially once Siffrin starts racking up damage.

But the thing is. In Act 3, when you first get them, yeah, they're useful. But... do you need them? After all, they're such a hassle to get. You need to do the whole character quest again, you can't loop forward in the House or you'll lose them. If you want to take these skills to the King, you need to commit. Go the full nine-yards and be nice to your friends and not die and not skip forward or skip back. Which is annoying, right?

Well, I sure did think so during Act 4. After all, a base level party can still defeat the King, just with a few more tricky pieces involved. Siffrin can oneshot almost all basic enemies by the time of Act 4. It's this exact evalutation that you, the player, go through everytime you return to Dormont. Do I want this skill, still? Would it not be faster to go on without it? I'm repeating myself, but that's the thing! That's what Siffrin is thinking, too!

I also want to take a quick moment to note, here - all skills gained from hangouts have art associated with them, which no other skills do. This feature, the nifty art, hammers home these as "special" skills, besides just how they're unlocked.

Siffrin also has one skill with associated art.

Yeah, you guessed it, it's (Just attack.)

At first, helping the characters is tied to a hefty in-game reward, but that reward loses its value, and in return devalues helping Siffrin's friends every loop. It's too tedious for a skill that'll make a boss go by one turn faster. You, the player, grow jaded with the battle system. Grinding experience isn't worth it, everybody's highest levels are already recorded. Fighting bosses isn't worth it, it's much faster to loop forward.

Isn't this what all endgame in video games looks like? You already beat the final boss, and now... what challenge is left? Is there a point to keep playing? Most games will have some post-game content. A superboss to test your skills against, but ISAT doesn't have any of that. You're forever left chasing to the post-game. That's the whole point - to escape the game.

As most games get more difficult as time passes, ISAT only gets easier. The game becomes disinterested in expanding its own mechanics just as I ran out of new things to fight after 100%-ing Kingdom Hearts 3. Every encounter becomes a simple game of "press button to win."

The final boss just takes that one up a notch.

Spoilers for Act 5 ahead boys!

In Act 5, Siffrin utterly loses it. His last possible hope for escape failed him, told him there's nothing she can do, and Siffrin is trapped for eternity. So of course, they go insane and run up the entire House without their party.

This just proves what you already knew - you dont need the party to proceed. Siffrin alone is strong enough. And here, Siffrin has entirely shed the facade of the jokester they used to be. Every single skill now follows the (Just attack.) naming conventions. Your skills are: (Paper.) (Rock.) (Scissors.) (Breathe.)

To the point. Not a moment wasted, because Siffrin can't take a moment longer of any of this. Additionally, his level is set to 99 and his equipment becomes fixed. You can't even pick up items anymore! Not that you needed them at this point anyway, right? Honestly, I never used any items besides the Salty Broth since Act 2, so I stopped picking items up a long time ago. Now you just literally can't.

Something I've not talked about until now - one of the main equipment types in this game are Memories, gained for completing subquests or specific interactions and events. They all by and large have little effects - make Odile's tonics heal more, or have Mirabelle cast a shield at the start of combat. For the hangout events, you also gain an associated memory that boosts the characters' stats by 30. It lets them keep up with Siffrin again! A fresh wind! Finally, your party members feel on par with you again!

...For a time. And just like that, they're irrelevant again, just as helping them gave Siffrin a brief moment of hope that the power of friendship could fix everything.

In Act 5, your memory is set to "Memory of Emptiness." It allows you to loop back in the middle of combat. You literally can't die anymore. Not that Siffrin could've died by this point in the first place, unless you forgot about the King's instant-kill attack. This one memory takes away the false pretense that combat ever had any stakes. Siffrin's level being set to 99 means even the scant exp you get is completely wasted on them. All stakes and benefits from combat have been removed. It has become utterly pointless.

Frustrating, right? It's an artistic frustration, though. It traps you right here in Siffrin's shoes, because he hates that all these blinding Sadnesses are still walking around just as much. It all inspires just a tiny fraction of that deep rolling anger Siffrin experiences here in the player.

And listen, it was cathartic, that one time Siffrin snapped and stabbed the tutorial Sadness, wasn't it? Because who enjoys sitting through the tutorial that often? Siffrin doesn't. I don't, either.

So, since combat is an useless obstacle now meant to inspire frustration, what do you do for a boss? You can't well make it a gameplay challenge now, no. The bosses of Act 5 are an emotional challenge: a painful wait.

First, Siffrin fights the King, alone. This is already nervewracking because of one factor - in every other run, you need Mirabelle's shield skill, or else you're scripted to die. You're actually forced to fight the King multiple times in Act 3, and have to do it at least once in Act 4, though you'll likely do it more. Point is: you know how this fight works.

You know Siffrin's fight is doomed from the outset, but all you can do is keep slinging attacks. Siffrin is enough of a powerhouse to take the King's HP down, what with the healing and buff skills they have now, not to even mention you can just go all in on damage and then loop back.

(And no matter which way you play it, whether you just loop or use strategically, it reflects on Siffrin, too. Has he grown callous enough not even death will stop their mission? Or does he still avoid pain, as much as he can?)

This fight still allows you the artifice of even that much choice, not that it matters. The other shoe drops eventually - Siffrin becomes slower, and slower. Unsettling, considering this game works on an Action Gauge system. You barely get turns anymore. The screen gets darker, and darker. Until Siffrin is frozen in time, just as you knew he had to be, because you know how this encounter works, know it can't be cleared without Mirabelle.

And, then, a void.

Siffrin awakens to nothingness. The only way to tell you've hit a wall is if Siffrin has no walking animation to match your button inputs. You walk, and walk, until you're approached by.... you. The next enemy encounter of the game, and Siffrin's absolute lowest point: Mal Du Pays.

Or, "Homesickness," in english. If you know the game, you know why it's named this, but that's not the point at the moment.

Thing is, where you could damage the King and are damaged in turn, giving you at least a proper combat experience, even if its doomed to fail, Mal Du Pays has no such thing.

You can attack. You can defend. But it is immune to all attacks. And in return, it does nothing. It's common, at least, for undefeatable enemies to be a "survive" challenge, but nope. The entire fight is "press button and wait." Except, remember the previous fight against the King? The entire time, you were waiting for the big instant death attack to drop. That feeling, at least for me, carried forward. I was incredibly on edge just waiting for the other shoe to drop. And, as is a pattern, Siffrin is, too. As Siffrin's attacks fail to connect, they start talking to Mal Du Pays.

But he gets no response, as you get no attacks to strategize around. The wait for anything to happen is utterly agonizing. You and Siffrin are both waiting for something to happen. This isn't a fight. It just pretends to be. It's an utter rugpull, because Siffrin was so undefeatable for most of Act 4 and all of Act 5 so far. It's kind of terrifying!

and it does. It finally does something. Ma Du Pays speaks, in the voice of Siffrin's friends, listing out their deepest fears. I think it's honestly fantastic. You're forced to just sit here and listen to Siffrin's deepest doubts, things you know the characters could not say because it references the timeloops they're all utterly unaware of. This is all Siffrin, talking to himself. And all you, all Siffrin, can do, is keep wailing away on the enemy to no effect whatsoever.

So of course this ends with Siffrin giving up. What else can you do?

And then Siffrin's friends show up and unfreeze them and it's all very cool yay. The pure narrative scenes aren't really the main focus but I want to point out here:

A) Mirabelle is in the first party slot here, referencing how she's the de facto protagonist, and Bonnie fills in the fourth slot left empty, which shows all characters uniting to save Siffrin

B) this is the only instance of the other party members having act specific battle icons: they're all smiling brightly, further pushed by the upbeat music

C) the reflecting shield Mirabelle uses to freeze the King uses a variation of her hangout skill cut in, marking it as her true "final" skill and giving the whole fight a more climatic feeling.

It's also a short gameplay sequence with Siffrin utterly uninvolved in the battle. You can't even see them onscreen. But... it feels warm, doesn't it? Everybody coming together. Siffrin doesn't have to fight anymore.

At last, the King is defeated. Siffrin and co. make for the Head Housemaiden, to have her look at Siffrin's sudden illness. Siffrin is utterly exhausted, famished, running a fever. And this isn't unexpected - after all, their skills in Act 5 had no cooldown. For context, instead of featuring any sort of MP system, all skills work on a cooldown basis, where a character can't use it for a certain number of turns. The lowest cooldown is actually Siffrin's Knife to Meet You, which has a cooldown of 1. In universe, this is reasoned as the characters needing a break from spamming craft in order to not exhaust themselves.

Siffrin's skills in Act 5 having no cooldown/being infinitely spammable isn't a sign of their strength - it's a sign that he refuses to let himself rest in order to rush through as fast as possible.

Moving on, Siffrin panics when seeing the Head Housemaiden, because seeing her means one thing: the end. Prior to this in the game, every single time you beat the King, the loop ends when you talk to the Head Housemaiden.

Reality breaks down, the whole shebang. It's here that Siffrin realizes - they don't want the loops to end, because the end of their journey means their family will leave, and he'll be alone again. The happiest time of his life will be over.

Siffrin goes totally ballistic, to say the least.

As it turns out (and was heavily foreshadowed narratively), Siffrin has been using Wish Craft to subconciously cause the timeloop because of their abandonment issues. It's rather predictable if you paid attention to literally anything, but it's extremely notable how heavily Siffrin is paralleled to the King, the antagonist they swore to kill by themself at the start of Act 5. The King wants to freeze Vaugarde in time because it is, in his mind, "perfect," for accepting him after he lost his home - a backstory he shares with Siffrin.

Siffrin has become the exact antagonist he swore to kill, and it's shown by how the next fight utterly flips everything on its head.

Siffrin is the final boss.

In a towering form made of stars, Siffrin looks down at their friends. His face is terrified, because of his internal conflict; he can't hurt his friends, but he can't let them go, either. The combat prompt is simply changed to "END IT!"

This fight is similar to the previous, in that you just need to wait a certain number of turns until its over. However, this time, it's not dreadful suspense. It's... confusion, and hesitance.

You have two options for combat: Attack your friends, or attack yourself.

And... you don't really want to do either, I think. I certainly don't. But what else can you do? It's Siffrin's desires clashing in full force. Attack your friends, and force them to stay? Or attack yourself, and let them go safely without you?

Worth noting, here - when you attack Siffrin's friends, you can't harm them. Isabeau will shield all attacks. And when you attack yourself, Mirabelle will heal you back to full. And the friends don't... do anything, either. How could they? Occasionally, Mirabelle heals you and Isabeau shouts words of motivation, but the main thing is...

(Your friends don't know what to do.)

None of them want to harm Siffrin. Both sides simply stare at each other, resolute in their conviction but unwilling to end it with violence. It's of note that this loop, the last one, is the only loop where the King isn't killed. Just frozen. And now here is Siffrin, clamoring for the same eternity the King was. Of course everything ends in a tearfilled conversation as Siffrin sees their friends won't leave him, even after the journey ends, but I still have to appreciate this moment.

Siffrin is directly put in the position with their friends as his enemies, forced to physically reckon that keeping them in this loop is an act of violence, against both their friends, and against himself.

It's a happy ending. But... what does it mean?

Of course, ISAT is obviously about the fear of change. Siffrin is afraid of the journey ending, and of being alone. However, ISAT is also a game about games. Siffrin is playing the same game, over and over, because it's comforting. It's familiar. It's nice, to know exactly what happens next. These characters might just be predictable lines of dialogue, but... they feel like friends. Have you ever played a game, loved it, put countless hours into it, but you never finished it? Because you just couldn't bear to see it end? For the characters to leave your life, for there to be a void in your heart where the game used to be?

After all, maybe it became part of your routine! You play the game every day, slowly chipping away at it for weeks at a time. For me, I beat ISAT in four days. It utterly consumed me during this time. I had 36 hours of playtime by the end. Yeah, in that week, I did not do much more than play ISAT.

And once i beat it, i beat it, again. I restarted the game to see the few scenes I missed, most specifically the secret boss I won't talk about here. I... couldn't let go of the game yet. I wanted to see every scrap I could. I still do. I'm writing this, in part because I still do. It's scary to let go.

Ever heard the joke term of "Postgame Depression?" It's when you just beat a game, and you're suddenly sad. Maybe because the ending affected you emotionally and you need to process the feelings it invoked, or you search for something that can now fill your time with it gone.

The game ends, for real this time, the last time you talk to the Head Housemaiden. But Siffrin gets... scared. What if everything loops back again? And so, his family offers to hold his hand. They face the end, together.

For all loops, including the ending, you never see what happens after. After they leave the loop for good. Because the loop is the game itself. It's asking you to trust that life goes on for these characters, and it holds your hand as it asks you to let go. There's a reason for Siffrin's theater metaphors. He is the actor, and the director, asking everyone to do it over one more time. He's a character within the game, and its player.

There's a reason I talked about endgame content. This, the way it all repeats, there's nothing new, difficulty and stakes bleed away as you snap the game over your knee - it's my copy of White 2 with two hundred hours in it. It's me playing Fire Emblem Awakening in under 3 hours while skipping every cutscene. Are you playing for the sake of play, for the sake of indulging in your memories, because you're afraid of the hole it'll leave when you stop?

Of note: the narrative never condemns Siffrin for unwittingly causing their own suffering. He's a victim of circumstance. It's seen as endearing, even, that Siffrin loves their friends to the point of rather seeing the world destroyed than them gone. But Siffrin is also told: we'll stay with you for now, but we'll part ways eventually. And one day, you'll have to be okay with it.

Stop draining the things you love of every ounce of enjoyment just because you're afraid of what happens next. I'm not saying to never play your favorite games again. Playing ISAT a second time, I still had a lot of fun! I saw so many new things I didn't before, and I enjoyed myself immensely, reading the same dialogue over and over. But... it makes me look at other games I love and still play, and makes me ask... is this still fun? Do I still need to play this game to enjoy it? Even writing this is an afterimage of my enjoyment, but it's a new way to interact with the game, to analyze it through this lens. Fuck, man, I write fanfiction. Look at me.

All of this, fanart, fanfic, analysis, is a way to prolong that enjoyment without making yourself suffer for it. Without just going through the motions of enjoyment without actually experiencing any. But one day, the thing you love won't be fun to talk and write and draw about. And it's okay. You'll have new things to love. I promise.

In the end.... I'm certain I'll replay ISAT one day. Between great writing, art, puzzles and unresolved mysteries, it's my shoe-in for game of the year.

But I won't replay it for quite some time. I've had enough, for now, so I let my love take other forms.

Siffrin is never condemned, because love is no evil. Be it love for another person, or for a game. And please, if you're overempathetic - it's still a game, at the end of the day. The great thing about games is that you can always boot them up again, no matter how long its been.

A circle within a circle indeed.

To summarize:

The repetitiveness of ISAT's combat, lack of new enemies, and Siffrin's ever increasing strength eventually allows you to snap the combat over your knee, rendering it irrelevant and boring. Though this may seem counterproductive at first, it perfectly mirrors how Siffrin has also grown bored with these repeated encounters and views them only as an obstacle to get past. The reflection of Siffrin's own tiredness with the player's annoyance increases the compassion the player has for Siffrin as a character.

Additionally, the endgame state of the combat system serves as commentary on the state of a favorite game played too often, much like how Siffrin has unwittingly trapped themself in the loop. Despite the game having no more challenge or content left to over, a player might return to their favorite game anyway, solely to try and recreate the early experience of actually having fun with it. This ties into ISAT's metanarrative about the fear of change and refusal to let go of comfort even when the object (here, your favorite video game) offering that comfort has become utterly bereft of any substance to actually engage with. Playing for the sake of playing, with no actual investment to keep going besides your own memories.

Later on, stripping away even the pretense of strategy for a "press button and wait" format of final bosses highlights the lack of options at Siffrin's disposal and truly forces the player into their shoes. Truly, the only way to win is to stop playing.

[rainerioun]

𝖸𝖮𝖴𝖱 𝖥𝖴𝖳𝖴𝖱𝖤 𝖲𝖯𝖮𝖴𝖲𝖤'𝖲 𝖥𝖠𝖵𝖮𝖱𝖨𝖳𝖤𝖲 𝖵𝖲. 𝖸𝖮𝖴𝖱𝖲 | 𝗉𝗂𝖼𝗄 𝖺 𝖼𝖺𝗋𝖽.

— This will explore what your future spouse will love 'most' about you, and vice versa. If you feel more aligned with the first half, simply swap the perspectives. Sometimes, you might resonate more with your future spouse's vibe. Thank you!

ORIGINAL DATE POSTED : MARCH 29TH, 2024.

HOW TO CHOOSE A PILE : The outcome may vary based on whether you receive clear messages visually or intuitively. If you resonate more with selecting a pile visually, trust that inclination. Personally, I believe the notion that 'looks can deceive,' so I prefer to take a deep breath and close my eyes, allowing the pile I'm meant to connect with to come to me. You might see the color of the pile, sense or hear a number, or simply feel its overall vibe.

Please don’t redistribute or edit my content.

MUST READ + MASTERLIST | KO-FI

PILE ONE

What Will They Like Most About You Physically? Figure, Height, Fingers, Hands.

When pulling out traits, I found several signs indicating a plump or chubby appearance. If you relate to this, rest assured they adore it, especially how it complements your height. I envision someone squeezing a teddy bear - in this case, you. They find you incredibly cute. Your hands and fingers, perhaps used frequently in your work or hobbies, captivate them. They'll marvel at the way your fingers glide over a page or mold something, appreciating your movements. It feels very poetic, in a way.

What Will They Like Most About You Mentally? Free Spirit, Sensitive, Homebody, Unstoppable.

Aw, your future spouse will surely have a nurturing side. They'll tend to coddle you, in a healthy way, of course. They admire how you pursue your desires with a free-spirited approach despite your introverted and sensitive nature. They'll likely encourage you to take breaks and relax, treating you like royalty. There's a distinct vibe of 'I hate everyone but you' coming through.

What Will They Like Most About You? Teacher — Light : Ability to Communicate Knowledge, Experience, Skill or Wisdom. Healer — Light : Passion to Serve Others by Repairing the Body, Mind, and Spirit. Ability to Help Transform Pain into Healing. Guide — Light : Represents the Nature of the Divine in Life and in Yourself.

They'll be quick to notice your depth of knowledge, not just on a conventional level but also on a spiritual one. Your future spouse will appreciate your natural ability to teach, guide, and heal others even when it's not your intention. Your wisdom may extend to philosophical terms, offering advice on profound matters that aren't easily grasped by others.

What Will They Like Most About You? Crow : Spiritually Strong, Creative, Watchful, Psychic, Strong, Clear. Butterfly : Undergoing Great Change and Transformation. Cheerful, Graceful.

Your future spouse will lean towards practicality more than you do and might not gravitate toward certain metaphysical ideas and theories as easily as you. They'll be amazed by your ability to understand such concepts. While they are intelligent, they tend to favor strict rules, whereas you thrive on constant change and learning experiences.

I'd like to add that I sense this person is deliberately holding back, choosing not to reveal much. They want it to be a surprise just how much they love you. Don't worry, they genuinely adore everything about you, even though they may have favorites.

What Will You Like Most About Them Physically? Hair, Rugged, Nose, Tired-Looking, Eyelashes, Face Shape.

When I was pulling traits, I couldn't help but think of Shōta Aizawa from My Hero Academia in terms of appearance, haha. Of course, this could be a woman or nonbinary individual, but they definitely give off a similar vibe physically. They might appear a bit rough or scruffy, and you'll find that attractive. I'm not getting any specifics on hair color, but I envision thick, longer hair that might look a bit disheveled. They possess that tired charm, which softens their face in a way. I see them having a hooked nose of some kind.

What Will You Like Most About Them Mentally? Spiritual, Reliable, Oblivious, Compassionate, Sassy, Intelligent, Mysterious.

Once again, your future spouse is intelligent but may lack in certain areas that you find amusing. They possess two distinct sides, perhaps being book-smart but lacking in common sense. However, I believe you'll help balance them out, whatever the situation may be. They'll initially have a mysterious, stoic persona, but you'll have the ability to break through it and discover their true sweetness. You will enjoy receiving attention from them, considering their reserved nature. While your humor aligns in some ways, this person is likely more inclined towards being sassy and witty rather than being a 'jokester'. At first, they won't be heavily into spirituality, or whatever you practice, but they'll become intrigued by your experiences and eventually find themselves following in your footsteps.

What Will You Like Most About Them? Storyteller — Light : Ability to Experience and Express Life through Stories and Symbols. Prince — Light : Romantic Charm and Potential for Power. Poet — Light : Expresses Soul Insights in Symbolic Language. Hermit — Light : Seeks Solitude to Focus Intently on Inner Life. Serves Personal Creativity.

Your future spouse is someone who expresses and feels love in an incredibly artistic manner. They have a secret, hopeless romantic inside. It's not just modern love; it's almost like you both worship each other, which I find incredibly beautiful. Seeing you in such a light will lead them to see you in other things, like art pieces or written words. They love you wholeheartedly. Adding on, creatively, you'll complement each other well. One side may lean towards being artistic and dreamy, while the other is innovative and a bit nerdy. You are both bound to swoon over each other.

What Will You Like Most About Them? Eagle : All-Pervading Power, Truth Seeker, Transforms Karma, Bright, Radiant, Challenger. Tiger : Lunar Force, Ease in Darkness, Passionate, Strong, Sensual.

With the eagle card, I'm not picking up on what you'll like about them, but rather another message about how you'll spark intense curiosity in them. You will inspire them to enlighten themselves and become an even better version of themselves with your teachings and guidance. Now, for the next card, this is something you'll definitely appreciate about them. I don't sense that this person will be shy when it comes to intimacy, in any form, and they won't hold back in showing how they love you.

Extra : Journaling, Eye Contact, Flowers, Parallel Play, Running Fingers Through Hair, Late Mornings, Poetry, Leaving Notes.

Best Mistake : Ariana Grande. | Movement : Hozier.

PILE TWO

What Will They Like Most About You Physically? Eyes, Hair, Piercings, Harmonious Features.

Your future spouse believes that your hair and features complement each other perfectly, creating harmony. Your hair may frame your face. They'll enjoy gazing into your eyes, possibly because of the connection they feel or simply because they find them captivating, whether it's the shape, color, or both. If you have an alternative style, such as piercings, tattoos, or darker attire, they find it very alluring.

What Will They Like Most About You Mentally? Wit, Sneaky, Bookworm, Deep-Thinker, Reserved, Needy.

This person views you as a fox, sly, clever, and witty, and they're drawn to that energy. They appreciate your complexity and the fact that you're not always straightforward; it keeps things interesting. They enjoy being challenged intellectually. However, they also appreciate the softer side of you when you're relaxed and in need, and they'll gladly cater to you. I imagine them watching you as you indulge in your hobbies, eager to hear you gush about your interests.

What Will They Like Most About You? Advocate — Light : Inspires You to Put Compassion into Action. Poet — Light : Expresses Soul Insights in Symbolic Language. Child : Nature — Light : Friendships with Animals. Communication with Nature Spirits.

Whatever way you choose to create and express yourself, whether, through art, music, or even activities like photography, they'll find it intriguing. They admire both your process and the results you achieve. This person will always be your supporter. You might work with animals, and they appreciate your gentleness and kindness towards them, or perhaps animals hold significance in your connection.

What Will They Like Most About You? Nightingale : Fearless Voice, Speech, Communication, or Song. Sings and Speaks Freely with Kindness. Moth : Impulsive, Hasty, Wishful, Enthusiastic, Whimsical.

When I pulled the cards, I initially wrote down the wrong definition for the nightingale. I've corrected it, but I thought the previous message might still resonate. If you're someone naturally very curious and actively trying to learn, they'll follow right behind you. They're loyal, just like you, and will start doing things you do because they're inspired by your enthusiasm and positivity. If you were drawn to pile one, I'd recommend giving it a read as well. You may find something there because these piles are quite similar.

An additional message is that you and your future spouse will connect through music, whether it's listening together or separately. So, you could be receiving signs now through songs.

What Will You Like Most About Them Physically? Texture of Hair, Tone of Skin, Height, Prominent Nose, Dyed Hair.

I sense your future spouse might have an alternative style as well, but it's not a must. If you're into dyed hair, they'll likely have it They could change colors with the seasons to suit their skin tone, or the color they have fits them year-round. You will enjoy the feel of their hair due to the texture which causes you to play with it. Generally, if you're taller than average, they'll be shorter, and if you're average height, they'll be similar. Either way, you'll like looking down at them or meeting their gaze directly.

Once again, whether you're drawn to pile one or not, I'd suggest going back and giving it a read as well. While the energies differ, I sense the message is similar. I feel like this pile is suited for individuals with eccentric tastes.

What Will You Like Most About Them Mentally? Sweetheart, Odd Humor, Confident, Adaptable, Ambivert, Clingy.

You and your future spouse will be inseparable, attached to the hip, if not driven by their clinginess then it's your own. It's something that makes both of you feel secure. They are the type to talk your ear off. This person's humor leans towards the darker or drier side. They might find everything amusing, but particularly society's less-than-normal aspects.

