Id love to hear ur interpretation and analysis on falin! She’s one of my favorite characters and and I was wondering what ur thoughts on her are
Man, I struggle to think of anything I could say about Falin that others have not already said. But she's one of my favorite things about Dungeon Meshi too.
So much of the story revolves around Falin, and she's not even there. Tumblr loves to talk about haunting the narrative, but Falin might be one of the best examples of it ever put to page. She's dead. She's alive. She's dead. She's alive. She's alive but she's missing, she's alive but she isn't herself. She's dead but she might wake. She's dead but she's frozen in ice. She's alive but she's sleepwalking. They chase her ghost and they chase her body all through the story.
I think what Kui does with her is fascinating. Not just as character with a personality we can analyze, but as an object in a narrative- that's why I say she's one of my favorite things about the story, because I also mean it in a mechanical sense. As a writer, Kui's really good at misdirection- that is, setting you up to believe or expect something about a character or a plot, and then turning that on its head. It's most apparent with Kabru, but it works really well with Falin too.
Because the precious little sister is a very well known character archetype, right? So is the gentle healer. The heart of the party. The white mage girl. The damsel in distress. The martyr.
And this isn't a Laura Palmer situation, where we find out that beneath her wholesome surface there's something dark and troubled. No, Falin truly is a kind and gentle person. That isn't where the misdirection leads (and that, too, I think, is another misdirection- it's not "Plot twist, she isn't as nice as you thought!", which would almost be too easy).
The misdirection here is more about structure than about character (but also, yeah- a little about character).
What I mean is, with these archetypes firmly in mind, along with a whole other host of fantasy genre expectations, I think anyone who goes into Dungeon Meshi un-spoiled probably expects Falin's rescue to be an endgame event; at least on a subconscious level, where you're not really thinking about it but in the back of your head you're already stretching out the story to place Falin firmly in the distance. Fire breathing dragon at the bottom of the dungeon is perfect final boss material, right? Slay the dragon. Rescue the princess.
And Falin is the perfect prize in the traditional old school fantasy that the concept of the titular dungeon is a send-up to. Blonde (white), soft-spoken, sweet-natured, beloved by everyone. An angelic figure.
Maybe that's why Ryoko Kui gave her white wings.
It is sort of jarring when chapter 23 rolls around and it's already time to fight the red dragon. And it takes a few chapters, but they succeed. And then Falin's impossible resurrection succeeds. But by then you guess that this is not going to be the story you expected it to be.
I want to point out that Falin spends a lot of time getting, well, babied, post-resurrection. Marcille washes her in the bath, despite Falin stating that she's capable of washing herself. Marcille schools her about her mana use despite Falin demonstrating that she is not hurting for mana, and brushes aside Falin's explanations. Both Marcille and Laios refuse to actually tell her what happened. Laios scruffs up her hair like she's a little kid and scolds her for something she can't remember doing. Marcille explicitly calls her a little kid when Falin tries to talk about how much she's grown.
Of course I'm not saying that Laios was wrong to act like a big brother, or that Marcille shouldn't be worried about taking care of her shell-shocked friend in the bath. But the framing of it clearly shows a Falin who is struggling to be heard.
If you'd like to address the big gay elephant in the room while we're here, I want to state for the record that- whether you read her as gay or not -I think Marcille is completely oblivious during this. Because Falin is her little friend from school. Her best friend, yes, but also the young tallman student she, in her infinite elven wisdom, had to mentor and look after. Marcille has not yet accepted that Falin is an adult now, nor has she accepted that she, herself, is only barely past teenagerhood developmentally and is not nearly as mature as she believes. Of course she'd scrub Falin in the bath and fuss over her.
Falin, meanwhile, seems more than aware of her own adult body and the inappropriate way Marcille is treating it.
The mana-sharing scene is, I think, Falin trying to get a little of her own back. How do you like it, Marcille?
And she tries again in bed.
Maybe she's wondering if their relationship will change now that they're grown ups. If Marcille prefers her as a little girl, or at least as a woman who lets herself be guided like one; if Marcille will react badly if Falin keeps trying to assert herself. She also might be subtly trying to signal to Marcille that bed sharing, like bathing, carries a different weight to it when you do it as adults rather than as children.
With all this in mind, the decision to turn Falin from the precious prize they rescued into to the vicious dragon they have to slay, hits a lot harder.
Falin with a powerful, monstrous, destructive body. Falin, who couldn't even stand to cause people pain from using healing spells, slaughtering half a dozen people in brutal ways. And that's not her, she's being mind-controlled, but as an object in the story she has completely flipped. From damsel to threat.
And I love that she carries a little bit of that with her when she's resurrected again.
Because she's no longer the girl who's going to let herself be stifled by her brother's and her best friend's co-dependency, no matter how much she loves them. She's different now: stronger, eyes open, forging her own path instead of following in their wake. Falin is still going to come back to them again, but this time it won't be because they chased her. It'll be because they let her go.