What Will You Like Most About Them? Networker — Light : Enchanted Unity through the Sharing of Informations. Engenders Social Awareness and Empathy. Gossip — Light : Awakens Consideration for the Feeling of Others. Honoring Trust.

I wasn't kidding when I said your future spouse will talk your ear off. They are quite the chatterbox. They'll be a drama queen, regardless of gender, but I think it's in a very playful and goofy way. You'll find it charming. They'll get super excited and giddy when they have a juicy secret to share with you. They're such a sweetheart that they would never intend any negativity, just relaying information without passing genuine judgment.

What Will You Like Most About Them? Octopus : Reaching, Yearning, Lacking Boundaries and Direction. Getting into Other People's Business and Sharing Their Own. Interested, Engaged. Wolf : Guardian of Family and Tribe. Activism, Ritual, Reliable, Fearless, Democratic. Embrace All, Exclude None.

What have I been saying? This person cracks me up. You'll adore how dependable they are, always a shoulder to cry on or a pillar of stability for you and others. They're just a people person. I sense they could become overly sensitive, requiring alone time. They tend to overshare, which is amusing when it's just the two of you, but you might need to help them rein it in around others. They can be a bit oblivious to social cues and may need some guidance when they're pushing the boundaries.

I sense they're internally extroverted but can get overwhelmed and find it difficult to handle social situations, even if they desire socialization.

Extra : Movie Nights, Bubble Baths, Parks, Sunshine, Wheezing, Glasses Perched on Nose, Comfort through Affection, Wrapped in a Blanket, Cheek Kisses.

Valentine : Laufey. | November : Sparkbird.

PILE THREE

What Will They Like Most About You Physically? Glow, Eyebrows, Lips, Your Frame.

Your future spouse will be drawn to the glow you exude. They find your bright personality radiating through every aspect of you, from your skin's natural shine to your expressive eyes and the curve of your lips. Even the way you carry yourself captivates them, unintentionally flaunting, which catches their attention.

What Will They Like Most About You Mentally? Innocent, Active, Hardworking, Compassion.

Firstly, they hold you dear, especially if you're not one to pause or slow down due to your hardworking nature. You could have somewhat of an innocent worldview—not that you don't understand hardship, but you maintain a strength and light that others lack. They'll absolutely love this side of you and cherish you.

What Will They Like Most About You? Fool — Light : Fearlessly Revealing Emotion. Helping People Laugh at Absurdity and Hypocrisy. Warrior — Light : Strength, Skill, Disipline, and Toughness of Will. Heroism, Stoicism, and Self-Sacrifice in Conquering the Ego. Mediator — Light : Gift for Negotiating Fairness and Strategy in Personal and Professional Life. Respect for Both Sides of an Arguement.

Your future spouse will admire how, despite being a logical person, you're not afraid to show emotion when necessary. You navigate life with a balance of logic and emotion, displaying good discipline. You're not impulsive and can guide others through hardships without coming across as harsh, bringing lightheartedness and fairness into the mix. They'll find this quality honorable. Your humor always serves as a mediator in situations, never failing to lighten the mood for them and others.

What Will They Like Most About You? Cobra : Pausing, Waiting, The Inner Teacher, A Student of Life, Humble, Wise. Fire Ant : Aggression, Rigid Thinking, Following Orders, Thoughtful, Disciplined, Heat.

Your future partner could have experienced instability with others in the past due to hasty behavior, or they struggle themselves with acting too quickly. On the other hand, you give yourself time, thinking before you act. Yet, when you do move forward, you do so with an assertive and direct demeanor, which makes them grateful they can lean on you for stability.

What Will You Like Most About Them Physically? Nose, Neck / Collar Bone Area, Elegant and Composed, Chin, 'Bunny Beauty'.

Your future spouse has a very approachable appearance. Their face might remind many of a bunny. I imagine this person with a rounder nose and face, perhaps chubby cheeks, but with a prominent chin and jaw instead. They look well put together and carry an elegant quality about them. You'll endlessly adore your partner. It's very cute.

What Will You Like Most About Them Mentally? Bad Mouth, Neat, Stubborn, Loyal.

Their appearance versus their personality could easily turn heads. They seem sweet and soft, but use harsh language often, cussing like a sailor. They look nice but act naughty. They're also incredibly stubborn, which apparently you'll find appealing. You'll anticipate others' reactions when they open their mouth, finding it amusing. As for you, I sense it's the opposite. You might appear a bit intimidating but are actually very gentle.

What Will You Like Most About Them? Detective — Light : Great Powers of Observation and Intuition. Desire to Seek Out the Truth. Midas/Miser — Light : Entrepreneurial or Creative Ability to Turn Anything to Gold. Delight in Sharing Life's Riches.

This person will readily share their wealth or achievements with you. Your future spouse might have a good-paying job, or money could come easily to them, possibly through generational wealth. However, I sense that they just know how to handle money wisely and earn it with help from their well-built knowledge.

I don't get the sense that they're materialistic or chasing money, but rather that they invest in things that make a meaningful impact, like travel or once-in-a-lifetime experiences. They have achieved financial stability, but they also have wealth in terms of nonmaterial things.

What Will You Like Most About Them? Bat : Darkness, Letting Go, Death Leading to Rebirth, Excepts and Adapts, Adjusts. Swan : Effortless, Creativity, Sensitive Mystic, Elegant Power.

Returning to that elegant aura they have, I can't pinpoint exactly what causes it, but it might be because they are highly intuitive and sensitive to others' thoughts and feelings. They easily pick up on these subtleties and can adapt and change accordingly. Despite their effortless beauty, they are a complex person on the inside. You find them to be a puzzle worth solving.

Additional. Another Message.

For a few of you, I believe you may not immediately hit it off with your future spouse. Your composed nature might clash with their boldness, leading to disagreements stemming from stubbornness or a desire for "correct behavior." However, you'll both eventually look past it, but initially, it might feel like something out of an enemies-to-lovers book. It won't be extreme, but it could get a little heated. This could form in a workplace.

[NEVER SETTLE FOR SOMETHING TOXIC. I MEANT SIMPLE BANTER, NOT ABUSIVE BEHAVIOR.]

Extra : Sleek Attire, Slicked Hair, RomCom, Tattoos, Generational Insight/Knowledge, Promise Rings, Military, Dreamy, Shared Earbuds, Sharp Glares and Glances.

Make You Feel Good : Fetty Wap. | Powerful : Major Lazer. | Cry : Cigarettes After Sex.

PILE FOUR

What Will They Like Most About You Physically? Voice, Beauty Marks, Lips, Eyes.

I want to mention that either you or this individual could be a musician, while the other serves as a muse. Whether or not it's you, your future partner will love hearing you sing. They find your everyday speaking voice charming, especially its soft, breathy quality. While eye contact with them may not be 'intense', it feels profoundly connecting and grounding. If you wear makeup, this person likes it. Perhaps it's the shape of your lips or their natural color, but I believe that wearing lipstick or gloss, anything that enhances your features will allure them even more.

What Will They Like Most About You Mentally? Shy, Tender, Well-Versed, Open, Quiet, Devoted.

Aw, I wish I could give you all a hug! You're so tender and gentle in both your words and your actions. You're devoted not only to your loved ones but also to the things that bring you joy. Your future spouse will find this incredibly endearing.

I'm sensing more about how deeply they love you rather than the specifics of what they like. When you meet this person, it'll feel like being showered with affection and passion. They genuinely value every aspect of you and want to express that.

What Will They Like Most About You? Angel — Light : Helping Those In Need with No Expectation of Return. Damsel — Light : Understanding the Nature of Healthy Romance. Inspires You to Rely on Yourself.

You not only embody the qualities of the cards, but I sense that your future spouse will view you as an angel. They might even adopt it as a nickname if you're fond of the idea. You're the shining beacon in their life, their prince/princess, which I admit can sound a bit cheesy or even cringe, but in your case, it's incredibly sincere and pure.

What Will They Like Most About You? Peacock : Inner Beauty, Compassion, Confident, Kind. Gazelle : Heighten Awareness, Ability, Vulnerable, Perceptive, Graceful.

Your future spouse sees you as stunning both on the outside and within. Your physical beauty is undeniable, but it's your soul that truly captivates them. They'll be in awe of its depth and beauty. Your future spouse may gawk awkwardly over you, yet it will be funny.

What Will You Like Most About Them Physically? Physically Expressive, Dewy Skin, 'Cat Beauty', Pout, Clear Skin, Freckles.

This person's skincare routine is godly. Their eyes and gestures are incredibly expressive, drawing people in. You'll notice their natural pout, which adds to their charm. Their features will have a feline or fierce quality, with high cheekbones, defined features, and possibly a smaller yet thick nose. They might also have a longer face or narrow eyes.

What Will You Like Most About Them Mentally? Funny, Loner, Eccentric, Sensitive, Humble.

Your person is a bit of an oddball, in the best way. They embrace their inner nerd or geek often. Your personalities are a perfect match, and I can see you both enjoying plenty of alone time together because you don't drain each other's social batteries. They're self-aware and true to themselves, no matter what.

What Will You Like Most About Them? Don Juan — Light : Spotlights Your Positive Seductive Qualities. Child : Eternal — Light : Determination to Remain Young in Body, Mind, and Spirit. Ability to See Things with Fresh Eyes. Guide — Light : Represents the Nature of the Divine in Life and in Yourself.

While they may seem reserved, this person radiates confidence when they're with you. They know how to play their cards right—they can talk the talk and walk the walk. But underneath it all, they're playful and childlike at heart. No matter how old they get, they'll always carry a lighthearted and curious energy, like a kid. Life with them will never be boring.

What Will You Like Most About Them? Black Egg : Speaking from an Authentic Voice, Truth. Bee : Earnest, Hard-Working, Content, Vibrant.

Your future spouse will be an honest person, always speaking their inner truth, even with strangers. They're not afraid to be vibrant, and I have a feeling that will influence you as well. Communication is important to them in this life. As I mentioned earlier, they could be a musician. If not, with their persuasive skills, they could find success as a public speaker or influencer of some sort.

Extra : Spying From Corners or Doorways [Playfully, of course], Singing, Puppy Dog/Pleading Eyes, Feather-Light Touch, Pinky Promise, Junk Drawer, Piggy Bank.

Don’t Be Afraid : Carpenters. | Brooklyn : Lana Del Rey.

[holysh1ft]

NAVIGATING DOUBT when manifesting/shifting.

i’ve reached a pretty comfortable place when it comes to doubts, so i wanted to share a few things that have helped me actualize this mentality. please note i am not claiming these approaches are infallible. it's going to vary person to person and even moment to moment, but i know that sometimes, having a toolkit to fall back on can be helpful!

WHAT ARE DOUBTS? doubts are just you putting your awareness on what you don't want. like everything in existence, doubts are simply something you are/can be aware of—a cloud floating through the sky of awareness. now, i know they don't always feel like that, and i'll get to more on that in a second here, but first, let's establish that doubts are just something to be aware of, like everything else in existence.

DO DOUBTS AUTOMATICALLY "MANIFEST?" thoughts alone do not "manifest." if they did, every thought you've ever had would have materialized physically, and life would be chaos. what does make itself seen in physicality—from a free coffee to a whole new reality—is who you are conscious of being or, in other words, awareness plus identification. what do you ascribe to be true about you/reality?

this is why doubts can feel so "real." you're used to having your awareness on a self who doesn't get what they want, has to effort hard to receive very little, is unstable/unsafe, always fails at shifting/manifesting, or is otherwise lacking or incomplete in some way. so, when you have a thought that your desire won't manifest or you won't wake up in your DR, it feels real to you because it is real to/is in alignment with the self you've identified with.

HOW TO "DEAL WITH" DOUBTS. when you're in the mindset that your doubts are something you have deal with, fight, or eradicate, you create a hydra out of them—chop off one head and more appear. this is because you're putting your awareness on the self who has to fight doubts, and thus, more doubts arise (i.e., manifest) for you to fight.

in my experience of self, fighting has never gotten me anything other than exhaustion, be it mental or physical. the answer was always in softening. as the ancient one said to stephen strange, "you cannot beat a river into submission. you have to surrender to its current, and use its power as your own."

what does this look like with doubts? first, remember that doubts are just something to be aware of. they're entirely neutral until you give them power. as jesus said to pontius pilate, "you could have no power at all against me unless it had been given you from above." your doubts have no inherent power until you've given your power to them because you, your light of awareness, are the sole power in your individualized reality.

when i become aware that my awareness is on doubts, i often like to remind myself, "i remember when i was doubting if it would happen, and here it is. the doubts meant nothing." this helps me frame my doubts from the perspective of fulfillment.

of course, i also know that not all doubts can be easily dismissed. the way you navigate doubt is often dependent on how closely you've identified with them, and that's why i wrote the disclaimer at the beginning. if you feel so deeply stuck, my recommendation is to either:

find a way to self-soothe. take deep breaths. take a nap. listen to music. take a shower. do something that will help you get to a better emotional state. really, take care of yourself as best as you can with the resources you have immediately available to you. this too shall pass; these awful feelings won't last forever. be kind and gentle with yourself.

put your focus on anything else. watch a super engaging tv show, play a challenging video game, or learn calculus for all i care. just put your awareness on something else by completely consuming your focus with the new task at hand.

stop trying. this is the law of paradoxical intent: the harder you try toward something, the more difficult it can be to attain/the more separate you perceive yourself from your goal. instead of pushing against them, drop the trying and just let them be. don't resist your doubts. let them exist and yap like you would an annoying sibling, but you don't have to give them your attention and focus. honestly, you could even give your doubts a name and personify them as a way to de-identify from them and brush them off. "oh, that's just steve. steve is always worried about stuff that doesn't matter." obviously, if your name is steve (a) sorry and (b) name them something else. i also recommend naming the doubter after a character who worries about stuff that never comes to fruition.

when the storm passes through your awareness and you reach a state of greater emotional and mental clarity, choose again. affirm, visualize, script, decide, or whatever manifesting/shifting means to you. be it now. choose it now. decide it now. there's only one moment anyway. when the doubts are "in the past," they only exist in your awareness of what you prescribe the past to be. so, weather the storm, then choose your desired self when you're ready to.

YOUR DOUBTS CAN SERVE YOU. it can be easy to get caught up in the "dealing with doubts" narrative, that you can forget these doubts are just you. everything is you. so, if your doubts are you, they're actually showing you who are you, and there's a ton of information you can glean from them with a keen eye: study them.

get curious, open, and inquisitive, and try to observe the narrative these doubts are telling from an objective perspective. this can be an incredibly beneficial process because it can bring some unconscious assumptions up to the light of your conscious awareness, thus empowering you to shift your assumptions at the root instead of trying to brute force yourself into a better state. if your doubts keep telling the same story over and over again, what are they revealing to you about what you fundamentally believe about yourself?

people in this community can rush to deny doubts so damn fast, but if it's a persistent challenge "dealing with them," then i really do implore people to get self-reflective. i was able to radically shift my consciousness around a few areas of my life when i realized my doubts were a product of an underlying assumption that i wasn't safe in this world, and when i brought that underlying assumption to the surface of my conscious awareness, i was empowered with the opportunity to choose a new narrative: i am safe, i am secure, i am provided for, and i am safe in my body. now, doubts that were formerly connected to this old story don't pester me as much, both in frequency and intensity.

i also started seeing my doubts as fulfillment. you don't know you were on the bridge of incidents until you get to the end. there were times when i would have this nagging anxiety about something, i would get up and take action because i was a ball of jittery energy, only to find out retrospectively that that was the thing that would lead me to exactly what i wanted. i started doubting my doubts less after this happened a couple times, tbh, and i really just let them be what they are, while putting my greater trust in total fulfillment.

YOU ARE NOT YOUR DOUBTS. your doubts are just passing through your awareness, the true you. if manifesting/shifting is a matter of awareness and identification, navigating doubts is just the opposite: reducing the presence of doubts in your awareness by putting your awareness on what you want over what you don't want and de-identifying with the self who is not fulfilled.

doubts are not permanent, but you are eternal. they have no power over you and neither are you a victim to them. let them be. let them pass. and continue to remind yourself: it's already done. it's already yours. everything is already perfect, including you. you are perfect, and you have always been perfect. it's just a matter of remembering the perfection you already are.

[satellite-evans]

Familiar Echoes

Pairing: Benedict Bridgerton x reader

Summary: When Y/N, the daughter of the duke of Ashbourne returns to Aubrey Hall, old feelings resurface between her and Benedict Bridgerton, sparking tension and intrigue. As they navigate past misunderstandings with the support of their families, they must confront their emotions and decide if their childhood bond can evolve into something more.

Word count: 4.7k words

Warnings: fluff, a little angst, mention of nude models, childhood friends, misunderstanding

A/N:

Hi everyone, this is my first Benedict fic so I am very excited, hope you guys will like it :)

English is not my first language, so I apologize if I made any (grammar) mistakes. Feedback, requests, recommendations, vents or questions are always welcome. I love talking to you guys about anything <3

Happy reading xxx

I do NOT give permission for my work to be translated or reposted on here or any other site.

The sun cast a warm, golden glow over Aubrey Hall, its rays filtering through the trees and illuminating the vibrant gardens where the Bridgerton children played. Benedict Bridgerton, with his dark curls and inquisitive eyes, was only ten years old, yet he was already showing signs of the artistic and passionate young man he would become.

In the gardens, Benedict was engrossed in a spirited game of hide-and-seek with his siblings and their dear friends, the Y/L/Ns. The daughter of the Duke of Ashbourne, Y/N, was Benedict’s favorite playmate. Her laughter was his favorite and her eyes mirrored something so beautiful, so pure.

Benedict, you’ll never find me!” Y/N called out, her voice echoing through the hedges.

He grinned, determined to prove his best friend wrong. They had spent countless afternoons exploring the grounds, creating imaginary worlds, and sharing secrets that only they understood.

Finally, he spotted her hiding behind a rosebush. “Got you!” he exclaimed, grabbing her hand and twirling her around.

She laughed, her joy infectious. “You always find me, Benedict.”

He smiled, a blush creeping up his cheeks. “I’ll always find you, Y/N.”

But the idyllic days of childhood were not to last. That evening, over dinner, the Duke of Ashbourne announced that his family would be leaving London for an extended stay in Italy. The news hit Benedict like a blow, and he struggled to hide his disappointment. He looked over at his friend and saw those same pure eyes filling up with tears. It broke his tiny heart into pieces.

“Leave London? Whatever for?”

Benedict was thrilled that his mother asked because he desperately needed to know why they had to leave.

“We have decided it is time to show our children the world. My father took me on similar journeys when I was their age, and those experiences were invaluable. I want Thomas and Y/N to have the same opportunities—to see different places, learn new things, and broaden their horizons.”

Your mother nodded in agreement, her expression resolute. “We believe it will be good for their education. There’s so much to learn beyond the walls of London, and we want to give them a chance to explore and grow in ways they cannot here.”

Violet glanced at the Viscount, her husband Edmund, who had been listening quietly. He smiled and nodded, understanding the importance of such a decision. “I agree with you, William,” he said to your father. “Traveling and experiencing different cultures can provide a wealth of knowledge and perspective that one simply cannot gain from books alone.”

Thomas, your older brother, seemed very excited about the upcoming adventure.

But Y/N did not.

She was thinking all about how terribly she was going to miss her dear friend Benedict and how awful it was going to be, not to be in his presence all the time.

After dinner, Benedict found Y/N in the music room, softly playing the pianoforte. He approached her, his heart heavy.

“Why do you have to go?” he asked, his voice barely above a whisper.

Y/N looked up, her eyes filled with sadness. “Father believes it’s for the best. He wants us to experience life. He also mentioned that we will also visit Greece and many more."

“But what about us? What about our adventures?” Benedict’s voice cracked with emotion.

She reached out, taking his hand in hers. “We’ll always have our memories, Benedict. And we’ll see each other again. I promise.”

Benedict squeezed her hand, trying to hold back tears. “Promise?”

“Promise,” she echoed, her voice firm despite the tears in her eyes.

After staying a few more days at Aubrey Hall, the Y/L/N family departed, leaving a void in Benedict’s heart. As their carriage disappeared down the long driveway, he stood beside his father, Edmund Bridgerton, who placed a comforting hand on his shoulder.

“Time will pass quickly, my boy,” Edmund said gently. “And you’ll see her again before you know it.”

Benedict nodded, but the ache in his heart remained. Little did he know, their next meeting would be years away, and the feelings he harbored would only grow stronger with time.

Years had passed since the Y/L/N family’s departure, and Benedict had grown into a handsome and talented young man. He pursued his passion for art with fervor, yet a part of him always yearned for the companionship he had once shared with Y/N.

The sun had just begun to set, casting a warm golden glow over Aubrey Hall, when Lady Violet Bridgerton received the letter. She was seated in the drawing room with her children, each engaged in their own activities. Anthony was reviewing estate documents, Colin was reading a book, Eloise was writing furiously in her notebook, and the younger ones were playing a game by the fireplace.

"Everyone," Lady Violet called, her voice filled with excitement. "I have just received the most wonderful news."

The Bridgerton children looked up, curiosity piqued.

"What is it, Mother?" Anthony asked, setting aside his papers.

Lady Violet grinned. "We are to have guests. The Duke and Duchess of Ashbourne, along with their children, are coming to visit."

A chorus of reactions followed. Eloise raised an eyebrow. "The Ashbournes? Weren't they the family that moved away to travel the world?"

"Yes, indeed," Lady Violet confirmed. "The duke was a dear friend of your father. They moved away years ago, but they have decided to return for a time."

"Does this mean we’ll get to see Thomas again?" Colin asked, a grin spreading across his face. "I always liked him."

"And Y/N," Daphne added, her eyes twinkling. "I remember she was always so talented in the pianoforte and the harp."

Benedict remained silent, a slight blush creeping up his neck. He hoped no one would notice, but of course, Anthony did.

"Well, well, Benedict," Anthony said, a mischievous glint in his eye. "It looks like your childhood crush will be reunited with you," Anthony said, a mischievous glint in his eye.

Benedict tried to maintain his composure. "Don't be ridiculous, Anthony. That was ages ago."

Colin chimed in, unable to resist the opportunity to tease his brother. "Oh, come on, Benedict. We all remember how you used to follow her around like a lost puppy."

Eloise snickered. "And how you would turn bright red whenever she spoke to you."

Benedict sighed, knowing he was fighting a losing battle. "I was a child. We’ve all grown up since then."

"Perhaps," Anthony said, leaning back in his chair. "But it will be interesting to see how things play out now that you’re both adults."

Lady Violet intervened, her eyes sparkling with amusement. "Enough teasing, boys. Let us make sure everything is ready for their arrival. They will be here in a few days, and I want everything to be perfect."

As the family dispersed to prepare for their guests, the three Bridgerton brothers found themselves alone in the study.

Anthony leaned against the desk, his expression thoughtful. "It will be good to see Thomas again. He was always a good friend."

Colin nodded. "I heard he’s become quite the gentleman. And he was always supportive of Y/N’s education and talents. Not like most men of our time."

"True," Anthony agreed. "Thomas was never one to adhere strictly to societal norms. He always did what he thought was right."

Benedict, who had been quiet, finally spoke up. "I wonder how much Y/N has changed. She was always so passionate about music and poetry."

Colin grinned. "Still thinking about her, eh? You know, Anthony and I used to place bets on when you would finally tell her how you felt."

Benedict rolled his eyes. "You’re never going to let this go, are you?"

Anthony laughed. "Not a chance. But in all seriousness, Benedict, it will be good to see them again. And who knows? Maybe this visit will bring about some unexpected surprises."

Benedict sighed, but a small smile played on his lips. "Maybe."

Y/N stood by her bedroom window, looking out at the rolling hills of their estate as the sun began its slow descent. She was filled with a mix of excitement and apprehension about their imminent departure to Aubrey Hall. The Bridgertons had always held a special place in her heart, especially Benedict, but years and distance had complicated those feelings.

"Are you ready, Y/N?" Thomas's voice called from the hallway.

Y/N turned away from the window and smiled as her brother entered the room. "Almost. Just gathering my thoughts."

Thomas gave her a knowing look. "Excited to see the Bridgertons again?"

"Of course," Y/N replied, smoothing down her dress. "It's been too long."

Thomas leaned against the doorframe, his expression thoughtful. "You know, Anthony mentioned in his letters that Benedict has been quite busy at the Royal Academy. Apparently, the place is famous for its...nude models."

Y/N's hand froze mid-air, her heart skipping a beat. "Nude models?"

Thomas nodded, a playful smirk tugging at his lips. "Yes, it seems our dear Benedict has been immersing himself in all aspects of art. Anthony said in his letter something about him knocking over an easel while staring at a rather attractive model. Everyone had a good laugh. Quite the scandal, isn't it?"

Y/N's cheeks flushed as she tried to mask her reaction. "It's part of his training, I'm sure. Nothing more."

Thomas watched her carefully, his smirk growing. "You’re right. Still, it's interesting, don’t you think?"

Y/N forced a smile. "What’s your point, Thomas?"

"My point," he said, stepping closer, "is that you seem unusually interested in Benedict’s artistic pursuits."

Y/N met her brother’s gaze firmly. "I’m interested in all my friends' pursuits. Nothing unusual about that."

Thomas chuckled, shaking his head. "Very well. But remember, Y/N, I know you better than anyone. I can tell when something—or someone—is on your mind."

Y/N lifted her chin. "And I can assure you, Thomas, that my mind is perfectly clear."

"Fine, fine," Thomas said, raising his hands in mock surrender. "But if you ever need to talk about anything, you know where to find me."

Y/N nodded, grateful for her brother's support, even if she wasn’t ready to share her feelings. "Thank you, Thomas. Now, let’s focus on the journey ahead."

"Agreed," Thomas said, offering his arm. "Shall we?"

Y/N took his arm, and they made their way downstairs where their parents were waiting. As they stepped outside, she felt excited about the days to come. But also jealousy, which she never felt before in her life. She knew that it was none of her business what Benedict did or did not do. Nevertheless, she could not help herself feeling this way.

The journey to Aubrey Hall was filled with excitement and nostalgia. As their carriage approached the estate, memories of their childhood flooded Y/N’s mind. She felt a mix of eagerness and nervousness, wondering how much had changed. Still, there was a feeling Y/N couldn't shake away. The things that her brother told her about Benedict still haunted her. Benedict changed, she knew that for certain, but she really hoped that his feelings did not.

" It feels so strange to be back again," Thomas said, making Y/N turn to him. "It is like we have never left."

Her father nodded. "I get what you mean. It was like yesterday when you and Benedict were chasing Y/N and Daphne in the garden while Edmund and I were watching with a smile on our faces."

After mentioning the late Viscount, the eyes of your father started to fill with tears. He was in shock when the news came that Edmund passed away. It took him a few months to process the tragic loss of his closest friend. Y/N could not even imagine what Benedict went through.

"We all miss him terribly," your mother said, taking her husband's hand in hers. "But there is no need to sadden ourselves with the past. You will get to see Anthony as the new viscount. I'm sure he fitted the title well."

Your father smiled at his wife and kissed her hand. She always knew how to lift her spirits.

"Just like how Thomas will fit the title of the duke of Ashbourne well." Thomas rolled his eyes while Y/N and her parents started laughing.

"Believe me, father, that it will be years before I will get the title. You will live a long life with mama and your children and grandchildren by your side."

the funny banter between the Ashbourne family was not something new. They always have differed from the rest of the ton. There was no marriage pressure. The duke and duchess put the education of their children first, wanting nothing but happiness for them.

"Look, they have arrived!"

The Ashbourne carriage rolled to a stop in front of Aubrey Hall, the Bridgerton family waiting outside to greet their guests. The air was filled with anticipation and a touch of nostalgia as the two families prepared to reunite after so many years.

Lady Violet stepped forward with a warm smile. "Welcome, welcome!"

The Duke of Ashbourne, a distinguished gentleman with a friendly demeanor, was the first to step out, helping his elegant wife, the Duchess of Ashbourne, out of the carriage. Following them were Thomas and Y/N, who looked around with a mix of excitement and nervousness.

"It’s wonderful to see you, Violet," the Duke said, embracing Lady Violet. "Thank you for having us."

"The pleasure is all ours," Lady Violet replied. "We’ve missed you terribly."

As the Ashbournes stepped out of the carriage, the Bridgerton children moved forward to greet them. Anthony, Colin, and Benedict engulfed Thomas in a warm embrace.

"Thomas, it’s been far too long," Anthony said, clapping him on the back.

"Indeed," Thomas replied, smiling. "It’s good to see you all."

Y/N followed, greeting each Bridgerton sibling with a warm smile and a hug, her demeanor friendly and welcoming. However, when she reached Benedict, her expression changed. She gave him a polite nod; her smile barely reaching her eyes.

When Benedict watched her getting out of the carriage, he only had one thought.

She is breathtakingly beautiful.

Her blonde hair changed into a darker shade of brown, but her eyes were the same. They were still mirroring such beauty he wished he could draw. Her smile was still contagious, affecting him immediately with his own.

" Mr Bridgerton, it is good to see you. How have you been?"

Mr Bridgerton? Why was she so formal suddenly? Was she not as excited to see him as he was seeing her?

"Miss Y/L/N, It is great to see you too. I am well, thank you for asking, been quite busy with my paintings."

Y/N’s gaze turned icy. "So I’ve heard." Without waiting for a response, she turned and walked straight inside, leaving Benedict standing there, bewildered.

As Benedict watched her retreating figure, he felt a pang of hurt and confusion. He glanced towards Thomas, who was already looking at him with a knowing look, a faint smile playing on his lips.

Sensing the tension in the air, Thomas was the first to speak. "Well, it is rather chilly out here. Let’s all follow my dear sister inside, shall we?"

The group laughed, the tension easing slightly as they followed Thomas into the grand entrance hall of Aubrey Hall.

As they made their way inside, the tension between Y/N and Benedict did not go unnoticed by the rest of the family. Lady Violet exchanged a concerned glance with the duchess while Anthony observed the interaction with a furrowed brow.

Once inside, they were led to the grand dining room, where a sumptuous feast awaited them. The grand dining room at Aubrey Hall was resplendent with crystal chandeliers casting a warm glow over the elegantly set table.

The Duke of Ashbourne, seated beside Lord Anthony Bridgerton, raised his glass. “To old friends and new beginnings,” he toasted, his voice rich and warm.

The toast was met with a chorus of agreement and the clinking of glasses. As the first course was served, Lady Violet began the conversation. “William, Eleanor, how has your journey been so far? Any memorable adventures?”

Eleanor smiled, glancing at her children. “It’s been a wonderful experience. We’ve seen so many beautiful places, and the children have learned a great deal.”

“Indeed,” the Duke added. “Thomas and Y/N have taken to it splendidly. Y/N, in particular, has been quite inspired by the landscapes for her poetry.”

Lady Violet’s eyes sparkled with interest. “Poetry, Y/N? That’s marvelous. You must share some with us later.”

Y/N smiled politely. “Of course, my lady. I’d be happy to.”

As the conversation flowed, it eventually turned to the Bridgerton siblings. “Benedict,” the Duke said, turning his attention to the second eldest Bridgerton, “I hear you’ve made quite a name for yourself at the Academy.”

Benedict, who had been quietly observing Y/N, nodded. “Yes, Your Grace. I’ve been fortunate to study under some very talented artists.”

Y/N, unable to suppress her irritation, interjected with a cool tone. “Including some very talented models, I’ve heard.”

The room fell silent, the tension palpable. Benedict’s cheeks reddened slightly, but he maintained his composure. “Yes, we do work with models. It’s a necessary part of our training.”

The duchess, sensing the awkwardness, tried to steer the conversation back on track. “I’m sure the experience has been invaluable, Benedict. Art requires such dedication.”

Benedict nodded, but his eyes remained on Y/N. “It has been invaluable. Every aspect of it contributes to our growth as artists.”

Thomas, ever the peacemaker, chimed in. “Anthony told us about some of your work. It sounds quite impressive.”

Y/N’s lips curled into a tight smile. “Yes, very impressive. Especially the part where you managed to knock over an easel. Quite the spectacle, I hear.”

Benedict’s jaw tightened, and he glanced around the table, noting the concerned expressions of his family. “It was a mistake. One that was quickly rectified.”

Colin, trying to lighten the mood, laughed. “Well, Benedict has always had a flair for the dramatic.”

Eloise nudged her brother. “Perhaps a bit too much flair, at times.”

Laughter rippled around the table, but the underlying tension remained. Y/N felt a pang of guilt but was too stubborn to relent. She glanced at her brother, who gave her a pointed look, silently urging her to ease up.

Lady Violet, ever the gracious hostess, smoothly transitioned the conversation to more neutral topics, asking about the sights the Ashbourne family had visited and their future plans. The dinner continued, but the strained interactions between Y/N and Benedict cast a shadow over the evening.

As dessert was served, Lady Violet addressed Y/N directly. “Y/N, my dear, I’ve heard you play the pianoforte beautifully. Would you grace us with a performance after dinner?”

Y/N, grateful for the distraction, nodded. “Of course. It would be my pleasure.”

The meal concluded with polite conversation, but the tension lingered. Y/N excused herself to prepare for her performance, and as she left the dining room, she felt Benedict’s gaze on her, filled with a mix of hurt and confusion.

Later that evening, Y/N sat at the grand pianoforte in the drawing room, her fingers dancing gracefully over the keys. Heart filled with the hauntingly beautiful melody of a piece, she knew the room—Benedict's favorite.

The Bridgertons and Y/L/N's watched in silent admiration, but Benedict’s eyes never left Y/N. He was captivated, every note and every word pulling him deeper into the memories of their shared past. As the song drew to a close, Y/N’s eyes glistened with unshed tears, and as the last note lingered in the air, a single tear slipped down her cheek. Across the room, Benedict’s own eyes misted over, a tear tracing a path down his face as well. The rest of the family exchanged knowing glances, sensing the intense, unspoken connection between the two.

Y/N stood, curtsied, and, with a polite smile, excused herself from the room, needing a moment alone to compose herself. As she walked down the dimly lit hallway, her heart ached with a mixture of regret and confusion.

Benedict, unable to bear the distance and misunderstanding any longer, quietly followed her into a room. “Y/N, wait,” he called softly.

She stopped but didn’t turn around, taking a deep breath to steady herself. “Yes, Benedict?” Her voice was calm but strained.

He approached her cautiously, his expression a mix of determination and vulnerability. “Why are you treating me like this? What have I done to deserve your coldness?”

Y/N finally turned to face him, her eyes flashing with a mix of anger and hurt. “I don’t know what you’re talking about, Benedict. I’ve been perfectly polite.”

Benedict shook his head, frustration evident in his voice. “No, you haven’t. You’ve been distant, cold. This isn’t like you. Please, tell me what’s wrong so that I can fix it."

She crossed her arms defensively, her gaze piercing. “I don’t know what you’re imagining, but there’s nothing wrong. Perhaps you’re just seeing what you want to see.”

His frustration bubbled over, and he stepped closer, his voice low and intense. “This isn’t about what I want to see, Y/N. This is about what’s real. You’ve changed towards me, and I need to know why.”

She took a step back, her breath hitching. “It doesn’t matter, Benedict. Go back to your paintings and models. I could not care less."

His frustration turned to desperation, Benedict reached out and gently but firmly grasped her arm, pulling her back towards him. They stood face to face, the tension between them crackling with electricity. His voice was a murmur, filled with desperate longing. “But you do care, don't you? Why do you care, Y/N? Tell me.”

Her eyes locked onto his, the intensity of his gaze making her heart race. She tried to look away, but he cupped her cheek, forcing her to meet his eyes. “Tell me, Y/N. Please.”

Her defenses crumbled, and she whispered, her voice breaking. “I don’t care. Why should I? What you do is your own concern.”

His grip on her arm tightened slightly, his breath warm against her skin as he leaned in closer. “You do care. I can see it in your eyes. In your big beautiful eyes. Why won’t you admit it?”

Her voice was barely more than a whisper, trembling with the effort of holding back her emotions. “Because it’s easier not to. Because admitting it means facing the truth.”

“What truth?” Benedict’s voice was a mere breath away, his lips inches from hers.

Her heart pounded in her chest, and she could no longer deny the truth to herself or to him. “That I never stopped caring about you, Benedict. That I’ve loved you since we were children, and the thought of you with someone else… it breaks my heart.”

His eyes softened, and he leaned in closer, his breath mingling with hers. “And I’ve loved you, Y/N. I’ve loved you every single day we’ve been apart.”

She closed her eyes, the tears finally spilling over. “Then why didn’t you ever tell me?”

“I was a fool,” he admitted, his voice thick with emotion. “I was afraid you wouldn’t feel the same way. But I can’t keep it inside any longer.”

Before she could respond, he closed the distance between them, capturing her lips in a kiss that was both tender and passionate. The world seemed to fade away as they poured all their longing and love into that one moment, finally allowing themselves to feel what they had denied for so long.

When they finally pulled apart, both were breathless, their foreheads resting against each other. “No more secrets,” Y/N whispered, her voice shaky but filled with hope.

“No more secrets,” Benedict promised, his eyes shining with love and determination.

They stood there for a moment, holding each other, the weight of their confessions lifting from their shoulders. The tension that had once filled the air was replaced with a sense of peace and newfound understanding.

Just then, a voice broke the silence. "Well, well, what do we have here?"

Y/N and Benedict sprang apart, startled, as Thomas stepped into the hallway. His expression was serious, his eyes locked on Benedict. Y/N's heart raced, fearing her brother's reaction.

"Thomas, I—" Y/N began, but Thomas held up a hand to silence her.

"I always knew I’d have to deal with this day," Thomas said, his voice low and dangerous. He turned his gaze to Benedict, who stood his ground, though a hint of apprehension flickered in his eyes. "Benedict Bridgerton, you have compromised my sister's honor. There’s only one way to settle this."

Y/N’s eyes widened in fear. "Thomas, please, don’t—"

Thomas continued, a stern look on his face. "We must duel."

The hallway fell silent, the tension thick in the air. Then, to Y/N's utter astonishment, Thomas’s serious expression broke into a wide grin, and he burst out laughing.

"I’m just kidding!" he exclaimed, clapping Benedict on the shoulder. "You should have seen your faces!"

Benedict let out a relieved laugh, shaking his head. "Thomas, you nearly gave us both a heart attack."

Y/N exhaled deeply, her heart still pounding. "Thomas, that wasn’t funny!"

"It was a little funny," Thomas said, still chuckling. "But really, everyone in the drawing room is waiting for you two. They’ve been hoping for this day for a long time."

Y/N and Benedict exchanged a glance, their relief mingled with the lingering rush of adrenaline.

Thomas gestured back towards the drawing room. "Come on, let’s not keep them waiting."

As they re-entered the room, the gathered family turned to look at them. Lady Violet and the duchess’s faces lit up with delight, and Daphne’s eyes sparkled with joy. The Duke of Ashbourne stood beside Lady Eleanor, his expression warm and approving. Anthony, Colin, Eloise, Gregory, and Hyacinth were also present, each showing various degrees of amusement and happiness.

"There you are!" Lady Violet said, her smile warm and knowing. "We were starting to wonder if you’d gotten lost."

"Come on," Colin said, grinning broadly. "Don't keep us waiting. Are you finally together or not?"

Y/N's cheeks flushed as she glanced at Benedict, who nodded, smiling. "Yes, we are," she said, her voice clear and steady.

Lady Eleanor’s face lit up even more. "Well, then, I think it’s safe to say we can start planning a wedding."

Y/N’s eyes widened in surprise. "Mama, it’s way too soon for that!" she exclaimed, her cheeks flushing even deeper.

The Duke of Ashbourne chuckled, patting Y/N's shoulder gently. "Your mother is just excited, dear. But we should let the young couple take their time."

Colin and Anthony, standing near the fireplace, exchanged a look and grinned. "Well, Benedict, looks like you’ve finally caught the eye of a Duke’s daughter," Colin teased.

"Always aiming high, aren’t you, brother?" Anthony added, his tone playful.

Benedict, his arm still around Y/N, beamed. "I guess I’ve always known what I wanted."

Daphne approached Y/N, embracing her warmly. "Welcome to the family, officially."

Y/N’s heart swelled with happiness. "Thank you, Daphne. I’m so glad to be here."

Eloise, ever the sharp-witted observer, smirked. "Well, it’s about time. I was beginning to think you two would never figure it out."

Gregory and Hyacinth, the youngest Bridgerton's, clapped excitedly. "Does this mean we get to have another party?" Gregory asked, his eyes wide with anticipation.

Hyacinth grinned. "I hope so! I love weddings!"

As the evening continued, the family celebrated the long-awaited union. Lady Violet and Lady Eleanor eagerly discussed wedding plans, while the Bridgerton brothers teased Benedict good-naturedly.

Thomas, watching the scene with a satisfied smile, caught Y/N’s eye and gave her an encouraging nod. She smiled back, her heart full.

Later, as the festivities wound down, Y/N and Benedict found a quiet moment together. He took her hand, his eyes full of love. "I meant every word I said earlier, Y/N. I love you, and I want to spend the rest of my life with you."

She looked up at him, her heart brimming with emotion. "And I love you, Benedict. More than I can say."

He leaned down, pressing a tender kiss to her lips. "Let's always be together. Always."

"Agreed," she whispered, feeling the weight of the past lift away.

As they stood there, surrounded by family and love, Y/N knew that this was just the beginning of a beautiful future together.

[fumifooms]

Marcille and Chilchuck’s interwoven character arcs: the fantasy of prince charming, idealization vs pessimism and loss

I’ve alluded to Marcille and Chilchuck being central to each other’s arcs so many times but the proper full analysis has been long overdue. I’ve made a post going into their differences and similarities and the many ways they’re foils for each other, but this is going to give more focus to a narrative rather than character angle this time around. We talk a lot about the importance of Marcille in Chilchuck’s arc, it's more obvious overall, but less so about Chilchuck’s importance in her own, so this is going to emphase on the latter. When talking about fantasy vs reality, usually optimism is associated with fantasy and pessimism with reality, but that's not the full picture either. Both situations and relationships can be layered and subtext can imply quite a lot, the reality of things can be more complex than we'd like or hard to reconcile, and that's exactly what we're talking about today and how that is a lesson both Marcille and Chilchuck needed to learn. Give this a shot and look at the manga pages alongside my reading and decide for yourself whether I’ve got a point or I’m going overboard~!

So, Marcille and Chilchuck are character foils in many many ways, and I think a particularly brilliant part of their arc is how they balanced each other out on idealization. On one hand, idealizing things means only seeing what you want to see through rose-colored glasses, on the other, being completely opposed to it usually means denouncing any optimism at all, refusing to hold any good faith or hope. These stances reflect both their backgrounds, as Chilchuck has lived through being discriminated against and taken advantage of consistently, betrayed by employers and eventually the person supposed to be closest to him, his wife, meanwhile Marcille grew up more sheltered and lonely, and books were a big way through which she experienced social situations & the ways of the world in her rural home before going to the magic academy as a researcher and getting more actual life experience herself.

I think it’s especially interesting to analyze the trope of— the idealization of— the perfect chivalrous prince on a white horse who is pure hearted and will make you swoon, in the context of their relationship and their arcs! It’s a recurring motif- you’ll just have to trust me and read further~ Obviously this contains spoilers for the whole manga, so beware! It's very long because I'm trying to cover the topic fully from the ground up, my apologies.

Table of contents:

How they start out

The Daltian Clan and its importance

Prince Charming vs Chilchuck Tims

Ideals vs desires vs wants

Deconstructing realistic romance & compromising between romanticism and reality

Princess imagery in Marcille

Conclusion

Let’s start with the beginning:

How the characters start off:

Their relationship is both familiar and strained (extra reading: analysis of their relationship pre-canon and early canon), they bounce off each other with the ease of coworkers who’ve been working together for two years and who share similar common sense. Because yes they’re both generally grounded and rational, and generally they respect each other’s input and perspective, but, they both have blind spots…

The biggest hurdle is the way Chilchuck refuses to open up. Marcille has made efforts to befriend him, and though he was open to developing a better workplace dynamic and, say, helping her out with shopping for a pouch outside of work, even if it ended up being counterproductive he’d refuse to even just say his age, let alone share anything about his family situation. Knowing he had kids and a wife would have pretty efficiently fully shut down that he was a kid, and yet he valued being closed off more. Chilchuck is often shown being pessimistic, assuming the worst intentions out of people and being wary of anything good happening, being the last person to trust something or someone, etc. (Quick summary analysis of him I made if you want here, beyond the character foil analysis I linked at the beginning.) He prefers assuming that opening up will only bring him problems to assuming that it'd bring about positive things.

Meanwhile Marcille is very… Honestly she’s hard to classify strongly. Because I could say she’s very open to people, but honestly it’s conditional? She emotes intensely but she’s not quite a befriending machine either, especially when we recall the magic academy days as well, she’s not unused to keeping people at some level of distance, herself keeping a lot of secrets too. She was very wary of Laios at first because she had misconceptions, she holds grudges and isn’t personable with everyone like Namari or Toshiro, when she’s introduced to the party she seems serious and doesn’t smile. While I don’t fully agree, there’s a good analysis not by me here showcasing what I’m talking about. Marcille’s more serious academic side often gets undermined and I think it’s an important part of her, but then the difference between her and Chilchuck comes down to theory vs practice: knowledge vs experience. I think something more fitting to say would be that she’s idealistic and easily swayed, for example the way she lights up whenever she can put a story-like twist on things, her mood can go from dread to hype and reverse in one second, like with riding a kelpie or with the conflict between Chilchuck and his wife, or again with Namari, where it becomes a sort of hero vs antagonist dynamic for her where justice and righteous thoughts should override everything else like needing money to live. She's very stubborn, like he is, but it's easier for her to come around in dramatic ways, on things big and small, mentioning for another example thinking better of orcs suddenly because they can cook well.

So sure on first meeting she isn’t exactly eager, but then we do see her enthusiastically trying to befriend everyone! Becoming very friendly once she’s done assessing them. She is social, and fittingly she’s very curious about people. And that said, aesthetics do matter a lot to her, and I mean this beyond just enjoying vibes, for example- and follow along the lingo I'm setting up here- if something ‘breaks’ an aesthetic like Chilchuck or Falin not being a child she’ll willfully dismiss and ignore it, if she can spin something into a story like Chilchuck’s breakup she’ll get carried away, she can get the wrong impression, be gullible for the sake of believing a narrative, such and such. I’d say she’s guarded around people at first, but then with time becomes an open book emotions wise, how she’s always loudly and unapologetically talking about her feelings and emoting. She’s not reckless, rather she’s bold and often has to make decisions quickly, like when the plan unexpectedly changed during the red dragon fight, but things like using dark magic can feel like thoughtless decisions looking from the outside, like to Chilchuck, who as per his pessimism dictates he sees all of this in a negative light, assumes the worst: that she’s just ignorant, naive and reckless. She’s easily worried and discouraged but still always perseveres.

He's biased against mages and elves because of past experiences and he projects that onto Marcille. And it makes sense because good faith is dangerous to Chilchuck- for his feelings in relationships yes, but more concretely and important for his life at work, the way an old party of his was going to sacrifice him to succubi for easy money. Like the way he constantly puts his non-work values down to the group so they don’t have high expectations of him, having high expectations for someone else is vulnerability he doesn’t want to or cannot afford. The result however is that he, too, put people into boxes to avoid having his preconceived notions challenged. He's very judgemental, which we see with Laios as well, and even with Izutsumi in the ice golem chapter, but by then he's learned to self-reflect more and be honest with his feelings due to Leed, meaning his social conflicts get resolved more often and more quickly, again like with Izutsumi in the ice golem chapter.

So in the end, there are things that stand in the way of them having true, equal respect for one another. She sees him as a kid despite everything else (being capable and mature, etc etc), and he sees her as a ticking bomb of a naive elf mage who’s gonna get herself into legal trouble if she doesn’t get them killed first.

And it takes an arc spanning the whole manga for them to get there, to truly see each other on equal footing, culminating with the bicorn chapter.

I'm going to be mentioning them a lot so in my mind, the most important Marcille & Chilchuck arc defining scenes happen in: mandrake chapter, mimic chapter, shapeshifter chapter, hypogriff soup chapter, changelings, bicorn, succubus, and Marcille dungeon lord. We're talking mostly about Marcille's discrimination and their narrative about loss here, but on the end of Chilchuck's discrimination the dark magic plot is very central so honorable mention to the red dragon chapters, the harpies chapter and the cockatrice chapter, the latter where Chilchuck airs out his beef particularly directly.

Interestingly enough, the mandrake chapter which is in VERY early manga, where characters and dynamics are still being set up, Marcille gets Chilchuck to say that she isn't a burden and that he's glad they have her and her skillset with them, so the question of "does he respect her at all" was answered before the audience could even think to ask it, and Marcille also makes statements shortly after showing she respects him in turn- more on that later. This has for a result that we do know there's a foundation of respect here, even when as said it's not complete... yet.

So let’s get into it! Early on we already get a lot instances hinting at their opposed core values of optimism vs pessimism. It’s perfectly summarized in the two panel excerpts opening this post: "Sounds romantic!" "Sounds fishy.", hope vs wariness. "Meeting you was fate!" "… Which means it’s fate for you to eat these monsters, too!", if good things happening to you is fate then you must accept that all the bad things that happen to you are fate as well. It’s "Things will work out!" vs "Things will not work out".

The issue here seems rather evident, it’s a balancing game. Compromising, adapting your judgement to the situation. Yes Marcille romanticizes things too much and it can cause her trouble, and yes Chilchuck being so closed off on himself gets him into trouble as well.

(Not telling there was a mimic nearby being maybe the most straightforward example.)

His refusal to hope for anything good happening to him ever is at the core of him not having even tried reconciling with his wife (more on that later with the bicorn chapter). Through the manga, Chilchuck influences her to be more savvy and to respect boundaries more (with himself and Namari for example), while she influences him to become more open and give things a go. It’s no coincidence that it’s Marcille that pushes him to try reconciling with his wife and gives him hope that it just might work out- that that chance even on its own means it's worth giving it a shot.