1K notes
·
View notes
This is going to be very ranty and disjointed, probably borderline incomprehensible post, but with the "return" of Dragon Age Discourse (and really, did it ever go anywhere?) and me repeatedly seeing the complaints and dismissals of DA:I as a "chosen one"-type of a narrative, I just.... I keep finding myself thinking about the relationship of truth and lies within the game.
Throughout the course of DA:I, the idea of a malleable, flexible personal identity, and a painful confrontation with an uncomfortable truth replacing a soothing falsehood, follows pretty much every character throughout their respective arcs.
There are some more obvious ones, Solas, Blackwall, The Iron Bull, their identities and deceptions (of both those around them and themselves) are clearly front and center in the stories told about them, but this theme of deception (both of the self- and the outside world) is clearly present in the stories of the others as well.
Like, for example, ones that come immediately to mind are stories like that of Cullen, who presents an image of a composed and disciplined military man, a commander- all to hide the desperate and traumatized addict that he sees himself as.
Dorian grappled with the expectations of presenting the image of the perfect heir to his father's legacy, the prideful scion of his house, his entire life (he even introduces himself as the result of "careful breeding", like one might speak about a prized horse)- all while knowing that his family would rather see him lobotomized and obedient, than anything even just resembling his vibrant and passionate self.
Cassandra calls herself a Seeker of Truth, and takes pride in that identity- only to learn that in reality, she has been made a liar, a keeper of secrets, without her knowledge or consent, and it is up to her to either uproot the entire organization and painfully cut out the abscess it is to build it back from the ground up into something respectable, or let the information she had revealed sit, and continue to fester.
And this theme continues and reframes itself in, among others, things like Sera's own inner conflict between her elven heritage and her human upbringing, or in Cole being caught in this unconscionable space in-between human and spirit, between person and concept, etc.
The Inquisitor isn't exempt from this either.
I feel like this is where the core of the many misunderstandings of this plot come from, why so many people continue to believe that Inquisition is a "chosen one" or "divinely appointed" type of story, because I think many might just... not realize, that the protagonist's identity is also malleable, and what they are told in the setup/first act of the game is not necessarily the truth.
The tale of the Inquisitor is the exact opposite of that of a "chosen one" story: it's an examination and reflection of the trope, in that it is the story of an assumption that all wrongly believe to be the truth, and thrust upon you, even if you protest. The very point is that no matter who you choose to say that you are, you will be known as the Herald of a prophet you don't even necessarily believe in, and then that belief will be proven wrong, leaving you to cope with either a devastating disappointment if you believed it, or a bitter kind of vindication if you didn't.
There's a moment just after Here Lies the Abyss (when you learn of the lie you've been fed your entire journey in the game) that I don't often see mentioned, but I think it's one of the most emotionally impactful character moments, if you are playing an Andrastian Inquisitor who had actually believed themselves chosen (which I realize is a rather unpopular pick, lol): it's when Ser Ruth, a Grey Warden, realizes what she had done and is horrified by her own deeds, and turns herself in asking to be tried for the murder of another of her order. As far as she is concerned, she had spilled blood for power, and regardless of whether she was acting of her own volition at the time, whether she had agency in the moment, is irrelevant to her: she seeks no absolution, but willingly submits to any punishment you see fit.
And only if you play as an Inquisitor who, through prior dialogue choices, had established themselves as a devout Andrastian, can you offer her forgiveness, for a deed that was objectively not her fault- not really.
You can, in Andraste's name, forgive her- even though you, at that point, know that you have no real right to do so. That you're not Andraste's Herald, that Andraste may or may not even exist, and that you can't grant anyone "divine forgiveness", because you, yourself, don't have a drop of divinity within you. You know that you were no more than an unlucky idiot who stumbled their way into meddling with forces beyond their ken.
You know you're a fraud. You know. The game forces you to realize, as it slowly drip-drip-drips the memories knocked loose by the blast back into your head, that what all have been telling you that you are up to this point, is false. And yet, you can still choose to keep up the lie, and tell this woman who stands in front of you with blood on her hands and tears in her eyes, that you, with authority you don't have, grant her forgiveness for a crime that wasn't hers to commit.
Because it's the right thing to do. Because to lie to Ser Ruth is far kinder than anything else you could possibly do to her, short of refusing to make a decision altogether.
There are any number of criticisms of this game that I can accept (I may or may not agree depending on what it is, but I'm from the school of thought that any interpretation can be equally valid as long as there's text that supports it, and no text that contradicts it), but I will always continue to uphold that the Inquisitor is absolutely not- and never was a "chosen one".
They're just as small, and sad, and lost, as all the other protagonists- the only difference is that they didn't need to fight for their mantle, because instead of a symbol of honor, it acted as a straitjacket.
619 notes
·
View notes