The Daltian Clan & its importance

The importance of fiction in some people's lives and their specific psychological relationship to it is a very complex human brain topic with many many studies and an infinite amount of subtleties, I can't possibly do justice to this section at its full potential but I'll go over my major points. But the complex and layered nature of this relationship is why, for example, the interpretation that Marcille is a lesbian despite her likely attraction/love for male fictional characters (if not even just simping or stanning separate from those), has legs to stand on and is a compelling angle!

The Daltian Clan, often shortened as Dalclan, is Marcille's favorite book series and is very very personally important to her. In an extra we learn that part of it is that seeing a half-elf character personally reached out to her and meant a lot. She feels seen through it. Even if it's notable that the half-elf haracter isn't her favorite, general Hagreus, but the one with black hair. It's a Cinderella type of romance & convoluted political intrigue series full with a lot of drama, reminiscent of stuff like Romeo & Juliette or Richard III.

I believe that books were developmentally very important for her, similarly as to how cartoons are important to the education and development of toddlers and kids nowadays, or how oral stories like fairytales have always been important to teach lessons. Fiction engages readers and provides emotional stimulation, which can often be a flawed substitute for actual human contact- but nonetheless a big factor in socialization. For Marcille who lived in a rather rural region surrounded by books and chickens, who couldn't fit in with kids of any age around, books were a major part of teaching her how to socialize, how people and social groups worked. This is also part of why the autistic Marcille angle can be very compelling and plausible, though personally I don't see it that way.

So yes I think that sort of upbringing shaped her a lot, and I think it's part of why Marcille has trouble not putting people into boxes... Why even though Falin assured her it wasn't like that, Marcille had made this whole narrative in her mind painting Laios as a villain that stole Falin away against her will/for nefarious purposes. Why she has trouble not thinking of/treating Falin as a kid, unwilling to process how she has grown up. Why Chilchuck has to be very young in her mind, and it was very very hard for her to reconcile the fact that he wasn't. (It's actually interesting to note that Marcille treats Falin and Chilchuck similarly in a lot of ways, overstepping boundaries, being dimissive and touchy- There's a lot to say about how the party dynamic changed a lot with during canon it becoming just Laios, Marcille and Chilchuck at first and Laios' monster interest reveal, notably that in Falin's absence that she may have latched onto Chilchuck and treats him similarly to Falin may be her finding it omforting to fall into habits or filling a hole.) I think complexity in fictional characters gets her gears turning, but there's always a film of impersonality to it right, where it's not real, there's a safe distance, if you want to form romantic narratives about how things went down and a character's angst, you can, but someone who’s real… Things are often uglier or harder to grapple with. And she doesn’t want Falin to have grown up, for her to so quickly have aged. I think applying this sort of storybook veneer onto her real life connections, pushing people into boxes, is a way for her to make social relationships more digestible. And she's a big gossip enjoyer too! Engaging in shallow retellings of people's interpersonal drama, eating it up with enthusiasm and curiosity. Part of it, like with novels, is vicariously living through others I think, experiencing making connections where she hasn't or couldn't, the way her relationship with the other girls at the academy besides Falin stayed distant and shallow despite being friendly. Gossip, like stories, are safe, distant from your own life, they're easy to judge, not unlike the irl popular interest in following others’ online drama. You’re not involved yourself, so you don’t have as much chance of getting hurt. So yes, easier to digest. Less complex, less unpleasant things and less contradictions that are hard to process. Sort of like a defense mechanism to not have your worldview challenged, dodging having to recognize these things by assigning them tropes. And I think part of it too like I implied is: she can’t experience actual loss through books and gossip. They give her emotional social stimulation she doesn’t fully allow herself to have with actual humans for fear of getting invested in a way that’s very raw and personal. Again, like how she pushes Falin away to ignore the more nuanced facets to their relationship! The intensity of what I’m speculating on here in her character is debatable but I do think it’s present at least in some amount.

In a similar way to dogs being important to Laios’ social life (I made something of an analysis on that if you're interested, but this one's not relevant to what I'm talking about in this post) books are her comfort zone. If she can compare a real situation to a story it brightens everything and, well, it does make her assume things wrongly often but it also makes her able to analyze people deeply, like the roleplay-theory-speculation about Chilchuck's wife and the way she hit bullseye on how Chilchuck felt in the aftermath. But like how Marcille only agreed to wear the frog suit when the party told her it'd look cute on her, or how thinking about riding on kelpies made her excited for what previously she saw as a tedious and dreadful journey. Special interest power blast.

And this is where comes in her coworker, a disillusioned embittered man.

A guy who knows all about how messed up the world & people can be and isn't afraid to say it how it is, who in every sphere of life has field experience rather than fictional one- with romance, work, and having dreams & ambitions. Someone flawed and real, someone who won't let her interpret him however she wants without confronting her about it & challenging her to change her perspective.

It took a looot for Marcille to fully stop seeing him as a kid, and in a way I think it was necessary for the dissonance to be both this hard to reconcile and this impossible to ignore: that he truly is a middle-aged man down to his demeanor and family background but that he looks like a teen at most to her. That she literally has to look beyond aesthetics to be able to first fathom then accept and internalize that he's an adult despite his looks. That it was so ingrained and took so long, so much that even while she recognized and said "He's usually the most mature one of us", so much that even as it's implied that she knew logically he's an adult before the changelings, as pictured earlier she still couldn't conceive it. It's like with her calling Laios and Falin's parents kids in a post-canon extra, it's not that she doesn't know it's that it's hard to wrap her head around. Necessary and important because, if Chilchuck was any less loud about being a man she could have gone on unchallenged in her assumptions. If it was an easier to dismantle misconception, something easier to digest, then her arc of coming to see him as he is would have had less impact on her character, afterwards she could continue to run with her own interpretations of people like Falin and Namari without her confidence in being able to pin down people into simple roles being so fundamentally shaken. And it's notable too, that Namari's choice to leave the party to look out for herself situation was decidedly unheroic, but it was Chilchuck who spoke to Marcille about why her decision was both reasonable and had a lot of thought behind it, making her accept that it doesn't make Namari a bad person or even a bad coworker or friend.

Chilchuck is someone who knows that sometimes, bad things happen for no reason, and it's not meaningful or part of a grand narrative, it just sucks and you have to deal with it.

As the foil to her very emotional black and white interpretations of things, Chilchuck represents nuance, and he's impossible for her to ignore.

Prince Charming vs Chilchuck Tims

Chilchuck is so obviously not a prince charming. He doesn't have the looks, the attitude nor the lifestyle. Does he have the virtues for it? Well, no... But also, yes. More on that in a bit. It's also interesting to think of the status aspect to it, because being from an impoverished oppressed class/community is so central to Chilchuck's character, something usually far removed from prince charmings and white knights, and not only status wise but on the topic of virtues... It’s an interesting thread to explore, the way one may have the means to remain chivalrous rather than becoming distrustful and embittered: sometimes optimism is a sign of privilege, being able to be or remain optimistic through life. I'm sure Marcille would be the first to jump onto the aesthetic and narrative allure of a pauper in love with a princess, of a hero of the people à la Robin Hood, but it's still interesting to think of that as another facet of the contrast Chilchuck makes. Alright, tangent done.

But obviously, despite this all they have a great work dynamic and respect for each other's capabilities. It's not like Marcille is mean to people who don't fit these fairytale high standards, no that’s only when she feels wronged or if there's injustice, rather she becomes dismissive of people’s complexity, wether they become an angel like Falin or Marcille’s shapeshifter of Chilchuck or a villain like Namari and Toshiro or Laios when they met. But my point, my point: she actually thinks very highly of him!

"He’s usually the most mature one of us" "He’s dependable, we’re counting on him" "No, chilchuck is definitely virtuous."

And I think the ways in which that shows are very interesting.

^ Ok so this happens, in the Namari chapter I keep talking about. Look at his expression in this last panel. He's always teasing her, but doesn't this here feels a bit... Suggestive? Like he's implying things, not just talking about it in a work setting but also giving her general life advice. Maybe even making an innuendo for womanizers, gentlemen who flirt without meaning a thing and have some hidden agenda. Warning her about smooth talkers that seem too good to be true. It’s honestly a very easy to overlook but defining interaction for them. It’s a quote that’s on his Adventurer’s Bible plus his anime quote keychain merch!

I love his implication that "I say what I’m about straight up, money, so you can trust me"- and isn’t that just the exact thing… Because that is what this is, he’s pitting himself against these people who help without asking for anything and he's saying he’s more trustworthy and reliable than them, driving a wedge between him and those people to prop himself up by comparison. His words tie a lot here into his general worldview too, of course here he's ✨Imparting His Wisdom✨, but it also ties into his self-image issues I'd say, where he’s hard on himself and calls himself a coward etc: if no one has positive expectations for you on an interpersonal level, then you can’t disappoint them. It only goes up from here if you start at rock bottom, can't have unpleasant surprises.

But the meaningfulness of this moment doesn't start and end there: That moment happened in chapter 20, but then this happens in chapters 36-37...

I was always puzzled by the split second interaction between Marcille and Kabru. Marcille blushing is the point, it’s in the anime too and it’s the focus of the panel. That moment of hesitation before she goes back into business mode where she looks at him back, and blushes. And idk I always felt like it was weird timing, like it was a weird beat Kui chose to put emphasis on, why the story even had them make eye contact in the first place, what point it could be making besides "Kabru is handsome and charismatic" which was already made with Hien and Benichidori below, otherwise it's not even like Marcille and Kabru ever interact. Like, maybe it's for it to be a callback when she glances at him while the canaries interrogate her at Thistle's house? Regardless, she blushes, but her expression is more akin to a "Uuhh he smiled at me why’d he smile at me like that. Oh he’s kinda pretty. Well anyways-" rather than swooning or truly checking him out. She’s frowning, even. And like I said, being very naturally charming was a point already made previously.

But then… This repeated reminder that Kabru is a lady killer IS the point, Marcille reacting to him in that way IS the point. Kabru is the epitome of ‘will say they help you but has hidden motives and might betray your trust if it serves their interest’ (not a diss on him tbf he has understandable goals), he is the epitome of looking noble, welcoming and chivalrous but actually being dishonest and manipulative, and what’s important here is… Marcille turns away and sticks by Chilchuck. Of course this is logical, no one would expect her to go running to Kabru lol, but I implore you to think of the thematics of it all, a princely guy, the closest character of the cast in the flesh embodying the prince charming persona, is giving her some positive attention, and it does affect her a bit but nonetheless she turns away, and strategizes with Chilchuck instead of trusting or giving good faith or getting carried away. She chooses Chilchuck. Unlike so often, she doesn’t let aesthetics sway her here, get in the way of her better judgement, distract her from the point. She chooses not to give good faith, even if he seems charming and friendly and smiles. Marcille is serious when the situation requires it that's now new, but this is in line with the lesson he instilled earlier above. And if nothing else, Marcille has a good memory, exhibit B to come later. Here we see part of why Chilchuck was afraid of Laios or Senshi but not Marcille blurting out the wrong things with Toshiro and is party, when push comes to shove they're often on the same wavelength. Marcille and Chikchuck do strategize with specifically each other regularly, they do tend to pair up a lot after all, so this isn’t especially new, but it’s the first time there’s this sense of us vs them imo. Like how earlier Chilchuck was saying that he’s better than the smooth talker type, here we see Marcille implicitly agree.

She just has a passing glance & thought for Kabru but she knows her true allies and true values, and she wants to strategize with Chilchuck. What I am saying is that if she was given the choice to think through going with a guy that seems perfect and chivalrous like her succubus, if she was logical about it she’d pick Chilchuck over that guy actually, yeah. At the end of the day, no matter the pretty smiles, she knows who her actual friends are. Whiiich on that topic, next section!

Ideals vs desires vs wants

It's succubus analysis time

Her succubus is quite direcly a prince figure, a knight on a white horse who's come to whisk her away. He calls her princess, even! She's taken the role of Daltian Clan's protagonist, essentially. He kisses her hand, nothing short of the most classic courtly romance tropes. He's even drawn in a noticeably more shoujo style, not unlike the characters' faces in the aftermath of getting their energy sucked by succubi.

I made a whole analysis on specifically Laios’ succubus but it covers some stuff that could be interesting for this analysis as well, I’ll repeat the essential stuff tho: Their succubus all show what type of social connection they desire. Izutsumi’s is familial, Marcille wants someone she can emotionally connect with, seemingly romantic, Chilchuck wants something physical and sexual so he doesn’t have to think and worry about anything deeper (betrayal, insecurities, etc, the difficulting that come with a committed romantic relationship- also likely related to his senses & stress), and Laios wants people and friends who’ll accept him and his monster interest- platonic.

But more interesting for this analysis is how succubi work. The goal isn’t to beckon, but to incapacitate. The succubus doesn't work on the basis of rationality, it’s not a factor they go for and it’s not one they need to appeal to either, as we see. (Laios is a special case -gestures to the linked analysis- but the succubus doesn’t appeal to his rationality as much as it soothes his worries, his friends judging him etc etc, and the reason Izutsumi could remain unaffected is that there is always a half of her not enthralled by the succubus because she essentially has two souls.) Neither Marcille, Chilchuck or Izutsumi could realistically expect any of the people they saw to be real and not fake succubis. They KNOW that, they were actively preparing for the succubi to jump on them and fight back, rationally they know they're monsters! But how this monster works is that it targets deep desires within you that when face to face with it'll make you hesitate, make something in you unable to fight or flight and instead do the third instinctive option: freeze. Or especially in Laios’ case, the form gives the victim just enough confliction on the matter for them to want to believe it’s real. All they have to do is just not move, stay passive and accept the attention, so it’s not an issue of wether they reciprocate an action or run away. It's so that it shortcircuits you and leaves you open to pick like a fruit.

If this wasn’t the "reads your heart so deeply that it freezes you to the spot" monster, Chilchuck WOULDN’T be doing anything with these women. He’s been devoted to his wife even 4 years after separation on bad terms, you think he’d ever cheat on her? If this was a decision he were to make, instead of just freezing, he would reject it. In that similar way, Marcille’s succubus might not be what she’d rationally go for. You think if this was what Marcille had to choose, the person she wants most to see and at her side, her most alluring form wouldn't be Falin, alive and well? You think that wouldn't be the thing Laios truly wants most as well? And before people say that canon proved that the latter wasn't with the curse the winged lion put on him, THAT'S THE POINT!!!! You can irrationally desire things, you can desire things to degrees so deep you can’t change it even if you wish you could, but if it was truly a choice up to you, you'd choose otherwise. Laios decided to become king, even if that's a lifestyle so far from what he truly wanted, even if it is duty more than fun for him. Like how Chilchuck would choose faithfulness despite for sure having come into contact with many beauties through his four years of separation.

Ideals vs reality are a big Dunmeshi theme in general, same as wants vs needs, and you can see Marcille’s daydreams and novel themes make it an especially relevant throughline and theme for her. Not unlike how in my opinion General Hareus and Mithrun intentionally look very alike to contrast reality vs fantasy!

Marcille never reacts any particular way to Mithrun’s appearance despite the blatant resemblance, so that makes me think the point/joke is meta rather than character focused. The romanticization of elves and their societal drama in their fiction contrasting heavily with a very real and imperfect product of their military system. The canaries certainly aren’t glamorous next to whatever military Hareus is the general of. There’s even the fun little details like Hagreus’ lips being drawn with extra details because they’re full and pretty while Mithrun’s lips are drawn with extra details because they’re chapped and dehydrated. Hence the fantasy vs reality theme, both in that fantasies can be very disappointing when realized and in that they may not be what you actually want past your mind palace. Marcille doesn't even react to him- which we could almost directly parallel to how pretty young blondes is Chilchuck's type but he never seems to make a big deal of Marcille- he still wants his wife.

So yes, themes of what you actually want vs irrational cravings. Base desires vs actual wants. Needs are also separate, but not relevant for this discussion. To get to the specific definitions I’m using for the words in this section’s header, ideals vs wants vs desires: ideals are your ideal of something, the best degree to which a thing could be tailored to you, and it can be derived from both wants and desires, usually a mix of the two, but for example: I’d say the succubus is a type of ideal (the platonic ideal of allure to the victim) derived solely from desires, because a want is active rather than passive, acted upon rather than suffered, because a want unlike a desire involves thinking things through. So a want: something you want, you take actions towards getting or achieving it, it can be a very strong feeling but it’s something you pursue or wish to pursue. Finding a cure to death is a want, not wanting to be alone is a desire, see, I’m assigning desire this more primal or unchanging subconscious nature to it. On the flipside with Chilchuck, sex without ties, easy pleasure, is a desire, but the want is not having to think about his marriage situation because it’s painful, not wanting an emorional connection because it’s all the easier to be hurt with, just wanting to take his mind off of everything for a while.

Thus the succubus targets Marcille’s wish for a perfect knight who could cherish her forevermore, someone safe and known and fantastical, just hers in a way, free to see and construct however she wants because he’s a character to interpret, and it targets Chilchuck’s wish for pleasure that’ll whisk him away from the stress and pressure and reality of his life, something that’ll make him feel both good and desirable and emotionally uncompromised, not unlike what alcohol does, as he says he likes having his fine senses dulled in the changeling chapter. Idealization is twisting the image of something in your mind to be closer to what you want, but usually mostly desire on a more subconscious level, to be true, almost a wish, sometimes but not always hand in hand with idolization which is to put something on a pedestral. Idealizing things that are easier to reconcile with mostly, in Marcille’s case: it’s easier to believe that Chilchuck is very young and it’s easier to stomach that Falin hasn’t aged much, it's easier to believe Falin is an angel who can do no wrong and if she left with Laios it's not that she chose to leave Marcille, and it's easier to believe Chilchuck is just a moody closed off youngster than an embittered old man. It can be done to people as much as concepts, like the idea/plan to give everyone a 1000 years lifespan, surely that'd do really well and everyone would love it. Wants and desires are both very often about changing reality after all, wether it be your situation or an event in your past or a law of the world like death, but wants are mostly through actions and since desires are more subconscious it can lead to self-delusion easily. Like with succubi, wants engage with your rationality so they target desires instead. The demon's strategy isn't too far off, either, feeding into both and using underlying desires to manipulate its victims. Dungeon Meshi is in part yes about resisting desires, the irrational cravings, mostly through the character of the demon. I mentioned needs earlier, and to ideals vs wants we also add vs needs, both emotional and physical, and needs alongside wants are what Dungeon Meshi wishes to promote for a healthier person, Dungeon Meshi which illustrates very well with the dungeon lords that you can be a slave to your desires.

The parallel between succubi and demons is intentional. The demon is in fact the origin of the succubus myth in-world. No wonder they operate similarly in many ways- the succubi are in a way a more simple straightforward version of the demon, with less convoluted strategies and less intricate manipulation.

Of course the succubus each character sees does say something about their characters, but what I’m saying is we shouldn’t assign choice or morality to it as if it wasn’t an ethereal monster whose whole biology is focused on being able to freeze people through appealing to desires, much like how we can’t fault people for falling for demons’ manipulations. Like that’s their WHOLE thing and they use mind control through enticement shenanigans. I know people sometimes fault Chil for his succubi and if you want here’s my stance.

Point of this whole thing is, people can rationally choose things that are different from their deeper desires, like in truth Falin’s safety being more important to Laios than becoming a monster. Like how Marcille stayed with Chilchuck to strategize instead of wanting to give good faith to Kabru. Yes, this is the main point I'm coming at with this section lol. Marcille idealizes and idolizes the figure of a perfect prince charming, undoubtedly! But when it comes to what she actually wants, not in some ideal fantay world but in reality, she knows Chilchuck and her imperfect friends are some of the best she could ask for. She's content with them as they are. She would choose a flawed reality over a perfect fantasy.

That's a big part of what her dungeon lord arc is about too, all her tendencies to ignore what others want for what she thinks is best for them or thinks is a perfect course of action: accepting that people are complex with different wants, and that something that's a no-brainer to her like wanting to live for a long long time is a solid no for many. And Laios and the party confront her about it, and Marcille, even under the influence of a demon, chooses to accept reality. Chooses to accept that there are some things that, even were she to be able to, she shouldn’t change after all (even for stuff that’s not forcing everyone to live for a millenium, like bringing Falin back from the dead is something that the party and Marcille had to come to terms with maybe not working and the way they went about it was self-centered). She chooses to come back to herself and the party, to accept the world as it is even if flawed and sometimes hurtful.

And hm, I wonder if Chilchuck had any role in the lead up to that particular decision... I wonder if Chilchuck was a major influence in teaching Marcille that the world isn't perfect and her internalizing things that were outside of her bubble!! I wonder if Chilchuck was directly what made Macille turn towards her party and thus start thinking of giving up on being dungeon lord!! Joking, joking, of course it does. To be continued, see you in the princess imagery section at the end of this essay.

Essentially, this section is to show that: 1) despite what her succubus may suggest, she has indeed grown by that point in the manga compared to pre-canon and her overly idealistic simple black and white vision of things, and it doesn't prove the ‘choosing her friends over a prince thing’ wrong, and 2) despite how deeply ingrained romanticism is in her and how it calls out to her, she still has chosen and continues to choose reality and her friends over it. How fantasy is important to her and how much she loves it, and her having the will not to mindlessly succumb to it coexist and it's that resistance against fantastical ideals that speaks of her as a character so much.

And what does that mean, for Chilchuck? For him and Marcille?

Deconstructing realistic romance AKA compromising between romanticism and reality AKA Chilchuck Tims vs Prince Charming part 2

So what we’ve covered so far is that 1: idealization is something that Marcille does a lot, including concerning Chilchuck, 2: the prince/knight figure is meaningful & important to her, 3: Marcille isn’t a lost cause on it, and for instance, much like how she stops harping on Namari after Chilchuck explains to her how professional reputations and networking work, he can change her mind on things.

Let’s get back to their prejudices of each other for a bit. You might have to zoom in for this one.

Her shapeshifters of both Chil and Laios are influenced a lot by looks and impressions. She’s very adamant about Laios and Falin not looking alike at all, for one. Marcille’s view of Chilchuck’s lockpicks are surprisingly accurate. Meanwhile, despite their first big relationship moment during canon being about how he’s glad to have her and her skills for the dungeon dive, he still ridiculizes her magic somewhat with the crude spellbook. She’s still silly and tease-worthy to him, even while he praises her like in the good medicine chapter with Leed he says it himself in the same breath. Silly, or "ridiculous" depending on the translation, is somewhat ambiguous, but I assign it the meaning of 'thoughtlessly reckless', like how again in the good medicine chapter when he's saying this he's referring to Marcille's future job prospects, because law and career are important to conform to for him. Despite this, their shapeshifters’ behaviors are accurate, although Marcille’s Chilchuck is nicer and less bitterly reclusive. Note how it's Marcille's chilchuck that makes it furthest and how why she thinks hers is the true one is that her Chilchuck "looks less mean"- this is what I mean when I say she idealizes him and sees him as a little angel, along with his fluffier hair it gives us the perspective of why she'd find him so hair-ruffable and why she likes sticking to him so much, I suppose.

Marcille's arc of not seeing Chilchuck for what he is has steps, it's not like Senshi who does an 180 seeing his changeling. There are a couple of important moments for it that tell us her progress and changes her perspective: Him telling his age -> the shapeshifters (our best look into an objective assessment of her perspective) -> reveal that he has a wife and kid(s) (fully shattering her denial) -> seeing him as a changeling (true reckoning. Putting the nail in the coffin of what reality is) -> bicorn chapter (acceptance. Internalization)

You might notice that the explanation for Marcille’s Chilchuck is "Even though she’s been told he’s an adult, deep in her heart she still doesn’t get it", and a fantranslation translates it as "Understands he’s supposed to be an adult, but hasn’t quite come to grips with the fact internally". This definitely implies her arc of growing to see him as an adult had already started by then. Especially if we compare it to Senshi’s more intense babyfied Chilchuck. This goes back to what I was saying about Marcille watering down people for the sake of aesthetics, some rational part of her knows he’s an adult, but it’s emotionally that she struggles to reconcile the fact with her perspective. It’s actually pretty ambiguous when she first starts considering he might be an adult. If by this point she was already digesting it, then I think it must’ve been when he told the party his age. It’s not unsimilar to rationally knowing Falin is an adult at 23 even if it doesn’t feel like it to her, or post-canon calling the Touden parents kids even though obviously she’d know they aren’t actually, it’s classic longlived race patronization. He’s older than Falin, by 6 whole years, and even Marcille isn’t that blind to what that'd mean. Wouldn't marcille also have a problem with child labor otherwise? There's also how Marcille pre-canon shortly speculated Chilchuck was in love with Namari in her Adventurer's Bible extra. She for sure has witnessed a lot of half-foots walking around, probably even drinking at taverns. She knows, on some level. Chilchuck even does a whole rant after they react going on "this is why long lived races are condescending assholes". So that’s my bet, "Is he an adult?" "Well yes but actually no" (Chilchuck), "I’m an adult now I’ve grown" "Awww you’ll always be like a kid to me!" (Falin) Depending on the dub and interpretation, I know for example that when I made my family watch the anime they thought Marcille "See? You're just a kid!" after he said he was 29 they saw it as teasing and playful, unserious, or even disappointed, implying she'd have thought he was older than 29. It's actually ironic how someone as developmentally atypical as Marcille, whose physical and mental growth was unpredictable, unsynchronized and messy, would judge others by appearance and age so much. But well imo appearances are important to her so in that way, she especially judges those because she had to live through being judged by those standards as well. She puts elven standards on everyone the same way she does with beauty standards, so age is included in that.

Marcille here is struggling with dissonance, it's why she "hasn't come to grips with the fact internally". And this all makes sense for the arc that sharing things about himself is what opened the gates of being understood better. Point is, her vision is influenced by her own feelings of how things should be like, veiling herself to the reality of things.

And notice the point that the problem her lack of rationale when it comes people- Chilchuck regularly makes her prioritize rationality over feelings, and well that’s somewhat his whole schtick when it comes to debating philosophy. With Namari and how her leaving the party and not returning is reasonable even if it feels wrong, just like the "don’t trust someone just because they seem well-meaning and generous, strategize instead of swooning", and ironically also the "it's important to take in mind how things like touch when healing can affect parties and create love triangles" lol, "don't be emotional, and also remember people being emotional will stirr up shit". Since she’s someone pretty swayed by feelings, it balances her out. Ultimately, if we consider the Dungeon Lord arc her culmination, it’s Chilchuck who ends her arc by meeting her halfway through appealing out to her feelings, but that’s the flipside of the coin of their arc, and it’s her willpower to face reality that saves them so I don’t think that contradicts that Marcille had to do her half of the journey & comprise.

I would argue there are many hints of Marcille knowing on some level he's an adult throughout early canon. Not just seriously calling him the most mature of the group, but her behavior at the Golden Kingdom's too for example. Would you act all shy asking a kid to sleep in his bed, especially one she's always felt so comfortable trampling the boundaries of and touching casually? Idk that's weird. She's asking to sleep in his bed because by her own admition it'd make her feel more comfortable. Chilchuck is safe to her and she feels shy implying it and asking for a favor like that. Shy that he'd find her silly for it, and/or shy that this might be inappropriate according to etiquette and in other contexts. To me this feels much closer to two peers, like how in the mandrake chapter she wanted validation from him too, and yes she still infantilizes him and emasculates him into someone who's harmless in her mind- not just someone who wouldn't hurt or take advantage of her, because she knows that, because Chilchuck does protect her (more on that later!!).

He's not heroic, but he's brave, when it matters. He's mean and rude, but also caring. He's responsible, even when it means going the unpleasant route. The aesthetic doesn’t fit the role, but the actions do.

He keeps claiming he’s a selfish coward who’ll be the first to dip in a fight, and yet he’s always, consistently pulling her out of danger, or specifically calling out to Marcille when danger strikes. And I think it’s because of the nugget of info we get in the adventurer’s bible that her stamina and athletics are bad, in canon he does call her clumsyhead like once but it never felt enough for me to deduce that on its own personally. So then the reason why he’s always targeting her, beyond the reasoning that she’s the healer thus the most important to keep alive (which he brings up in the rabbits chapter), he takes it upon himself to help her, save her and pull her away from danger because she’s clumsy. She’s not defenseless, she’s known to use explosions, and still he feels the need to save her and through the manga he’s even died trying to pull her to safety one and a half times: dungeon rabbits + the drowning- they didn’t die in the latter though it’d have gone that way if it weren’t for the water bursting out just after, and that situation was especially hopeless regarding Chikchuck being able to do anything to save her at all, yet he still tried.

A little knight in shining armor, a little noble hero, a little prince charming innit?

Chilchuck IS all show and no talk- and she knows the value of that!!! It's why despite all his sour demeanor she respects him both professionally and as a smart guy she can trust, why she feels safe with him and wants him by her side when strategizing or even sleeping. The aesthetic doesn’t fit the role, but the actions do. Fantasy vs reality!!! He teaches her how to face reality both with his words and actions, through the contradictions of him, his caring behavior and bitter words, his old manners and young looks!

And actually let's TALK about that drowning scene hello. There, in the collage above, in the bottom left. The context of that is: This is after the demon leaves when the dungeon collapses, the dungeon gets flooded by water and they go under, with no sense of where or how there could be an exit to this. 1: Since the dungeon is collapsing and reviving someone only works in dungeons, there is no guarantee that Marcille or anyone would be able to revive someone during or after this, NONE. 2: He is risking his life for her, he is STRAIGHT UP playing his life on this choice, action hits and shit gets more serious than it ever has, and he yet does it anyways. Perhaps it's the gravity of it that pushes him to make this choice, that this time if someone dies it's for real and he can't accept that, but either way his choice is made in a split second, he prefers dying trying to save her than living without saving her. He is fighting for scraps of hope, seconds more of holding onto life. Which, 3: This situation is HOPELESS. In the end yes they end up being spat out by some exit out the dungeon with the strenght of the flood, but there was no way to know this would happen, and like we see in the third panel Chilchuck and the others actually lose consciousness. That's for "a way out of this", but even moreso, what is he hoping to accomplish? He's small and weak like he always reminded the party in fights, he CANNOT PULL HER UP TO SAFETY, HE CANNOT PULL HER AT ALL, WE SEE HIM STRUGGLE TO AND FAIL. HE CAN'T DO ANYTHING BUT HE STILL TRIES DESPITE THE RISK. You might also say- haha!! You might also say that this is a show of optimism from him!! You could say that after Marcille changed him, pushed him to have more hope in him, he now has the strenght and will to hope that this might do anything, that this might save her! A little similar to the situation with his wife actually, the point is that the chance is worth taking even if it might not turn out like hoped for- the point is that it's always worth trying and keeping hope to fight on, there is risk in being vulnerable and reaching out to his wife yes, there is risk, as with jobs, as with finances, as with anything- It's not that you'll never fail, but you have to not give up when you do- there's a risk but you can't just shut yourself off to the world and to relationships, you can't suddenly care about nothing! That's Chilchuck's arc! And maybe it's because his arc of becoming more hopeful and open yourself to caring centers her that it's her he latches onto here and not Senshi and Izutsumi who are equally in trouble here, maybe it's because he knew her longest or because he still feels this sense he has to look out for her like always, or because he trusts her to breathe underwater least, I don't know, but it's what happens! And listen, by all intent and purposes it was a hopeless situation, they were on the verge of drowning but he still fights to save her, and everything looks lost for a sec, but then the water current miracurously spits them out of the crumbling dungeon. He gets up and he runs to marcille fearing she's hurt but no, they're saved, she's fine, they're all alive and out of danger. It worked out. Having hope was right.

They make me ill I tell you. Like what the HELL, am I supposed to NOT go crazy when this happens??! What if they were the meaning of life what if their arc was about cracking the balance of living and loving healthily and cracking the code of life. Okay. Okay okay okay so anyways so

He can be quite self-sacrificial and noble! Always looking out for others, and giving Marcille particular attention in that regard, likely in part due to her being clumsy in his eyes and her being the healer aka their token of safety.

Sit your ass back DOWN you are in no state sir. Despite her biases Marcille is still observant, she still loves dissecting people like in that pre-canon party relationships chart in her extra, she's still the one to say "Chilchuck is the most mature here". Marcille still notices things! She has an interest in people and Chilchuck is someone she especially likes to "study". She read him like a book in the bicorn chapter, and if she was able to it’s that she looked, she remembered, she saw. The way he doesn’t like waiting on people, that he’s very reserved with feelings, the way he often doesn't pick up on others' and even his own- It all comes through in her quote unquote analysis of him, what married life with him would be like and how he reacted to his wife leaving.

Point is, Chilchuck is very harsh on himself, but there are gems inside of him, there is gold hidden away if you dig at his heart. And point is, Marcille is good at highlighting those. And besides, isn’t humility a mark of heroes?

Okay. Sooo there's not that much to say about the changeling scene actually, for both Senshi and Marcille, the chapter just previous where Chilchuck reveals he has a wife and kid is what fully reckons them with how Chilchuck is a fully fledged adult, and for both of them seeing Chilchuck as a tallman is the final nail in the coffin. With Senshi it's a rather fast 180, and he mourns the sweet kid image he had of him where he poked his cheek and ruffled his hair, but for Marcille it's just an extra "he's really really REALLY really not a kid. Really". It has a bit of a reversal of Marcille and Chilchuck's dynamic, since now he can manhandle her instead of her manhandling him. This is a rather pleasant experience for him from what we can tell, whereas Marcille is struggling to keep the party's walking pace and complains about the heat implying half-foots are more sensitive to temperatures, Chilchuck finds having his senses dulled relaxing, has no problem of the sort Marcille is having AND! And! He can pull her around. The fight with gargoyles happen and he's pulling her arms, picking her up, he even throws her both before it and during the fight, he has the physical power to push her away if he wants to and also to pull her out of danger- the way he later tries to in the rabbit chapters and with drowning, but also when the Faligon reveal happens. He still doesn't look like a knight in shining armor, and he still doesn't have the demeanor of one, but he has the most power to protect her than he ever has. Anyways so yes, further "oh Chilchuck is an adult. And he's kinda knightly and can protect me wow. And also ugly not at all like elven beauty ewwwwww. I won't be able to unsee it now if I try to ruffle his hair after this".

It’s always a question of seeing more facets to someone and slowly digesting them and internalizing them, like Kui puts it herself in the shapeshifter explanation for Marcille's Chilchuck. And this illustrates a bit what I was saying in the section about Dalclan and tropes and people being "digestible" to her. She has to get used to the idea first and it's a slow process.

And during the succubus chapter as well, right after the bicorn chapter where she fully accepted Chilchuck as an adult, Marcille doesn’t falter when she’s confronted with seeing Chilchuck as, for a lack of a better term, a sexual being. She even cracks a (albeit sfw) playful quip about it, about them being all blondes. I suppose with the crass jokes he made like during the frog comic that might have prepped her for it lol.

And on that topic... We're here guys. The holy grail of Marcille and Chilchuck.

🔥The bicorn chapter🔥

The chapter finishes both Marcille and Chilchuck's arcs about harmful idealization vs not being a doomer, so to speak. It's the culmination, the ultimate balance found, the moment where the lesson gets fully internalized on both sides at the same time. It is a MASTERCLASS in how to do relationships arcs and character studies.

Chilchuck starts the chapter being dismissive of Marcille and her interests again, it opens with a narrated bit about his bad experiences with romance in past parties and he admits he has contempt for people who find the topic of love fun. He sees her still a bit as both a fly circling around him and a venus fly trap waiting for the opportunity to pounce on him and not let go until he spills everything. He ends it though, willingly giving up information on him in conversation with her, opening up, and appreciating her perspective on his romantic troubles.

Marcille starts the chapter having mostly processed that he's an adult, asking him about his wife, but she's still Weird about him and his personal life- and okay, that doesn't quite change, but something does change- everything changes for a moment, in fact.

And what's the catalyst? The cataclysm, even? Chilchuck lies and says he cheated on his wife.

[Okay guys I am officially out of pic space, sorry but I'll have to start recurringly linking to images instead: page]

We get to see live Marcille's esteem for Chilchuck plummet and freefall to the ground. And Chilchuck often acts like hassling and teasing between them is onesided, that she's always the one harassing him, but since early manga Chilchuck has always liked to tease her every opportunity he gets, often initiating interaction just for it... During half of this chapter Marcille is giving him the cold shoulder and we get to see that he misses her, we get to see her fully shut down the (racist) joke he throws at her and see him be SHAKEN over it. He wasn't expecting his lie to tank his reputation and relationship with the party members this much, maybe because before whenever he called himself selfish and cowardly no one seemed to think less of him for it, and he's at a loss for what to do like we see here. He misses their friendship. He's always said he didn't care for having a friendship with them all and whatnot, but here we see him grapple of the aftermath, of knowing what it would be like without them as friends, without them at all.

[page 1, page 2.]

And like with his wife, he has a choice to make. Be passive and spiteful and do nothing, or be vulnerable and communicate to win them back over. And this time, after a manga's length of learning little by little to be more open (and literal coercive torture) he chooses to do it, to try and clear up the misunderstanding.

And listen, on Marcille's end this was NEEDED. He DROPS in her eyes to deserving no respect- but even in these times we see her be jealous of Chilchuck opening up to Senshi, implicitly still caring about what he thinks of her, and most importantly that she does still care about him himself when the bicorn breaks his arm and she runs to his side to heal him, worried. Why was this needed? Because Marcille was forced to have her full, complete vision of Chilchuck shattered. Not only is Chilchuck not little in her eyes anymore, but he's also no angel. He can MASSIVELY- borderline unforgivably- mess up. He is an adult who can royally fuck up, even be immoral. She calls him a depraved adult man.

It sounds negative, but what this does is actually strip him from any idealization and infantilization in her eyes. Is there something more adult than adultery? Is there something less honorable, less wholesome? In this chapter Marcille is forced to reconcile the Chilchuck she knows with this man who did something vile to his wife, even the mother of his child.

And then Chilchuck clears things up, he takes the risk of an argument and actual rejection and sacrifices the secrecy around his family situation to make up with her. And it works. Instantly.

And so he goes "Okay so one day she left me and I have no idea why, probably for no reason. The end. What a petty thing to do am I right. We'll probably never talk again." and she's like "Bet? Actually I have several ideas as to what could have happened and you WILL listen."

(For a Chil & Chilwife analysis go over here instead btw.)

She was always perceptive, but she always had a bias that made her vision of others flawed. Her lens of novel worlds and narratives. Remove, or at least shift that bias in a productive direction, and you get a strength rather than an hindrance. The skill of self-inserting (literally. The half-foot depicted as his wife is even literally Marcille a a half-foot, and his child looks just like him, to show just how good her imagination is lmaoo) Marcille is such the "If I wanna hit the ball… I must become the ball" type. As proven by how she controlled her familiars in the hypogriff chapter. "If I were your wife I’d be overjoyed to go out with you and would get myself prettied up while you complain about me taking a long time, your friends would tell me that I’m cute and nice and that’d make me happy, but I’d also be sad because you wouldn’t tell me that you love me enough. Then I'd leave to test your love, and you're failing that test rn but if you came back to me even after a long time I'd take you back for sure." And see these! See Chilchuck frowning there in how she thinks of him, how he gets peeved when she takes time to get ready.

No because, this means everything. Marcille started out the manga thinking he was just a kid with a party pooper attitude and even in the shapeshifter chapter where she’s more coming to terms with her having been wrong about him, her shapeshifter of him is sweet and cute and nicer like "No the REAL Chilchuck is much less nasty! ☺️". But in the bicorn chapter it all comes to a head!! Learning that "Chilchuck cheated on his wife" made her esteem of him tank to rock bottom almost, finally acknowledging that Chilchuck can both make adult mistakes and be significantly flawed. But then! The chapter ends by him opening up which in turn make her esteem of him comes back up, but things have changed, still. What she does with her "virtuous husband" bit might seem like idealization again, and she is being optimistic about the wife'smotives, but she’s not making him into something he’s not! She recognizes his flaws (embraces them even.) Like how as the wife she thinks of an angry/frowning chilchuck, how he complains about waiting on her, which he's also done to Marcille before...

Even the way she says "he wouldn't say that he loves me enough" IS DIRECTLY SOMETHING FROM HER OWN EXPERIENCE FROM THE MANDRAKE CHAPTER. Because then she wanted to hear from his mouth with his words that he does value her, that he does appreciate her, that she's not a burden to them! She knows how it can feel like he doesn't appreciate you even when he does, and how insecure it can make someone! Now when she flavors things, she takes the embellishments from her own experiences instead of from novels! Reality, too, can be romanticized without becoming pure fantasy. Fantasy doesn't have to be dry and bitter, it can be beautiful and fun, too. Her "if I was your wife, life would be something like this and I'd feel like this" is truly based on her own perspective and feelings- her empathy and interest in others is not a weakness like Chilchuck thought, it's borderline a superpower.

She doesn't just keep his flaws in mind, she also hypes up his qualities!! He is virtuous, bicorn approved, devoted even after separation!! And that hyping up, and optimism that things wouldn’t necessarily go bad if he tried to mend things with his wife, really gave him hope, and also finished up his arc about optimism not always being bad, sometimes even being necessary.

She inspires him to think that things can work out, that he can still be pleasantly surprised even with all his bitterness. After all, he opened up to Marcille and they talked just now, and she forgave him and they made up, didn't they?

And he must have never quite let go of all hope, must stil lhave some left in him hidden somewhere, because in all those four years of separation never has he stopped calling her his wife in present tense, because even after all of them he has stayed faithful and never moved on.

And all of this with the chapter ending with Chilchuck eating a sweet and savory sandwich, which he thought would be bad and inspired disgust in him at first, and being like "Huh, the sweetness actually complements the bitterness pretty well."

THE SANDWICH IS THEM. "Syrup in a sandwich? Sweetness has nothing to do in a meal." IT'S OPTIMISM AND PESSIMISM COEXISTING. IT'S SWEETNESS AND BITTERNESS BOTH HAVING THEIR PLACE IN A DISH. IT'S MARCILLE AND CHILCHUCK COMING TOGETHER TO HAVE THE RIGHT BALANCE FOR HIM TO BE ABLE TO SAY "It might not go well like in stories, but I'll still try".

Remember what i said about compromises earlier, balance of optimism and pessimism? He tries it, and it works out despite having no faith that it’ll be good, and he’s pleasantly surprised. SURPRISES CAN BE PLEASANT! They're not just life-shattering, not just dangerous, it is possible to be pleasantly surprised! And this is why Kui is a goddess of telling stories through food.

He’s opening up to her, as he takes that last bite of the sandwich, he willingly and easily gives up an information about his family for the first time <3

And this isn't only chilchuck adopting her perspective either, it's him completing it. Marcille still simplified the conflict between him and his wife, still couldn't have the whole picture, still put a positive and hopeful and romantic twist on it all, but she did have a point. Chilchuck reaches her halfway, is inspired by her, but he also complements her, says okay, but also this, also it might not go as well as that, not going against it but building on top of it, not trying to replace it but instead this optimism and cynicism coexisting, joining together. Marcille brings him back to the reality that he doesn't suck as much as he thinks and things aren't doomed, but he also brings her back to the reality that that may not be enough, and in that uncertainty called life they're learning to be okay with it, to smile about it, to want to be part of it, hearts open.

Notice how she defends his virtues directly taking from Daltian Clan for her reasoning, as well! Comparing chilchuck to her novel characters to explain him, rather than overwrite him.

She’s such a wingwoman. Such a cheerleader. Couple therapist. Emotional support friend. 10/10.

Marcille: "he has a shitty personality sometimes but if he was my husband I’d still cherish him" Chilchuck: "damn I needed that" /hj

So this neatly ties the last bits of Chilchuck's reluctance to care about others and being cared about in turn, yes yes Marcille reads him like a book so well that he's left shaking, and this is it, really, their arc is about the balance in loving too much and loving too little, in stifling others with that love and care and interest the way Marcille does vs showing it so little that others don't even know if he cares at all, à la “if we want the rewards of being loved, we have to submit to the mortifying ordeal of being known.”

Marcille has a whole theme with the prince charming trope, with her idealization and storybook motif and this is sort of the "Well someone perfect like that isn’t very realistic and romance is usually more complex- and that’s ok and good, and flawed people can still be ✨virtuous✨" conclusion. Again, fantasy doesn't have to be perfect to be worth it, to be valuable and lovable and great and precious.

He’s the devoted virtuous man that she wants not the storybook prince that’s unrealistic and could crumble like a script at any time. He’s the perfect example of a flawed realistic but virtuous and devoted and loving family man. Far, far from a prince charming, but not fully detached from it either. Something worth fighting for despite the flawed cracks.

Marcille has this grand fantasy, this ideal of prince charming, a chivalrous gentleman knight, but through canon especially with Chilchuck she learns to not idealize people so much. That acts are more important than aesthetics. The bicorn chapter is all about Chilchuck’s romance being realistic: flawed. And it’s no coincidence that this is what ties their interwoven arc closed, because they learn to compromise, his pessimism and her optimism. Marcille sees and recognizes a romance that is both flawed and beautiful and is able to balance the two decently, meanwhile she convinces Chilchuck that yes it is worth fighting for and having hope for. Repeating myself but it’s easy to think she’s still idealizing Chilchuck during the bicorn chapter, BUT it’s important to notice the differences with the shapeshifter chapter, where her shapeshifter of him was "cute/sweet" "not nasty", an angel who could do no wrong. In the bicorn chapter, not only does he fall from her esteem a lot because she believes he cheated for a good part of it, thus acknowledging that he can be flawed and adult enough to commit adultery, but also! When she roleplays as his wife, she doesn’t erase his flaws!! She knows he has a short fuse and isn’t always pleasant, but believes that he’s worth loving anyways… 

And see this is the point!! She romanticizes his life, not idealizes it. The difference may be subtle, but it's there. In romanticization there's how Ghibli depicts mundane scenes of daily life, portrays doing chores like cleaning clothes as something that feels good, something worth doing that doesn't have to be miserable. In Chilchuck's life, in his flawed relationship with his wife, she sees the beauty and light and love to highlight so even if the lifestyle is humble and even if the relationship is tense it seems nice, it seems worth fighting for. She's using aesthetics again, but to inspire instead of stifle, the way she uses them to hype herself up sometimes too.

This is it this is the thing! Her worshipping and idealizing the image of perfect prince charming that will whisk you away on an ethereal romance becomes her romanticizing a realistic flawed middle aged dad with personality issues and a failing marriage, that he still is worthy of love and having his cute grand romance story and his happy ending!!

Marcille has a very hard time conceptualizing a point where love can’t conquer all, right. She’s optimistic and if there’s a will there’s a way etc etc etc. Notably when Marcille speculated about Chil’s wife, she centered around the theory that his wife wanted to "test" him by leaving, that she didn’t feel loved and left to see if he’d chase after her. She believes that his wife would be ecstatic to see him again and reaching out would make them reconcile and happily get back together, no problem. Chilchuck and his wife have been separated for 4 years. When Falin left the academy she and Marcille were separated for 4 years. Marcille has to believe Chil’s wife is waiting for him, that she hasn’t moved on, that she wants to be found. There's a different perspective on time, but there's also... Just parallels. Parallels everywhere. Miss coping, meet coping in an opposite way! And so she teaches Chilchuck to not assume everything is lost before having even tried, and so he teaches Marcille to let go when it's needed.

And please notice how she doesn't even really think his wife may have just wanted to leave him, no the goal was for them to be reunited with their love strenghtened- Combined with her glazing Chilchuck, the underlying energy is that to her someone not wanting to be with Chilchuck, wanting to break off things with him and leave, is unthinkable. For sure she'll be overjoyed to see you, for sure she's just waiting for you to come back to her! Is there a sign of higher faith in him, of higher fondness? There's respect and like and loyalty there. She truly values Chilchuck, always has but it keeps only getting more and more cemented, more and more real the more he opens up and she gets to know him. It's embarrassing for people to know your wife left you? Think again! You've just gained 50 friendship points with your trendiest friend and she has categorized you as a catch!

She specifically loves characters who think they can’t be loved and pessimistic and dramatic… And story-fying him is literally what she does when she engages with the story of his breakup with his wife like it’s a story to decode, reinforcing the whole narrative about tropes and princes and how he comes to shape her view on them.

Even if the context here is explicitly that she relates! Which, she finds being able to relate to them comforting and a positive point so it being a "type" thing isn’t fully off- but this is what I mean when I say she always keeps a film of emotional distance from people, she wants to love and be loved and know people on the deepest level possible so bad but it’s something that scares her too so she prefers to chase after the safe: the unreachable- the fictional. Like Chilchuck. Bit of tangential speculation, but she wants to crack his shell and make him open up- but it’s also easier because he pulls away instead of pulling in/closer so the relationship is fully in her control in that way, if it weren’t for the teasing… Making her into someone silly in his mind is how he keeps himself from putting weight into her words, how he gets himself to automatically dismiss the wise lessons she tries to instill to him, nope sir he doesn't have anything left to learn, he's an old crouton who understands everything there is to know about this cruel cruel life yes sir. Because trying and being rejected hurts! Because if it wasn't fated to turn out wrong, then it means there was luck or choice, and that makes failures almost more painful! But people leave!! People leave and people come back and new meetings happen and choices are good, choices shouldn't be taken away! Not like how Marcille tries to forcefeed immortality to humanity, as a dungeon lord...

The chapter ends with a panel of Marcille and Chilchuck bantering again, with everyone else going about their business seeming nonplussed while the two are being very loud as if to say, ah, classic them. Return to normalcy, return to their usual closeness and shenanigans. All is well.

The Princess imagery

And now we’re falling into the rabbithole. Imagery doesn’t have to be anything more than imagery, but I discuss romantic connotations in this section (amongst the platonic reality of things ofc), you can skip to the conclusion if you’d rather but you will miss important analysis of the dungeon lord balcony scene, a big piece of the puzzle in wrapping it all up. I found the meaning of life & the world in marchil but it’s ok I get it if you wouldn’t... We're all built different ig. The character with princely chilvalrous knight parallels in the manga is moreso Laios, but Laios too breaks the trope a lot. Chilchuck gets prince and knight parallels but by contrast instead, in subtext more than any explicitly drawn. There's a lot to Marcille's princess imagery and though I've never fully covered it I try to somewhat tackle it here.

For as much as the bicorn chapter is what ends their arc about balancing pessimism and optimism and finding healthy compromises, the arc of their RELATIONSHIP is in the dungeon lord chapter where he fully opens up to her, inviting her to meet his family and all. AND MY GOD, the princess imagery!!

Listen I am trying so hard to keep this unromantic, and to be clear subtext is subtext for a reason, it doesn’t have to be concreticized or "acted upon" perse, but… I think it’s there in this scene, at least a bit. I’ve spent a long time trying to pin down what was so charged in it, besides both of them blushing, despite him offering for her to meet his family, despite it calling out to a genuine deep instilled desire in her heart enough for it to work- for it to make her turn towards them, despite the first thing she does after is shower him in romantic gifts, and it eventually struck me… It’s the parallels with other media, with tropes!! This is HIGHKEY Romeo and Juliet type shit!!! The stuff you see in every couple new kinda trashy romance kids movies! A lady, stashed away in a high tower by her lonesome, waiting for someone to call out to her from below… Romeo courting type shit with a heartfelt spiel implicit confession from underneath her balcony, offering him flowers because he succeeded in calling out to her heart…….. And they have to CLIMB to her.

Remember her succubus' words? "Oh, princess... I can't believe you slipped away from the castle yet again... Honestly, what in the world shall we do with you...? Come, let us return." Again like with her succubus, she’s living through a storybook trope but with Chilchuck’s twist, more nuanced and realistic yet just as meaningful, even if it isn’t strictly OR at all romantic and if it’s more complicated and less glamorous. She’d have to peel the layers to get to the vulnerable truth of it, like anything else. I'm just gonna drop this here...

Doesn’t it sound like a proposal. One that’s both so storybook-like, and contrasted with such real yet unromantic and grounded words, all about the implications rather than in your face grand gestures "Don’t you want to meet my family?". They literally have an arc about the topic of romance and this is the climax/pinnacle of it like god?? I’m not saying this was all intentionally crafted to be romantic but it nonetheless exists in the subtext, ripe for analysis. Of course they talk about planning together his reconciliation wit hhis wife, but the same thing happens regardless, he fully lets her into his life.

And again there’s something to be said about how that is what makes her finally turn around! This is extremely meaningful not only to Chil but to Marcille, the enticing thing that finally hooks her, gets her to finally look down at them. An offer to meet a flawed man’s flawed family, to help him mend it and its issues. It isn’t through the filter of a book, or mere gossip to her, she knows this man and she wants to be involved in his life, to know him and his family herself, ready to meet them and form connections. The clumsy, imperfect reality of a friend telling her he’ll let her into the other spheres of his life even if that means she witnesses the embarrassing and the ugly. It’s vulnerability on both their ends, offered and received, a gambit that was worth taking, both in the moment to talk Marcille out of being dunlord and long term of letting her in to see the deeper sides of him, there are take backsies once someone knows something about you after all. SHE STOPS BEING A DUNGEON LORD IN GOOD PART BECAUSE HE TOLD HER HE'D LET HER INTO HIS LIFE. SAY IT WITH ME, A FLAWED REALITY IS WORTH IT MORE THAN STAYING IN FANTASY!!!! In denial of reality, both that Falin hasn't grown older, that everything can turn out perfectly, and that everything is lost and there's nothing Chilchuck can do to make his wife love him again or even make his party listen to him.

Chilchuck says this after he sees her materialize her parents as doppelgangers. And so he goes on to say- hey your family will never go back to how it was when you were young, my family will never be what it once was either, but we can both move on and make the best of what we have anyways, isn’t that what you taught me, there are more out there! I’m opening up myself to new relationships and friendships because of your pushes, and now I want you to do the same! Life goes on and there’s always more joy and connections to be had! Stop isolating yourself, dammit!

And the thing too with Marcille’s arc is that she can’t get what she wants. She can’t. She can’t get everyone to live forever if she doesn’t take others’ free will away, if she doesn’t make the world stop for her as she plays god with the laws of nature and the cycle of life. And everyone’s important to that arc obviously, Falin during the story is the main object of that fear, and it’s moreso her death that pushes her arc along but it’s still extremely influential, Laios is the main one who sees her insecurities and talks her down, Senshi’s always harping on ecosystems and laws of nature and how resurrections aren’t natural and is there to offer comfort and support, Izutsumi’s someone new Marcille gets to take care of and her farewell talk with her reveals a lot about how she’s grown, but seeing this it’s easy to see why Chilchuck is paired off so much with her on their respective arcs, right? The one who tells it harshly how it is even when the reality is unpleasant, who gives up quickly when it's about things turning good for him but who always pushes and fights on when it matters with the party, who challenges a rose tinted glasses perspective head on.

He looks nothing like a knight but he still acts like one. He’s nothing like a prince or a dashing romantic courting lover but still he gives her a novel worthy balcony heart to heart scene. He’s painfully real and raw but she does bring that twinkle of hope and romantization that makes the world feel more wonderful to him, but like she tells him, he’s virtuous and he should give things a shot because people see good in him too and not only the bad he always shittalks himself for, she’s not making it up, he always had that sparkle of knight and prince in him.

Like, giving someone a handkerchief is literally a romance trope associated with nobles and princes. And Chilchuck has offered Marcille his handkerchief at least twice! The second time in the cockatrice chapter as a bandage. He keeps it in his pouch, with his tools, like the most must-have to offer it Marcille at any moment, ha /j. Prince behavior <3 The neckband like a knight’s favour, a token from a loved one he cherishes above all and keeps on himself at all times... Which I'll remind in her Chilwife roleplay she directly theorizes she was the one to knit it for him! Beautiful story tropes shit.

He IS a prince figure instead that now it’s not about idealizing the grand and overt it’s about romanticizing the small things in real life!! About finding joy and beauty in things that seem normal or mundane and uplifting them to make the world feel kinder!!!!

And man this whole angle makes the "Don’t you want to meet my family?" "-gasp- I really do want to! -turns away from eldritch power and living in her demon-made dreamscape that can allow her to live in fantasy to instead go back to flawed reality with her friends-" all that more meaningful and striking. A fitting end to her arc, a fitting hook to get her to turn back towards her and tempt her to give up on being dungeon lord. It’s always been just asking things and anecdotes about him and his family, never talking about meeting them, but by having someone so "fated with doomed love" open up and reach out to her "fated to never love", she opens up too, is willing to take the risk that any relationship entails, the same one that he took by offering it, the same risk they’re both averse to and scared of, loss and rejection. By actually meeting his family she involves herself in the stories she creates. It makes them real. She’s finally involving herself intimately with others, despite the real threat of loss that she will have to experience, wether through time and death or rejection.

Marcille and Chil’s arc, man…….. See, this is why I’ve been tilling the fields of that analysis for months this is why I’m insane about them, not only is there so much to say but her relationship with Chil straight up deconstructs her perspective on the world as idealized and influenced by fiction and fantasy and optimism. Like, he’s at the core of that part of her arc and man!! Man.

And the way that this is the culmination of their arc together… Like the ‘Chil calling out to dunlord Marcille on the balcony has Romeo and Juliette romance novels imagery’ take is one thing but the ‘their arc is about growing to see beauty even in the non-idealized, in the flawed and in the real’... It makes it so so perfect if she were to lower her ideal from a perfect elven prince to a virtuous halfling man (which she does romanticize).

So she doesn’t want a prince, she doesn’t want a general, she just wants this guy she knows, this friend she trusts as reliable, who has good intentions even if wrapped in unpleasant demeanor, that’s all she needs to be content and well and feel safe. By the end, he might even have become something of a prince charming to her, won over with heroic acts and virtues.

After all- Remember when I said she wouldn't be able to be as touchy so lightheartedly as before with him? Well wrong, apparently! This parallel from chapter 23 just before the red dragon fight vs chapter 96 at the final feast confirms that her like of him and behavior with him was unconditional of him being a kid or an adult. Marcille is just Like That and that she just likes him. A good part of what reads as infantilization truly is just how she cares for people in general.

Conclusion

She’s afraid of change, so it's only fair that he would be perfect to teach her a thing or two. She had fantasies but he had experiences, both had bias. Their arc is about how bitterness isn't an efficient solution to hardships, about how assuming the worst from everything is a trap that doesn't reflect reality either, a trap people fall into just as much as rose tinted glasses.

Their arc is about how relationships need work and how it's worth the effort! You can overwater a plant but you can also neglect it, to find a balance between each's needs can be hard but is always important. Friendships just like romances shouldn't be taken for granted, and doing the extra steps of deepening your understanding of others and opening to them is rewarding.

Their arc says that love is a beautiful thing regardless of loss. Something both of them needed to remember. Life isn't like a novel. Sometimes an ending ISN'T satisfying, you don't get closure and it might not even be happy, but that doesn't mean nothing can end well, doesn't mean every farewell is bitter. Peace is worth both fighting for and making for yourself. You can't shut yourself off from the world because things sometimes hurt, there's more of life to live- won't you come meet my family? Won't you meet new people, won't I try to mend relationships that are dear to me? My family is flawed, but it's still worth meeting, still worth loving, still worth fighting for and keeping even with all its flaws, no? Elven storybooks don't feature half-foots, but they're worth spinning grand poetic and romantic tales for all the same. Life is bittersweet, and that's an acquired taste to have, but one good to be able to stomach as a whole.

There’s a lot of reasons why someone would love fictional characters but be afraid of love in reality, not unlike with Laios' and Chilchuck's own experiences love has a layer of danger and fear because it can hurt to love and it can hurt to be loved. People can leave you, and in Marcille that fear's mainly through death but for Chilchuck that’s through just… Leaving. Through giving Chilchuck optimism and hope, drive to keep going despite these realities, she’s also growing to be more comfortable with the thought of relationships ending and moving forward regardless. And I do think that was part of her arc of growing to accept that Falin might be dead dead, I think Chilchuck was a big part in that. Falin is the passive object of the arc but Chilchuck is the active actor pushing it along, in a way.

Because people can always leave, Falin will leave to travel the world, but she might come back- and that's okay. And that’s exactly the thing that the story wants Marcille to make peace with! Falin wants and needs to leave and Marcille needs to be content just taking what she can get, wether it be time with people or the boundaries they set with her. THE BOUNDARIES! THE BALANCING OF OPTIMISM AND PESSIMISM! IT'S CHILCHUCK'S DOING!! "The world isn’t all good, but you should be able to see the bright side of what you do get" is what she and Chilchuck learn. To learn that she can still enjoy when she is there, and still reach out to her and keep in touch through letters- to do what you can and to get what you can and to accept that as enough, for it to bring you the joy and peace it can. Don't push your expectations onto others, wether that's being overly intimate or overly judgemental, don't be too pushy but also don't be too afraid and not do anything at all.

In many ways even before, even on the regular Marcille was his gateway into being more lighthearted, always exchanging playful jabs, laughing at her. Teasing her because she teases him, lowering himself to her level until he looks back and realizes he’s having fun with it instead of just throwing jabs bc he’s the master of sarcasm TM.

Chilchuck smiling casually and softly, genuinely, when saying that things don’t work out sometimes, is just so powerful. From the man who always assumed the worst of everything, who always spoke of life and the world bitterly... By the end, while saying these things he’s smiling openly rather than smirking smugly. Carrying on with his go getter attitude with a touch more optimism in his heart. Now he's made his peace with life and sees the good in it, still.

It's all about... How flawed relationships with flawed people can still be made into somehing good and healthy that make the world brighter… How flawed relationships are still worth remembering and cherishing. Except the winged lion, there to represent abusive relationships you need to fucking DITCH.

Marcille and Chilchuck’s arc is about how in life sometimes books do close and end, but other ones can open and start, and to never give up on that. People’s lives, relationships, these things are temporary and inevitably end, but there’s meaning and joy in having been there for them, and focusing on the end and the pain and being pessimistic in it doesn’t keep anyone safe, not meaningfully. "It’s not all nice like in the stories. Sometimes, a book just ends." "And another opens."

Dungeon meshi promotes the important of balance for both a healthy body and a healthy mind, and optimism vs pessimism is one such case <3

MAYBE IT'S ALL COMPROMISES MAYBE IT'S ALL SWEET INBETWEENS. Maybe we'll take our vision of what we thought we could be and make something new together! DRINK IN MODERATION!!!!!! SEE LIFE LIKE FAIRYTALES IN MODERATION!!!!!!! THE RIGHT ATTITUDE LIES BETWEEN IDEALIZATION AND PESSIMISM

Disclaimer:

This was pretty messy but thank you so much for reading!!

Thank you to @/lyril for making the more complex collages!! Check out her blog!

To be clear! Does this arc exist in the text, the whole tropes and idealism vs pessimism thing, do they have tangible impact on each other as both characters and narrative devices? Yes. Is Marcille and Chilchuck the central piece of the story? No. Is Dungeon Meshi about this and how it all culminated into a cool Romeo and Juliette scene? Lol no. Chilchuck isn't the most important person to Marcille and her story nor is Marcille the one most important to Chilchuck. Just like the other major characters in the story, their dynamic and progressing relationship is a plotline/subplot amongst others, and the level of layers and subtext it possibly has doesn't erase any other part or subtext of the story. Arcs can coexist. Multi-layered relationships can coexist. Just a reminder that this is my own analysis and interpretation of canon.

Dungeon Meshi is about food and how it ties us to a life that’s worth living, about unity and trying to understand that which you do not, to not demonize that which is different or unknown, to connect with others even if it’s hard, even if it’s in unusual or undescribable unlabelable ways, and Marcille and Chilchuck’s relationship is certainly a pawn in these themes like every other relationship.

I’m having fun, but I don’t want anyone getting lost in the sauce. It's unfortunate that to many, acknowledging there's any merit to analyzing this subtext is equal to supporting a ship they dislike, but this isn't ship propaganda, this is analysis of canon text where I happen to see a more niche angle. You can disagree with an interpretation without saying that it's nonsensical.

Like I don’t wanna say I’m a marchil truther but if you define it as believing canon does have genuine and credible basis for it then yeah I guess I am. I feel insane everyone acts like they have no chemistry and no material and??? We exist on different planets I think Like I know I implied some romantic undertone but in canon it totally can start and end at two coworkers bonding and getting to know each other better and see each other’s perspective and it influencing them both for the better. No buts, you can totally do that. Although this plus the crumbs it drives me up a wall when people say they have no chemistry or ‘how come people see anything in this pairing?’ They’re literally a comedic duo? A comedic duo that interacts so so much that gets paired off in scenes, a thematic duo which is even acknowledged and reflected in the anime’s opening. He teases her 24/7 canonically because he finds her reactions fun/cute, the only person he teases on the regular, and she’s obsessed with knowing more about him and loves being touchy on top of it, plus reads him like a book because she files away every little thing about him in her memory, like if that isn’t a strong basis for a ship I think the bar has gone too high. I’m derailing but yeah just. Do you see all of this? They drive me insane, I feel like I’m reading the necronomicon when analyzing them, picking up on subliminal messages, I keep always seeing new threads. And it’s been my otp for like 2 years now, idk when they’ll stop having a grip on me but????? There’s just so much to dig into with them. There will never be another pair like them. Do you hear me there’ll never be another duo that hits all of these like this, do you see this insanity? They are my lifeblood and if i’m eating up anything them-related it’s because they’ve earned it so hard tbh. So yeah if I’m ever dramatic about marchil it’s because I have this 100k words novel narrative in my head and marchil is the meaning of life to me hope this clears it up

Which on that note idk what or when my next Marcille & Chilchuck analysis will be. I might very well make a bite sized, summarized version of this analysis because asking people to read all of this is kind of insane of me... And full disclosure I’m also very likely to edit points in or tweak bits every so often in this analysis because idk if I’ll ever stop thinking about it, and phrasing can improved. This has been in my drafts and outlined more than a year and I’m literally still adding extra points save me. I might also do a different angle on their arc because here yeah I mostly just dug at the prince trope angle, at ONE of many angles... Like one interesting thread in the manga is Marcille emotionally maturing and becoming more like her mother, on top of her regularly being a mom type friend the way she looks after Izutsumi and Falin, which could be interesting to pair with the fatherhood of Chil. Hmm. Anyways

And obviously do whatever you want, but this analysis and all is why I personally can’t stand the fanon that Chilchuck and Marcille have a father-daughter undertone. It goes against their arc together, which is explicitly, literally about her acknowledging him as a man, an adult, about coming to see each other truly as peers and her coming to validate him as an adult, then a father and husband from an outside perspective and a friend, and inversely him coming to not belittle her profession and philosophy. Their whole arc is about learning to see each other as an equal and equally value each other’s perspective and opinion. You could argue it’s also the arc that happens with Izutsumi, but honestly with her it’s a lot about Izutsumi learning to compromise and others instilling lessons to her onesidedly while learning to respect her perspective and boundaries, it’s not nearly as much of a reciprocal thing. Izutsumi needs to be heard, but she also needs people teaching her and guiding her. Imo it cheapens the arc, the whole point is that they’re just two people who grow to see each other as equals, that the Laios party is coworkers turned friends. Marcille doesn't need a new parental figure, she needs friends who'll keep her in check the same way she does them.

I do love the way that the manga avoids romance. For every romantic undertone there’s a platonic explanation that is just as compelling and especially to this degree it’s both rare and wonderful. I think that a lot of people need to learn that sometimes ambiguity is the point instead of something that needs to have a specific objective answer. Sometimes the intent is for something to be able to be read in different ways in itself, or that the complexity of the relationship is canonically something that cannot be put into a neat box. Which! Next analysis I'm very intent on making is gonna be about unlabeled relationships in Dunmeshi and queerness, see you there!

Fast and dirty TLDR

Marcille’s personality is very serious and direct. Due to this, she frequently gets into arguments with the master of sarcasm, Chilchuck. Chilchuck views Marcille as “the friend who cannot shut up”. He is often the practical foil to her more imaginative or idealistic views.

She actually thinks very highly of him! "He’s usually the most mature one of us" "he’s dependable, we’re counting on him" "No chilchuck is definitely virtuous", and at first it’s also through this twisted lense that he’s a kid, like she has to put people into boxes so they’re more digestible, tropes, in line with aesthetic, and at this stage it’s hard for her to see Chilchuck as being even able of wrongdoing really. And gradually that gets challenged when she sees that yeah, he’s an adult, and then BAM bicorn chapter- Because by then ok fine he’s an adult, but it hasn’t quite fully settled yet as we see in the shapeshifter chapter and she still has a warped view of him a bit, she has an accurate grasp on his behavior yet still sees him as a little angel. And then she "learns" he committed adultery. Her esteem for him hits rock bottom and she spends the chapter cold to him, she still cares and comes running when he’s hurt, but she’s set on mean mugging him, until it’s revealed that- He didn’t actually. Oh, actually he just has family angst. And she starts roleplaying and having her novel vision again BUT THIS TIME HER MIND VISION OF CHILCHUCK IS OVERTLY FLAWED. He’s angry and his wife left him, he’s *flawed*, but he’s still worth hyping up, still worth having his own romance story, still has a shot of winning back his beloved. She sees him for what he is, human and real and not a carefully scripted character that fits an aesthetic, and she thinks it’s still worthy of love and admiration, worth fighting for.

The prince charming figure has importance in Marcille and Chilchuck’s arc, where she romanticizes things to a sometimes worrying degree or idealize people into something more poetic, easy and digestible (like Chil being a kid, and then him being a virtuous ✨✨✨husband), and where she needs to learn to value aesthetics less and actual acts and facts more, be more grounded (like seeing people for what they are flaws and all, but seeing their virtues too, like accepting that people need money and not pulling through on principles of honor or unity shouldn’t get Namari shamed) and a part of that is accepting that Chilchuck is BOTH flawed and virtuous, a loving husband that still has shitty moods and fumbled his marriage so bad etc etc. So it’s like, her image of perfect prince charming that will whisk you away on an ethereal romance -> realistic flawed middle aged dad with personality issues and a failing marriage but who still is worthy of love and having his cute grand romance story and his happy ending.

Their arc together is literally learning to 1) see each other for how they are and not undermining their qualities and capacities etc etc while still not leaving flaws unchecked either and 2) opening up to people. Marcille LITERALLY makes Chil open his heart up to hope like idk man. What do you want from me. He’s literally the guy helping her through deconstructing novels and fantasy and rose tinted glasses and like. Deconstructing the prince charming figure into something more real but still a virtuous husband like KUI KUI STOOOOP STOP I’M ALREADY HOOKED I’M ALREADY-

[lotuzies]

𝜗𝜚 what is shifting to you?

one of the biggest shifting tips i could ever give someone is actually a question — what is shifting to you?

what does it mean?

no, seriously. put down the phone. turn down the music. forget everything. the countless advice and terms you read on tumblr. now, begin to tear shifting apart, get to its very core.

what is shifting to you? how do you perceive it? what do you believe in? these are all questions you should be able to answer by yourself.

we can get so lost in the vast sea of information available on the internet that we forget to think by ourselves. there are many useful posts, of course, but it's a lot of info that we try to process all at once.

speaking from experience, when i tried to shift after endlessly scrolling on tumblr, a bunch of new information had just been barely processed into my brain, things would get messy. during the attempt i'd think about so many things at once, trying my absolute best to remember all the good advice i had just read, resulting in my brain overworking — when shifting is supposed to be easy.

so, take a moment, maybe write it down if it helps, get a clear image of your beliefs, what you've learned and what works for you.

— but, izzy, how do i know i believe in the right things?

right, this might shock you, or go against what you naturally believe, but when it comes to shifting, there's no right or wrong. everyone's journey is different.

many shifters believe in the multiverse, while others don't, for example, and both get the same results. it's more of a matter of what works for you. no one's opinion should be held to the highest standards.

STOP RELYING ON OTHERS. you know enough.

this is also why you should think for yourself, there are so many different perspectives online, take time to create one of your own. for your own journey.

— but if there's no right or wrong, how do i know shifting is even real? won't that just give me more doubts?

that's why it's called a shifting journey. it's up to you to take your time exploring, researching, experimenting, be curious and build your own answers. my beliefs as to why shifting is real might be completely different than yours. but, if you must know — it's a practice that has been done years before the internet even existed. actually, to build such a big community on the internet, there had to be an immense background of previous information. that's what i believe in.

now, i'm not saying you need to know everything! absolutely not! shifters don't have the answers to every question in the book and that's natural, we are human. but i still believe you should have something solid of your own to trust and to guide you.

keep searching, keep learning, your beliefs aren't set in stone and can be changed any moment, but give yourself some clarity! what is shifting to you?

[nyuuronfly]

On Rain World lore and it's implementation within the game.

This is kindof a random ramble I went on in a Discord chat and just feel like sharing elsewhere. (also note this is all primarily in reference to the original game, Survivor's story.)

I honestly think too many miss the forest for the trees a bit with RW, in terms of how important the lore is, if that makes sense. I talked with somebody about first-time experiences with the game and they said they'd watched a number of lore explanation videos on YT before starting, because of some reason along the lines of "I didn't trust the game to deliver its own story properly." To me this is almost saddening to hear because I really feel that misses the point of why the game has it's lore to begin with.

To me, while playing, any tidbits i learned about history or other information contributed to a feeling like the world I was navigating had a very real history that saturated it, yet one that I would be unable to grasp fully. It is an illusory feeling of realness, given how it is experienced. The game is mechanically not designed to incentivize collecting many information pearls, especially when in the original game you can literally just drop them off a cliff and lose them forever. You get the feeling often like you are bound to never be able to get everything, nor would you even probably want to put in the effort, so the illusion actually stays stronger because of that. Your mind wanders speculating about every little detail, whether intention truly existed behind it or not, because it feels like it did. You learned that it might have. Maintaining that illusion while playing I think is the primary reason they were included, not actually the experience of "knowing" the history. Rain World in general seems to have a thematic fixation on the simple idea that individuals have limited perspectives. Joar Jakobsson has said that one of the core ideas behind Rain World was to recreate the life of a "rat in Manhattan." That is to say, a creature that understands how to find food, hide, and live in a complex man-made structure, that cannot understand it's structuring purpose or why it was built. The very core issue of the iterators, is that the solution to the "great problem" intrinsically has to lie with knowledge that could only be obtained from "the other side." They are corporeal beings trying to know something that pertains to something outside corporeal reality. Yet pursuit of knowledge is very important to creatures like ourselves. Collecting any individual pearl is mostly an exercise in doing a lot just for little bits of knowledge. There is a lot of understanding of just how significant wanting to know more is, even something unimportant, when you are left in the dark the way you are in the game. Most information pearls you deliver are literally completely useless to know about, but they feel personally important, especially in how finding them relates to your connection to the iterators. My primary motivation to find pearls in my first play was to spend more time with Moon. On a very real emotional level, Moon felt like my only friend in the world while I played. On a mechanical level, she does literally nothing. But Rain World manages to operate on a very emotional, even instinctual level with how it's designed. I wanted to be in her company and have something to give her. Because I am alone, and lost. So something along those lines is why I felt saddened to hear the sentiment like Rain World somehow "fails" to deliver it's "story." The purpose of the game is not to find pearls and hear about some grand narrative. At it's core, Rain World is a game that's design was inspired by nature, and it's use of history within the world relates to us as a player the way history relates to us as people. It is relayed through people reading from records created by parties with their own perspectives, and connects us abstractly to a sensation that there is more out there than our own lives. That is a feeling you have as a player, and ultimately the true story that Rain World tells is the memories you have playing it. What you did, saw, and felt. The same as how our story is that of our own lives. That is the purpose of the game.

[archive-professional-jaywalker]

Paradox of perspectives

An essay about a variety of my arthropod experiences, and how I go about linking / provoking temporary cameo shifts.

I do not talk about my arthropod experiences much. I am arthropod-hearted, that much is very blatant about me from what I study to how I spend my time and what I love to read about.

I do not consider myself a spider. I could have. A lot of my experiences line up with the average therian; I feel shifts, I've felt phantom limbs, once or twice, similarly few to how my bird phantom present themselves when I don't coax them out, I've had a similar "rightness" to some kinds of spiders (and a few other arthropods) that roadrunners, and things that look like roadrunners, elicit in me. However, I am not a spider. I'm a few feet to the left of being a spider, and if I squint and tilt my head, perhaps I could have been one, or perhaps have been and that's a bit of leftover from that time past, if souls exist, but I am not one, not in the way I am a bird. And while I would choose to have feathers if I could, I am fine with now observing spiders as a separate entity to myself, more than a reflection of what I should be.

However, I still know what it feels like, to be a spider. In fact, it is from this experience that I started to amuse myself to see if I could also provoke shifts from other arthropods I enjoyed learning about, a stepping stone into shapeshifting as an amateur hobby. I'm not sure in what box to display that spider. Not a kintype. Not a linktype, as it is the only one of my arthropod experiences that was not voluntary. A little bit more than what's typically expected of a heart-type. If I got fancy, I could call it an antea-type, a past life still leaving a mark, but I am not very spiritual, so that feels shallow as well. I suppose it will stay "the spider".

There are few arthropods around. Not none, I've talked to a few, most notably a cockroach, a few moths, a few wasps, at least one centipede, and a variety of chimeric insectoid monsters. A few spiders, as well, I think, but never enough to compare my experiences to. I've found it unsatisfying, to try and seek out arthropod experiences, as a lot of it tends to simply stay in the clear water of the experience : rudimentary "I looked at that picture, and it felt right", or "I felt wings, and it was similar to a moth". Not that it's a bad, incorrect way to experience it, but it doesn't tend to leave my curiosity sated. So here are all the notes I've had about being a variety of arthropods, from my spider, to the ones I shed into at my leisure, to others like me who like unnecessarily long descriptions of Being.

First of all, title drop. Why a paradox of perspective? To me, the red line between all earthen arthropods (and affiliate) I've been is that alien feeling. Yet the world very much is not! It is all things I can still interact with, still find if I try. Noemata of being a spider involve a complex, labyrinthine world of crossing shadows and movement. Noemata of being an endoparasite involve warmth and pulsating rhythm. The centipede was mostly touch and speed and grasp in lush-moist hidden places. When I try to depict them, to a human scale, I easily end up with fantastical worlds. The rotten vale of Monster Hunter, for the filarial worms that migrate through the body. More decayed, but I feel in it that pulsating warm rhythm, although perhaps there are better analogues. Pandora and it's web of vegetation are a human-sized version of any small woods, when you're a half a centimeter long predatory beetle. Being something so small does feel alien, when I am now part of the megafauna. Every snapshot I get, when applied to human size, becomes gargantuan and unfathomable to see on earth.

Maybe that's one reason why they're so rare. How do you realize you were something so small, when it feels so grandiose. It's hard to drop to your knees, angle your eyes, and realize your Yggdrasil was never even the biggest of its kind. It is why I love becoming insects, though. It has a way of making you treasure the small.

When it comes to being a spider, I can only approximate. I have not chosen, so I must piece back what I was given. It was also shared with a long gone person who shared my mind, so I can only keep what belonged only to me. Some pieces were rather vague. I could not explain why I know I should have venom. I just knew it was how something like I was, killed. Perhaps I would not even, at the time, have known that's what it was, really. Simply a part of life. The sun lifts in the sky. Water is wet. My chelicerae pierce and liquefy. It wasn't really even the most important part of the hunt for what I was, just the finale. My hunt was not making something delicate and vicious that would ensnare for me, nor was it a brutal rushdown. I was mechanical. A biological bear-trap. Becoming More Spider meant patience to an inhuman degree (although inhuman is to be expected), it meant reactive more than proactive. I only had bribes, but it was almost meditative, to be a spider, and I quite liked it. In symbiosis with that other-mind, I could feel his phantom book lungs (like gills upon my ribs), and the phantom pattern of his eyes upon my face (not that much vision. shades mostly, clear and dark. movements.). Long, grasping limbs to each side, set apart like a jaw (strong, sensitive, like a gun-trigger). Able to fold itself flat, to become the wall it stands on (pneumatics of inner workings, fluids in and out). Whatever it was, it liked shade and coolness and moisture. It disliked movement above it, but did not exactly flee it, it simply hid better and waited. It could be fast, when it was time, but for the most part, it was simply silent.

It's a bit hard, to make a whole from bits, especially something I'm not all the time. With being a bird, I can simply reflect on myself anytime, and that is simply what I am. With the spider, I kind of had to vivisect bits and pieces when and where they happened, and that was kinda all, unless I provoked more of it, which is what I ended up doing. I played dress up with a variety of creatures that felt similar enough, to see what felt right. I tried tailless whip scorpions, but while the grasping of the forearms were right, and Feeling more than any other sense was too, the long thin whips were not quite something I'd felt before, and it lacked that inherent Venom that my brain informed me I should have. Huntsman and wolf spiders were fun. So fun that I kind of hoped that would be it, for a long time. They were something very interactive to be, perhaps not as much as a jumping spider, I've never tried that, but a lot more of a rush than mystery spider. But that feeling of being something fast wasn't right, and the feeling of grasper, while more right with Heteropoda, did not fit wolf spiders at all. I actually realized the most likely culprit pretty recently, while watching the woods near my house. There is in fact all matters of little lethal biological bear traps littered all over the flowers, like decadently dressed death angels for bees and flies alike : Flower crab spiders. I adore them, now that I know where to look for them. I've lived near these woods all my life, yet I'd never spotted them. Thomisus onustus, Synema globosum, Runcinia grammica, Heriaeus hirtus and probably more I've not met yet. I don't quite think my mystery spider is one of them, but almost. If I had to guess, it was some sort of Xysticus, or something analogous. A ground crab spider. I might be wrong, this not an exact science, it's hard to interpret what could very well be figments of my mind. But I am quite satisfied with that answer, at the moment.

So that's arthropod number 1 I've been, the one I've been the most and the one who taught me how to shapeshift. 

It takes me some time to manage to decent attempt at something I've never even slightly been. It's easy to have parts. I can feel a wasp's ocelli, a dragonfly larva's mandible or a pair of earwig wings just fine, as long as I have references for it. It's just a matter of visualization, really. I draw as a hobby. I see provoking a shift in myself just like drawing, just with sensations. Take a mantis's raptorial limb. Pull up an anatomy drawing. My upper arm becomes a coxa. The elbow, the trochanter, then the forearm, the femur. My hand fuses, and becomes the tibia. I cannot fold it right, but I can feel the weight of the spines along the ridges, I can feel where it should fold and lock together like well oiled machinery. Then the tarsus, which currently feels like it should erupt from my middle finger, feeling strangely appropriate to type with. Too short, in a human body, but similarly bendy, lacking the two hooks at the end. It's a vague one, and as I am writing this, I can simply shake it out and come back to a more neutral state of human-bird confusion, a more comfortable mix when it comes to operating a keyboard.

It tends to become tricky when it comes to adding everything up. I can have a mantis's arm, but then I must maintain it, and add it's head, with its complex set of mandibles, of antennas, of eyes-made-of-eyes. One limb needs to become six, and my body starts to glitch. A bird, a tetrapod, is already somewhat complex, my human arms are both wings and bird feet analogue. What's an analogue to that third pair of limbs, where do they go? I tend to prefer to lie down when I figure out how to optimally place and draw those feelings, eyes closed, so my human feelings do not overlap too much. Even better in the dark. Once it's set, I can then usually trigger it again later, and it'll put itself in place naturally.

It was easier with something as simple as the Filaria worm, although highly dependent on me doing... not much. I did not really need to focus on phantoms then, just on the mind. The mind is not something you can easily find reference from, and to be honest, I would say whatever I feel is most likely a simulacrum of what it's like, after all I do not stop having human neurons during the experiment. But that's not really the point, is it, the point is just that it's fun. The Filaria, amusingly enough, I provoked out of loneliness. I wondered what it must feel like, to be something that is never lonely, because it lives inside something else, constantly surrounded by both it's peers and the thing that nourishes it. It was mostly sensations, what I felt, strangely easy to slip into, perhaps because I have experience with writing parasites for myself.

Back when I was not medicated, I would see the world breathe, sometimes, pulse and writhe, walls tensing and releasing, floor moving beneath my feet. The nematode felt something similar, in my mind. Warmth all around, each heart-beat a pulse, world around you contracting flowing writhing singing. Many-many others around you. Forward, without reason. Not much with reason, simply following the song. It is honestly one of the most pleasant shifts I've ever had. No fear. Nothing to flee. Death is simply a possibility of the world that also nourishes you. You cannot escape it, as there is no other world to escape too, and you are simply here, and you must go forward, and that is all. So no fear. It changes nothing. Blissfully nihilistic. The only glimpses I get are of the stage inside the body, perhaps another would be a different tune, but I'm satisfied with what I saw.

I'd say the mind will be easier to reach for writers than for visual artists. You can cross-reference, after all, since I do consider I am channeling a soul, I do not find it particularly less interesting to build that mind through readings of scientific papers that, too, try to imagine what it is like to be something else. To go back to the mantis, I suppose I chose an easy one for me to be. It is once again something that stays in wait. However, it is a lot more active, a lot more visual, than my spider. How would that feel? What colors would I see? Where are my sensors to the world in that body? What would I fear? What would I seek? That's when having the body down gets handy, to me. I simply provoke it, sometimes I do little rituals, to tie it to certain accessories or knick-knack, as I find it helps me focus. Shapeshifted, feeling the foreign limbs and foreign sensations, I find it easier to slip into a foreign mind. Everything becomes new. The woods near my house are discovered for a thousandth time with new eyes. The spider sought out moisture and shade, and silence. The centipede sought warmth, long coiled body spanning meters, then a hunt, but everything was too small, so it waited, touch-tasted, inquisitive. Perhaps the mantis would seek an elevated zone, with luxurious foliage to hide itself, and would observe. I should try it sometimes.

Perhaps my experiments with arthropods will help some new people attempt more impermanent forms of linking, quite frankly i do not think it is the time spent that makes the serious of an identity, but it is hard even for me to separate the two sometimes, with how tied they were in old forum culture (not even touching on the idea of, gasp, voluntary identity and experiences being worthy). Honestly, I recommend trying it because it is fun. So a little challenge to readers : I would love for you to pick something, become it, and come back to tell me about it. Bonus points if it's some flavor of arthropod-like. Good luck!

[2danesand1cat]

The themes of regret, grief, and guilt have been in my mind lately, particularly regarding my sweet angel child-Damian.

It’s a pretty consistent theme in the comics that Damian believes he is not good enough, he’s a monster, that he’s not like his father or siblings, and that he’s full of uncontrollable anger, malice, and spite.

And while of course each batkid (and especially Bruce) have their own unique experiences with guilt and regret, I can’t help but imagine what all of that must feel like to a kid so young, who is incredibly skilled and highly intelligent, yet also very naive in a way that a child is about the world and their place in it.

Damian is frustrated when people don’t understand his harshness and his intense motivations, as it creates a barrier in the way he relates to his family. Additionally, he is barely able to step out of his own perspective as a child, preteen, and even young teenager to understand other people’s ways and motivations. This would certainly be incredibly isolating, having this drive and intensity you were tortured to develop and that you are now being told is wrong even though that’s all you know. But more than anything, he just wants to please someone, and it feels like they just keep misunderstanding him. This, of course, is not to say they didn’t try. Dick, Alfred and Bruce are his heroes for a damn good reason, but it took a great deal of time and constant redirection.

Even now, as an early teen, he’s still struggling with maintaining all the work he’s done on himself to reframe his self image and control his emotions. YOU KNOW HOW DIFFICULT IT IS FOR A 14/15 YEAR OLD TO CONTROL THEIR EMOTIONS?!?!

Do you know how much guilt and regret that must take, to keep him on track?

His desire to please is so strong because each small bit of praise that he earns reinforces this very feeble idea that, maybe, just maybe, he is good, and is doing something right. Each time he hears these things, it slowly erodes that constant weight on his tiny little shoulders of the guilt he carries everyday.

I can’t help but think of all the times he pleaded with himself and some high figure or something to “please, make me good like Richard. Help me be better. Help me be like Father. Please, please please” as silent sobs gripped his tiny frame and tears poured down onto his pillow.

Or all the times where he is sketching or training or just trying to exist and is hit with a wave of guilt as he has a flashback about his time in the league or even his early days in Gotham. Those are the days when his sketches get crumped because “it’s not worth it to even try to create something beautiful” in those moments. And how he refuses to wrap his hands as he hits the punching bag over and over again, feeling a small bit of relief at every spilt knuckle because “I deserve this pain” is all he can think.

Still til this day, as nightmares come and go, he lies there in bed and repeats to himself that “yes, that was me, i did kill, i did slaughter”, and even though what he just experienced in his dream wasn’t real, it was all at one time very, very real.

There were times when he wouldn’t eat breakfast after he lay up all night, coming to terms with his past self, reasoning that breakfast is for people that deserve it. He must instead punish his body for the its sins. Seeking comfort to placate his conscious was weakness as well. He did his best to hide his guilt and suffering from Dick and Alfred and Bruce, as it was not their cross to bear.

What he forgets, and still often forgets, is that he is and was just a child. And what he is trying to learn is that everyone has regrets, but we are not our past, we are our efforts to create a better future self. It gets a little better each day. He is trying.

At least now, he has given himself the permission to seek out the love and comfort he so desperately craves. When he silently pads into Bruce’s room at night, Bruce understands. They don’t speak, not then at least, but Damian no longer constantly denies himself the goodness that he is learning he deserves.

[holocene-sims]

next // previous

june 3, 2022 5:15 p.m. casbah gallery

[soobin] and fifteen minutes later, your mom is back.

[henry] oh, she brought ethan and his mom. that explains the delay, they were probably auntie gossiping in the parking garage that whole time.

[grant] isn’t that–

[henry] the guy who told you he thought you were dead last time we ate at their family restaurant?

[grant] i was going to say your friend that started a fire in your dorm by burning his microwave mac and cheese, but yeah, that also describes him.

[cerise] he thought you were dead?

[grant] long story on all fronts.

. . .

[insook] grant! my adopted son! i'm so glad you’re here tonight!

[grant] of course i am! if i missed the exhibition opening, i would never forgive myself. it’s an honor to be here for you guys.

[insook] and you must be cerise, the art curator sister.

[cerise] that would be me! hello, mrs., um–

[insook] no, no, no formalities. you're practically family already. insook is fine. or mama ong. that’s what grant calls me.

[cerise] still, hello! it’s very nice to meet you finally.

[grant] so, what do you think, mama ong?

[insook] i think sanghoon would be pleased with this.

[grant] obviously, i'm not an artsy person, so i don’t know how to comment on the exhibition in an intelligent way, but it’s beautiful in here. he was very skilled, and he should have those skills celebrated and immortalized.

[cerise] your husband was talented, and i see he was fond of impressionism.

[insook] he was! he dabbled in lots of styles, but impressionism was always his favorite. he was the practical sort, and the mundane subject matter spoke to him to begin with. then he lived in france for a while when we were still dating, and he saw the best of the best of the movement there. i would have fallen in love with it, too, if i saw a monet in its original environment.

[cerise] also, from what i understand from grant, most of his career took place here, so this must feel like a fitting place for these paintings to stay.

[insook] it does. he made a lot of works across many different places, but he said he had the best experiences and inspiration here. he felt like the people and landscapes here are especially genuine. we lived for the last few decades on the upper peninsula, and…

[henry] you get to know people and places very well because it’s so quiet. quiet and also kind of empty in some spots. it’s a paradise for those who like the kind of art he liked.

[insook] you’ve probably heard from my son by now, but he hated private collecting.

[cerise] i did hear that.

[insook] artistically and personally, he learned a lot from living here, and we as a family had good lives here. now that can be returned to the community. he’d be happy if even one person appreciates this region through his eyes. i think when you’re born in any given place, you pay more attention to its flaws. you think of the negatives–the bad experiences you’ve had, the changes a town has gone through, whatever it is you dislike–but then you see that place through the eyes of someone who traveled thousands of miles to come here and loved it enough to portray its positives in a painting. it changes your perspective for the better.

[grant] from my perspective, i agree. i was looking at that set of paintings of my hometown on the corner wall a few minutes ago, and my first reaction was that you couldn’t have a more perfect painting of the scenery. and that’s me, the person who hates where i grew up so much that i avoid going anywhere up north other than my family’s houses, saying that. it was actually kind of easy to put the hatred aside for those paintings.

[henry] talk about mission accomplished.

[grant] will you miss living around here?

[insook] me? i will, just like i've missed my family and friends in seoul. i know good people here–your family, for one–and like i said, we lived a great life here. sanghoon and i were happy. henry was happy growing up here. it's just time to do something else in my life now that i'm retired and unburdened, you could say. but you ask that like i'm not coming back, though. i'll be back to visit!

[soobin] if she can’t take her adopted son with her, she’ll have to come visit you.

[insook] we could take you! no, you should work on going back to being a pilot, although…

[grant] if that doesn’t work out, you can come back and get me? sure, i'm open to anything.

[insook] we marry you off to a friend’s kid, you get an easy visa. jiyoung’s niece is single. she's quite shy, so i've never met her, but i hear she's a sweet girl. no, i'm kidding. you should pick your partner yourself.

[grant] i don’t know, i seem to have terrible taste. can i really be trusted to pick?

[henry] the karaoke girl seemed nice.

[grant] she did, but i talked to her once, so that doesn’t count.

[cerise] do you mind if i ask when you're moving?

[insook] when? oh, two weeks from now.

[cerise] wow! shit, are you guys leaving soon, too? i did hear that right that you're going with her?

[henry] you did hear that right, but no, we’re here until, i don’t know, late summer or early fall. we don’t have an exact date yet. well, okay, not anymore. we did.

[soobin] we were planning to move around the same time because, like, if we’re really doing this and your mom is leaving at the end of the spring, let’s just go. we’ll sell the house when she leaves, and we’ll follow her.

[soobin] and then i found out i was pregnant last month, and i panicked. i feel like death lately, so i'd prefer not to be stuck on a plane over the pacific or with the burden of selling a house and moving our furniture. i think i'll wait until i feel less like death and am less scared of something going wrong.

[henry] we’ll figure it out. we are at least giving ourselves an extra month or two to make decisions, which will be fine.

[cerise] okay, in that case, delaying things is rational, i think, but congratulations! that’s exciting.

[soobin] it is! we are surprised but very excited.

[grant] are you feeling okay, by the way?

[soobin] i mean, better than the last few times you've seen me, but if tonight were not extremely important, i would be in bed right now with 64oz of ginger ale.

[soobin] but i'm sticking it out. i'm good.

[cenvast]

Kabru/Toshiro: A DunMeshi Ship Analysis

Kabshiro has been gaining more traction recently, so I'd like to dive into their canon dynamic and how a relationship between them could progress and benefit them both in the long run!

In my opinion, the main draws of this ship are:

Communication: Kabru's ability and willingness to identify and engage with Toshiro's true feelings and motives, Toshiro's consequential willingness to express himself to Kabru, and vice versa

Trust: The almost immediate trust they place in each other, despite their reservations

Canon Friendship: How naturally yet rapidly their canonical friendship develops, especially considering their characters (read as: their intimacy issues)

Growth: The potential for a) Toshiro to grow as a person by trying to be more expressive and caring towards someone who cares for him and b) Kabru to experience reciprocal effort and care from someone else when he's used to caring for everyone else

Bonus: I love to see queer men of color in love <3

1. Communication

Kabru is the character with the fastest and most accurate read on Toshiro's feelings and motives. This means little on its own, considering Kabru's skill is assessing people and giving them what they want as a means to his own ends. Initially, Kabru engages with Toshiro essentially to reach Laios. He hears Toshiro's retainers discuss Toshiro's love for "that girl from the North" and recognizes that if he offers to help Toshiro rescue Falin, he can get to Laios. As he does with most people, Kabru identifies Toshiro's goals and uses this knowledge to propel himself towards his own goals.

During Laios and Toshiro's conflict over ancient magic, Kabru again steps in. He de-escalates a situation where Toshiro quite literally has his tachi against Laios' neck by acknowledging Toshiro's concerns regarding ancient magic and reminding him of his actual priority: Falin. While his dialogue sounds harsh, Kabru still validates Toshiro's worries. His acknowledgement and engagement with Toshiro's actual feelings isn't something that Toshiro often experiences. In part, this is because Toshiro doesn't express himself, but we'll get into this more later.

From Kabru's perspective, reading and responding to Toshiro effectively is reflective of his usual habits and strengths. But their respective reactions to Kabru's de-escalation exchange remain notable. Toshiro tells Kabru to not finish his statement — the first glimmer we receive into Toshiro openly expressing himself to Kabru at a greater level than he does with other characters. Kabru immediately switches to looking relieved and sympathetic. He apologizes to and comforts Toshiro, establishing a foundation of genuine care and consideration between them.

2. Trust

After they leave the Dungeon following the first Faligon fight, Toshiro asks Kabru to go with him to the governor's house. Despite their only recent acquaintance, Toshiro expresses a need he has to Kabru, even if it's not a very personal one, and he trusts Kabru enough to rely on him in a high-stakes situation. (As a sidenote, Kabru telling Toshiro to "Please get some rest" is a sweet moment, considering both of their fraught relationships with self-care.)

Kabru trusts Toshiro in return. We as the readers don't learn about Kabru's backstory and how it drives his actions because he tells his own party or Laios. We learn about his past because he tells Toshiro.

Kabru addresses Toshiro by name before he recounts the death of his family and his haunting questions surrounding it. When he turns back to face Toshiro, he looks visibly determined and quietly enraged at the injustices he's experienced in his life for the first time during the narrative. Kabru does share his story to convince Toshiro of his position, but his straightforward, vulnerable delivery of his story and the emotions he has surrounding it speaks volumes towards the trust he has in Toshiro. He believes Toshiro will see him and stand by him.

Also, prior to Kabru sharing his backstory, Toshiro questions his motives multiple times. While Toshiro also questions Laios' actions, Toshiro feels comfortable enough to communicate with Kabru even when they might disagree and he isn't under duress.

Within the first few days of knowing each other, Kabru has witnessed Toshiro at some of his lowest points: passing out due to hunger and sleep deprivation and fighting Laios. Because Kabru has already seen him at his lowest and hasn't treated him worse because of it, Toshiro seems more comfortable engaging with Kabru than with many other characters. Toshiro's attempt to throw the companion bell away is a funny moment, but it also demonstrates how he's fine with acting impulsively in front of Kabru; he doesn't hold back as much as usual. He's likely also realized that Kabru can see past his reserved front.

After they speak to the Canaries, Kabru asks Toshiro to help him seal the Dungeon. Although Toshiro had originally planned to go back to Wa, he agrees to help Kabru. Compared to their initial meeting where Kabru was only using Toshiro to get to Laios, Kabru seems to genuinely want Toshiro and Namari on his side, telling them, "I'm counting on you." Both his request for Toshiro's help and his easy agreement demonstrate a surprising level of trust for how long they've known each other.

3. Canon Friendship

Neither Kabru nor Toshiro regularly open up to the people in their lives. We get the heart-to-heart between Toshiro and Laios after their fight, but other than that, Kabru and Toshiro are not very emotionally open even with people they've known since childhood like Rin and Hien. Kabru maintains his charismatic facade around Rin, and Toshiro has distanced himself from Hien in their adulthood. Because both of them struggle with being vulnerable, their friendship becomes close interestingly fast.

Beyond feeling comfortable around each other for the previously stated reasons, I'd suggest that the ease they feel around each other partially arises from their shared identity as Asian men and immigrants to the Island (Note: I read Kabru as South Asian). As a queer Asian man myself, there's sometimes an immediate sense of ease between people whose identities and experiences overlap.

Before they ever meet, Kabru explains Toshiro's background to his party. He opens with Toshiro's outsider status, drawing the reader's attention to the parallel between Toshiro being an outsider in his household and Kabru being an outsider as a tallman who was raised by elves. In this scene, Toshiro is also the only member of the Touden party whose motives Kabru ponders aloud. With Laios and Falin, Kabru simply declares them "not good people." Considering Kabru is intrigued by people he doesn't immediately understand, it's not difficult to assume that though Kabru approached Toshiro because of Laios, he was also interested in Toshiro as an individual.

After they join forces, Kabru and Toshiro frequently appear together in the story. The evolution of their dynamic can be seen through the mangacaps below. Initially, despite their trust in each other, they're still a little suspicious of each other. As time progresses, they develop a language of silent glances and casual touch. We often see them standing beside each other and exchanging looks after Laios speaks. Considering how Toshiro doesn't often voice his negative opinions and Kabru makes an effort to curtail his negative reactions around Laios, the fact that they've both taken to expressing silent concern for Laios to each other shows that they've reached a significant level of intimacy in just a week or two.

Since they're both men of color and Kabru is one of the only characters who doesn't call Toshiro "Shuro," they've likely discussed Laios' microaggressions towards Toshiro and bonded over how they find his sillier behavior of eating monsters disturbing. They also both care for him as a friend, so Laios remains another point of connection for them.

At the banquet, they sit beside each other, and when Falin revives, Kabru comforts Toshiro via a hand on his shoulder. The canonical affection between them is easy to track and consistent by the story's close.

4. Growth

As stated by @malaierba in their platonic kabshiro post, Kabru and Toshiro share narrative parallels like being raised by surrogate mothers, over-analyzing social situations, attempting to act in others' best interests at the cost of their own, and being terrible at basic self-care (I'm also realizing we both touched on the de-escalation and Kabru backstory scenes, lol). Both characters are actually extremely similar in the way they conceptualize themselves.

Kabru and Toshiro both avoid offending others by suppressing their discomfort. This behavior is deeply rooted in their backstories and their identities as people of color and immigrants. When you're the outsider, you don't have the luxury of acting as you please. Society expects you to keep your head down and not "cause a fuss."

They both fear selfishness. Kabru is the archetypal sacrificial hero; his goal is equality between the races and minimizing mass death no matter the personal cost to himself. On a much smaller scale, Toshiro tries not to burden others. They both forgo intimate relationships and falsify parts of themselves to accommodate others. Their willingness to minimize themselves for others' sake leads to them to not even canonically care for themselves and becomes a form of passive self-harm.

Toshiro doesn't eat or sleep during his rescue of Falin in what seems like a self-inflicted punishment for failing to protect her and save her. He seems to believe that he's only useful for what he can do and in particular, do for others. He seems to struggle to define himself outside of how he's overshadowed and overlooked by his charismatic father. Toshiro's arc is about learning to identify his own needs and wants, pursue those things, and express himself.

Because of how charismatic Kabru is, Kabru appears to have a secure sense of self, but I'd argue that he falls into the same trap as Toshiro. When Laios becomes the Dungeon Lord and seems to be ending the world, Kabru blames himself, saying, "What purpose does my surviving Utaya's tragedy have?" and "Please just kill me right now." Kabru hasn't ever established what he wants for himself outside of what he can do for others, just like Toshiro. While Kabru is far more active than Toshiro and his goals are more heroic, his arc is similarly about identifying his own needs and wants and expressing them as demonstrated by his confession that he wants to be Laios' friend.

Like Toshiro, Kabru is disconnected from his desires because he doesn't see himself as worth prioritizing over the greater good. He fails to regularly eat and clean his living space.

Kabru and Toshiro's friendship challenges both their negative habits of self-perception. Unlike with Laios, Toshiro wasn't quite as pivotal to Kabru's goal, so their relationship develops without as much pressure. Because of the extreme circumstances of their first meeting and their compatibility, they express their true feelings towards each other nearly from the onset, and by the banquet, they seem to hang around each other just for the joy of the other's company. When their friendship extends into a romantic/sexual relationship, they get to knock down yet another barrier to pursuing what and who they want simply because they want to.

In addition, because Kabru is the first person to care about Toshiro in a way that doesn't infringe on his boundaries, Toshiro would hopefully be motivated to become an active participant in their relationship. His efforts to be more emotionally open in order to support and care for Kabru would help him overcome his fatal flaws of passivity, especially in interpersonal communication, and walling himself off from others. But most importantly, Kabru would receive the same amount of care he invests in learning about and accommodating other people from someone else.

Toshiro is also an observant person. He's good at mapping out social situations to avoid conflict, and he is empathetic. With a little encouragement, he could easily turn skills he's used to pouring into his defense mechanisms towards actually reading his loved ones and engaging with their emotions and needs. If Toshiro was consistently clocking Kabru's actual reactions to things and trying to address his desires, Kabru would realize that he doesn't have to play a part all the time. He would learn to be more authentic and vulnerable in his relationships.

Notably, Rin does support Kabru, but he doesn't really accept her love or act vulnerable around her for a multitude of reasons. This is probably a good time to note that Kabru and Toshiro are both sexist. I want to believe that a healthy relationship between them would encourage them to mature without demanding emotional labor from the women in their lives, and by proxy, improve their relationships with Rin, Hien, and the other female characters. Personally, I really enjoy the idea of Kabru, Toshiro, Rin, and Namari getting close and bonding over being Asian.

5. Bonus

Because their identities as Asian men and immigrants impact their characters, their relationship has a unique type of intimacy. On a societal level, there isn't a lot of media about two characters of color in love. It's even rarer to see two queer characters of color in love in Western media (or Asian media like DunMeshi with an ethnically diverse cast) as oftentimes, the West falsely equates queerness to whiteness. I consider Kabshiro to be my personal contribution to making queer Asian characters kiss and decentering that white man /hj. I'd love to see more Kabshiro content!

Overall, I just think it's beautiful that these two characters who've resigned themselves to loneliness in completely opposite ways can overcome their intimacy issues to trust and care about each other. I like that being together is easy for them in many ways, but unlearning their habits of constantly putting on a front and rejecting vulnerability or not putting effort into relationships out of preemptive fear of failure still takes work. I like that their relationship is an intentional one where love takes effort, but the effort is part of the love.

₍ᐢ. .ᐢ₎ ₊˚⊹♡

If you read this entire meta, thank you so much, and please feel free to reblog and/or send me an ask with your Kabshiro thoughts! As a shameless plug, you might enjoy my canon-compliant Kabshiro fanfiction that spans from the banquet to a few months post-canon. There's both an explicit version and a version with fade-to-black sex scenes. You can expect:

Kabru and Toshiro's silly friends-with-benefits era

A resolution for Toshiro's feelings for Falin, lol

Toshiro's difficult relationship with food

Kabru trying to 5D-chess everything, and Toshiro overthinking and catastrophizing <3

Kabru, Toshiro, and Laios being friends! They are silly and well-meaning and do their best to support each other

Kabru and Toshiro unpacking Laios' racism

Extremely homosexual moments of tenderness

Kabru, Rin, and Toshiro trio and Namari and Toshiro duo friendship tidbits

Kabru and Marcille becoming friends and bonding over gossip

Angst with a happy ending and more!

[theseinfernalangels]

From the Inside: Threshing, According to Sawyer and Sliseag

Synopsis: We all know how Threshing went for Violet Sorrengail, but what about Sawyer Henrick, the lonely boy from Luceras who was forced to repeat? A dual perspective on the matter, presented by Yours Truly. ❤️‍🩹

Note: Includes some background lore from my ficverse, I’ve Been Big and Small.

SAWYER ⚔️

I’ve been waiting for this for exactly 364 days, give or take a few hours: A second chance, a second opportunity to prove to everyone that I am not worth being left behind. I am more than a repeat, and dammit — I’ll tear apart this whole fucking valley if that’s what it takes for me to come out alive.

I will not be left behind again. I refuse. I’ve already been in survival mode since the day I realized it was either me that would fight for my family, or no one at all. I’ve been fighting the good fight against my will for years. I already had to walk out of this valley with nothing to my name but blood running down my face and a boatload of shame. 

No more. I will not go back.

Diving into the forest gives me that painful déjà vu, reminding me that I’ve been here already. I’ve played this game before, and I lost. I don’t care; I have an advantage over everyone here, even stupid fucking Jack Barlowe, who has enough audacity to walk around acting like he’s the strongest man alive.

I know the rhythm here. You run, you duck, you jump, you swing, and if you have to slash at a leg or two, so be it. Threshing isn’t for the weak of heart; I learned that one the hard way by avoiding the violence. Today, though, I’ll have to welcome it.

As far as I can tell, none of my squadmates are close to me, which is good. I trust them, even more so than I did my last squad, but I don’t want them to see me like this. To see just how hard I’ll fight in the name of proving myself. Every scar, every scream, every wound opened will be worth it. It has to be. 

So I fight. I throw myself into the violence of Threshing with nothing but a year’s worth of more experience, a few blades, and my own tenacity. I repeat my mantra to myself quietly, as if I’m speaking it out loud to the two people I know for a fact would listen every time.

I will not fail. I will not disappoint you. I left for good cause, and this setback will not hit me again. I will make you proud, I promise.

It comes to a head at around noon, when the sun beats through the trees and darkens every dappled shadow that surrounds us in here. My sword clashes with someone I recognize from First Wing — no name comes to mind, though. We pivot around each other like we’re in some complicated dance, but I’ve been practicing more and know the routine better. Every so often, I feel the unmistakable feeling of something — someone — watching us, but I know not to question it. This valley may as well be a stage the way dragons sit and judge you the entire time.

Fine. They want a show? I’ll fucking give them a show.

I don’t know what comes over me — anger or pure desperation. One moment, I’m being jumped from behind. The next, I’m staring at the First Wing cadet’s body twitching as blood pours from his neck. For once, I don’t feel guilty. I’m keeping myself alive, and—

Oh. 

Now I get it.

I spin around as a deep, grating rumble sounds in the air behind me. I know better than to flinch away, so I press my fingers into my palms and stare directly in the direction of the noise.

Holy gods.

I watch undergrowth and foliage give way as a dragon — enormous, strong, and ruby red — stands to its full height, pinning me in my place with slitted golden eyes.

I don’t move. I don’t even look away. In retrospect, it’s a horrible idea, but part of me doesn’t give a shit anymore. Something tells me that the dragon doesn’t, either — not when it just stares, leveling with me for a moment before I feel something shift within me.

It’s almost like a deck of cards, the way it pokes into me. The dragon picks out a part of me, scrutinizes for a second, and then puts it back in the pile. I have no idea what I am doing now; finally, finally, I’m in uncharted territory. It sees my will, my desperation to prove myself, to make my family proud, to fight as hard and often as I need to in order to move on. It sees me protecting my sisters when we were children, left defenseless in the Luceran woods for days at a time. It sees everything within myself that I’ve managed to unleash today, and then—

Shit. It sees everything else.

I can’t find it within myself to panic, but it’s truly unnerving how a dragon can peel back everything within you all the way down to your core. I’m not prepared to face it seeing my sense of worthlessness, rejection, and loneliness after what happened last year. I feel raw, exposed, and vulnerable — and yet, I notice, I’m not afraid. I feel…seen.

Something unseen surrounds me and then jolts, stabbing into my heart with what sounds like a clap of thunder. The dragon looks unperturbed, though, and sits, its scales flashing like pure flame. I go to say something, anything, but I’m cut off by a low, rumbling sigh from a previously undisturbed corner in the back of my mind.

“Well, it is about time. I’ve been waiting for you forever, Sawyer Henrick.”

I flinch a little, my eyes widening for a moment before I catch myself. No fear in front of a Red. None for it, none for me. Not when someone finally gets me. I straighten and then nod. “I could say the same.”

I have questions. So many actually, that I’m not sure where to start. My moment of hesitation is not unnoticed, though, and I’m hit with waves of…annoyance that shank me down a little, cherry-colored string that starts to glow within me.

I feel a muscle tighten in my jaw, and I stare up at it — No, him — with something akin to omnipresent desperation.

“Do you…see me?”

I expect a booming voice, a deafening roar that will rattle me to my very core. It doesn’t come. Instead, I hear a low hum down that string again, before I hear him speak once more.

“Of course I see you. I’ve been waiting for you. I am Sliseaglarann, son of Tíogairlile and Lasairdorcha of the fierce Dearghairicín line. You are mine now, and you will never be alone again. Rise from the ashes, my Ashling. We’ve got work to do.”

Sliseaglarann. Sliseag, for short. He sees me — he wants me. I’m his, and he is mine. I feel a stab of relief cut so deep I could start crying — but I don’t. Not in front of him. Not when I’m so close to getting out of this hellhole.

Instead, I straighten and then grin, joy taking possession over everything in me. Sliseag watches approvingly as I take a running start and scale up his massive shoulder — albeit a bit clumsily. Neither of us care, though, not when I slide down onto his seat and take a huge breath.

I am a rider now.

Gods. I’m a fucking rider now. 

I am a rider, and I will never fucking be left alone again.

“No,” the — my — dragon agrees, disturbing the ground below him as he stretches his wings and straightens his back. “No, you won’t. We fight and die together, you and me — from the inside out, Ashling.”

___________________

SLISEAG 🐉

I watch the cadets gather by the entrance to the valley, their scents intermingled with excitement, fear, and tension. One scent rises above the rest of them to me: Pure, unbridled determination that I can smell from almost a hundred miles away.

It comes from one. I cannot tell who. 

I do not care. 

They are mine.

From above the valley, I make out the familiar shapes of my brethren. I spot Baide’s sleek form lying in wait, undoubtedly licking her lips in preparation to torch more than a few cadets who think they can match her thirst for violence. Deigh, my nest-mate, waits patiently in a clearing, as if he too knows exactly who he wants. He actually bothered to show up to the Presentation, unlike me — I don’t care much to incinerate cadets who I have no business with in the first place. From the edge of my vision, I can even see Tairn lingering in a rocky alcove much too small for his size. It’s clear why he’s there, though, judging from the small golden speck that dances around his legs. Still just a hatchling, that one. I have no clue as to why she is here and not in the Vale, but I suppose it is no one’s business except hers.

The cadets start streaming into the valley, and I take the opportunity to tuck my wings and glide into a spot where I know most cannot see me, because I do not want most. I want one. They will be mine by sunset, should they not be killed by another.

They better not be.

I lie in wait. I do not like waiting, but I will what for what I have already claimed. Occasionally, I see cadets come and go, but they are nothing to me. They reek of fear, and the ones that don’t are half-dead anyway. Maybe I am cruel for not stepping in — but, then again, that is not the fault of the dragon. I cannot be blamed for the incompetency of humans who are not even worthy of being here. Zihnal may be content to grant them luck, but dragons do not answer to even gods.

I still do not strike, although my claws itch to. I think I might be the most patient Red in the valley, and my nest-mates probably believe myself to be mad, but to hell with all of them. I want the one with the iron resolve, or I will not bond this year. It is written, and it will remain so.

I tire of waiting until I hear shouts up ahead of the brush I shelter behind, and wouldn’t you know it — I feel them, so close and yet so far. Their scent of tenacity is speared by that of anger and desperation, and I know now that I must intervene, lest my determined one be killed right in front of me. I coil my muscles and slowly but surely bring myself to my feet, rising above the forest floor as I stretch my limbs to their fullest.

Two humans. One alive, one dead. One with blood pooling from his throat, and the other gripping a sword as he curls his hands into fists.

That is the one. 

A low rumble leaves me as I stare down at the boy, who turns and stares back at me unflinchingly. It is strange. Impertinent. Disrespectful to most of my kind. I do not mind, though — not when I am exactly the same.

Leveling my eyes with his own, I inspect him — all of him— sharply. Tall and strong, defined by years of fighting for the survival of himself and his kin. Strawberry blonde hair, a smattering of freckles, fern green eyes that shine like a summer storm on rolling hills.

And then I look deeper. I look, for the first time in a decade, inside, and I am not disappointed by what I find.

At first, I see his resolve, honed from working and fighting. I see him making a shield of himself, throwing himself in front of dangerous humans who dare to prey on those he loves. I see strength and ferocity and fire…And then I see it below.

Loneliness. Isolation. Hurt. Abandonment. The memory of walking out of this valley with nothing but blood and shame to his name. Unwanted. Invaluable. Rejected by my brethren, for reasons unknown to even me. I peel back every layer of protection that he’s built himself, every ward, every barrier, until I’m digging down into his core. I find pure steel that will not walk away from this valley until he’s on the back of a dragon, even if he has to kill for it, or set the forest ablaze until he’s the only one among the flames.

He doesn’t have to, though. Not with me.

I cast out with my power, slowly encircling his mind of quiet power and then lashing out, spearing our connection in place with a loud snap. He still does not move. He just watches. Waits. Observes.

Slowly, quietly, I exhale and stretch my wings before I settle, staring not into his eyes, but into his very soul.

“Well, it is about time. I’ve been waiting for you forever, Sawyer Henrick.”

That is the moment he unfreezes, his eyes widening by just a fraction before he seems to catch himself. He sheathes his sword behind his back and crouches to really look at me, peering at my ruby red scales that scream danger to those who have the audacity to approach me.

“I could say the same,” he whispers, staring at me as if he has found finality, an answer, something to hold on to that won’t leave him to the wolves when the time is rife.

Certainly not. Never with me. 

He falters for a moment, which makes me itch with irritation. Someone with strength such as this does not falter around me. As my annoyance hits him in waves, his jaw ticks. Something in his eyes tightens, and I’m slightly put off by what he asks of me.

“Do you…see me?”

Oh. Now this boy, I must treat with care. Not pity — clearly, he’s had enough of it for a century — and I refuse to coddle a human. Still, my tone is surprisingly easy as I reply.

“Of course I see you. I’ve been waiting for you. I am Sliseaglarann, son of Tíogairlile and Lasairdorcha of the fierce Dearghairicín line. You are mine now, and you will never be alone again. Rise from the ashes, my Ashling. We’ve got work to do.”

He blinks and then stands, posture like that of a true warrior. I watch with a tinge of pride as he holds his head high, his face lighting up with a smile that screams of triumph.

Yes, little Ashling. Stand tall, for you fight alongside me now, and I do not let my riders burn. If you fall, count on me to drop with you, for we have become one.

Do you like my work? Leave a comment so I can add you to my taglist!

[cogmented]

hi cogmented! love the art. do you have any tips for beginners? thanks and have a good day

HI YES YOU TOO i think most of these are applicable to beginners and non-beginners

i learned these tips from two low level art classes based on charcoal so i find some of these a lot easier through traditional means, but the skills learned from them should be transferable through any medium

i wont be touching on color or perspective too much, here's a past post i did on colors.. more so values, but it didnt go in-depth as i would have liked

shape and form are fundamentals for visual art. you need to think of form to get your shapes around it

mass and additive are kind of the same thing, just the filling of the shape, no lines involved. gesture is more so for the feeling of the same, and line gets further definition

here are some of my digital examples:

mass, gesture, line

subtractive

the top left drawing started as mass, where i formed the two people's positions into one blob and then colored over it

once you start getting those down, you can start applying it. but, you may want to look at what other artists are doing too

tracing, doing master copies, and using references are all fair methods of learning off of another, just dont pass off traced or copied art as your own

tracing tends to make your lines appear stiff, especially if you are tracing a more gestural drawing. you don't get the same motion as when you are simply referencing

mastercopies are replicas of the art work, made to look exactly like it in an attempt to emulate the same techniques the original artist might have used. i find this personally the most tedious, but beneficial method, but it may not be the easiest thing to do as a beginner who is not used to quick hand motions or confident lines.

this mastercopy sucks because mimicking traditional on digital is not the easiest thing in the world, and i on god just fucked it up, but you can see how that form and shading is much more similar than the other two

using an image as a reference is the most widely known method, but it may not look exactly how you want it to at the start! you might simply not know how line weight, textures, or line methods work yet, which is something figured out through practice and observation

and speaking of observation,

this looks okay, doesnt it?

but there is something much more structured to this, right?

it is hard to not assume you know how things look. you see things every day! your reference is right there! but really think about what you're drawing, and what it looks like.

references are always helpful, be sure to glance back frequently and really look at the distance between things, how things are rotated, how things curve around each other, and where shadows add definition

and even the bottom drawing does not capture everything correctly (the top left is not pointed enough, the middle is too high, the bottom right back fabric is too low, the bottom left is missing a fold, etc etc) i gave myself 5 minutes max for these, but it certainly looks more correct and it is not just more well developed shading

(the box is something i do often to get the size of shapes down, or to see how much space something will take on the canvas)

and always always always experiment

you do not have to draw every line, you do not have to put every detail in its right place, you are only trying to get visual information across in a manner that you enjoy

if you have an idea, but dont think you can do it, the most important thing is that you try it anyway. if it looks like shit and you dont like it, try again another day, just dont stop drawing because one day you will be able to do it

dont be afraid to erase things, to start over if you dont like it, even if you spent time on it, because you can always redo it better the next time and each time it is another thing learned or whatever. or keep it cause it looks funny or interesting who cares, as long as youre doing something

[yoohoofrankie]

Finishing my Egon Spengler fluff alphabet bc yeah.

A= affection:

Its subtle mostly, him gripping your arms (something he does often) whenever he needs to talk to you, or drag you somewhere. He’ll glance at you over his glasses, and he’ll hover around you constantly. The thing he does the most is to try and soak up your aura. He’ll essentially stand as close as he can without touching you, essentially floating about in you body heat. It means he gets to be with you without stares. When your in private, he tends to run his fingers down and up your arms, and guide your hands when Hes showing things to you.

B= blushing

He insists he isnt, or completely ignores it, but hes a big blusher. And when your arent looking he’s grinning his face off.

C= commitment.

Egon dosent love lightly. Once he chooses you, its long term. He acts like a husband. Like hes been with you for decades.

D= declarations.

Egon may not shout from rooftops, but he’ll show it without needing to say it. When he does say it, its slipped into an explanation of a pke meter, dead serious.

E=experiments.

Your his favourite thing to experiment on. The result hes trying to achieve? To learn how to love. Everythings documented, and he’s constantly testing out new things and trying to see how youd react. Sometimes silly, sometimes……intimate. ill leave it at that. 😏

F= firsts.

First kiss? First ‘i love you’? First time he accidentally forgot to put his gloves on and held your hand? All documented. He keeps them in a little folder- not that you’ll ever know.

G= gloved hands

Egon always wears gloves when he works in the lab. But he takes them off just to hold your hand. One time he got chemically burned because he wasnt wearing them, and youve felt guilty ever since. He dosent think it’s your fault though.

H= holding hands.

Its awkward at first, him having to calculate grip ratio, but now hes pretty okay with it. In private. It happens mostly in the lab.

I= “if you were a formula…”

One time he tried to describe his feeling using scientific metaphors. Nobody else really understood him. But you did.

J= jealousy

It happens more than you think it would. His hand sneaks up to hold your upper arm less gently than usual, and he mutters with slight annoyance in his voice- “statistically, your safer with me”.

K= kisses

slow, careful, chaste and reverent. He likes to study it. When it isnt chaste, he cant help but grin into it- a habit of his whenever hes being sneaky.

L= lab love

He clears a space at his workstation for you. Thats basically marriage in his book. He acts like a husband.

M= meaningful

Even things like glances have meaning and thought behind them. He may not voice it, but he does alot for you.

N= needs.

Egon does have needs of his own. He needs patience, understanding. Not someone who’s overly emotional. And someone open minded and accepting. Someone who can look at things from multiple perspectives, and takes time with their decisions.

O= overthinking.

He knows hes not the most publicly affectionate boyfriend, and that worries him. Although he cares by being careful, and rarely doubts himself, this is the one thing that gets him.

P= protectiveness

He’d never let anyone or anything harm you. Just like hes like with the other people he cares about. He cares deeply through being careful and protecting, instinctively standing infront of people. Its subtle but feirce.

Q= quirks aligned

You both walk around while brushing your teeth. He follows you sometimes. Sometimes you follow him.

R= rain

Egon hates getting wet- like a cat. Instead of running toward you in the rain, he’ll be cautiously walking with his coat over his head.

S= stimming

When he’s with you, hes comfortable enough to stim. Which you in turn do with him. You both like to pace around, and one time he bumped into you whilst on one of his rants.

T= tangents

Egon loves to go on long, passionate rants. Sometimes he dosent notice how long he’s been talking and he’ll have to circle back with a sorry. You always tell him he dosent have to be sorry.

U= unspoken language

It takes some time, but you learn to read his sighs and expressions. You dont know this, but he can read you too.

V= variety.

Egons not really much for change. But he’ll switch things up with dates and stuff. He’s constantly researching best things to do in a relationship, and he needs someone to experiment on.

W= workarounds

He finds analytical ways to show his affection. He writes down when he thinks of you, and why. But he’ll never show that to you. If you and him clash on something, he’ll find a way.

X= xylophonic heartbeats. [tease at my ghostbusters au romance subplot]

(Yes its a two people who dont know their in love trope)

This was something that started happening way before he realised he liked you. When he was close, he swore that his heart beat in a different way. Obviously he didn’t assume it was something to do with feelings. Hes too oblivious for that. Whenever he felt the need to stand close to you, he would always assume it was to continue the experiment of why his heartbeat changed. Never simply just because he liked you. You were ‘tolerable’ in his eyes.

Y= years

Even when he’s a grumpy old man, you stay together. When egon commits to something, he commits.

Z= zeal

For science, yes. For you its unmatched. And He loves combining both.

READ MY FANFIC ITS A SLOW BURNER