#I don't like her choices but i get it

[trashlie]

Alyssa Cho: Sexuality and Fitting In

It’s been six months since we finished the Shinlyssa Flashback arc, can you believe that? And it’s taken me all these months to finally start putting together this post lol. 

During the flashback arc, one of the hotly contested theories was: Did Alyssa have a crush on Shinae? It’s easy to think we’re reading into things, especially in a story like ILY where we can’t always, in the moment, see something for what it is, or rather what it will become. It’s easy to overthink things, and sometimes we get focused on things that are red herrings. But, in this case, I think it’s not far from the truth at all. In fact, I think the possibility of Alyssa’s sexuality is a part of why she is so desperate to fit in at all. Especially in middle school, society isn’t always kind to lgbtq folks, and there’s a couple hints that it might be something her family is against, as well. 

Now I want to make it clear from the start: I don’t think we can specifically speculate on what Alyssa’s sexuality is, firstly because there’s a good chance even she isn’t sure and secondly because sexuality is certainly a part of a spectrum and it isn’t something that necessarily stays unwavering. I will also up front state that while my suspicions are that Alyssa leans more towards lesbian, that doesn’t negate the possibility of bi/pan/something less specific. But what I DO want to speculate is how her relationship with her possible sexuality, and thus her relationship with Shinae, heavily factors into her need to conform and fit in. 

I think the beginning of the flashback arc is where we see Alyssa at her happiest, and perhaps her most honest. She has a great time in math club with Alyssa, the teacher gets her excited about the math competitions and the chance to prove herself. But it also is where everything starts to go downhill. 

It doesn’t really need reiterated, because the story has made it very clear, but Alyssa is very driven by attention and praise. But I don’t think it’s blind praise she wants, because she often refutes it from Alyssa. It’s not anything special to her that she can play instruments because anyone can do that; writing music though? That’s special. Alyssa talks about wanting to be liked and popular, but what I suspect she really want is acceptance for who she is, and she quickly learns that it won’t be found here unless she starts faking it. 

She’s an intellectual girl, advanced beyond probably most of her peers, who has no favor for kpop and much prefers the classics, is heavily invested in STEM with a favor for bio engineering. It’s made immediately apparent to her that all of her interests will make her a target. It’s not simply that she won’t fit in - it’s that she sticks out in a way that will make people think her weird and outcast her, and it’s really clear that being ostracized is something she fears. I think it’s important to emphasize that this is a fear; it’s not simply being a preteen and wanting to be liked because you don’t know how to be alone but a fear that drives her to do really rash things and lash out. This fear is compounded by her anxiety. When confronted about the missing science project, when it gets out of her hand before she has a chance to stop it, when confrontation comes to a head, Alyssa goes home, feeling sick and miserable. 

She simply could not handle the confrontation or the ramifications it yielded. 

For Alyssa, fitting in a necessity. 

Early in, Alyssa admits to Shinae that she begged her parents to let her go to public school because she wanted to make friends her own age. I imagine she must have been lonely. I don’t think she was homeschooled with other kids - just her sister, and from the sounds of it, she probably didn’t have friends in her dance lessons. I’m willing to bet they were personal, one-on-one lessons, or else maybe she would have been more focused on making friends with the kids in her class rather than dancing? As it is, dance sounds like it was a passing interest of hers that she didn’t really come to love but was stuck continuing, because the alternative was to tell her parents and that doesn’t seem something she’s capable of. But she also admits to Shinae that she has seen what happens to kids who are outcast and ostracized. She doesn’t want that; it goes against the whole reason she came to public school! Why would she endure that if she could just go back to homeschooling and her loneliness?

Another thing Alyssa notes, though, is this. 

It doesn’t seem like much, in the moment. Alyssa has already talked about how overbearing her parents are, how she expresses interest in something and they shower in it, even it was just a fleeting idea. She seems to feel overwhelmed by them and wants an escape from them, lest they take another thing that interests her and put her through it in a way that makes her lose any fancy she possessed for it. 

But it’s a mantra that comes up again, later. 

For a while during the flashback, I waffled a lot on Alyssa’s sexuality. Was it, I wondered, just a red herring, meant to make us THINK Alyssa had a crush, but it was really more about her internal conflict with her feelings about hurting Shinae and trying to do what she wants? Alyssa (much like Nol does) struggled a lot with her relationship with Shinae vs what she wanted more than anything. She tried to make it worked - tried to find a way to be both Shinae’s friend AND to be popular and well-liked, and when it miserably back-fired on her, she made a choice. 

It was here, though, that I began believe that yes, Alyssa probably did have a crush on Shinae, that Alyssa may, in fact, like girls. 

Alyssa has a secret so deep that she doesn’t want anyone to know, not even Shinae. (Also, note the way she says she didn’t want anyone to find out, not even you, as if maybe, Shinae could have been separate person, who maybe she could tell her OTHER secrets to, if they ever got so far.) She especially doesn’t want the teachers involved, because that will get her parents involved - and they won’t be happy, because they’ll ask things and they won’t like what she has to say. That is, the truth was something that would upset them. 

It’s really important, too, to reiterate that Alyssa’s home life is far from perfect, too. We’ve seen just enough to start to wonder about them. Alyssa’s response to her dad was the most telling - the way she completely changed her whole personality and mood in response to him coming home speaks volumes. 

Shinae doesn’t seem to register what she overheard, but the jagged speech bubbles suggest yelling, Meg and her dad probably arguing loudly. We don’t see anything, so it’s hard to completely read the body language - is Meg just covering hear ear because her father is yelling? Is she holding her hand up because he slapped the side of her face? 

Moreso, when Shinae asks if everything is good at home, and finally brings up the complete 180 change of Alyssa’s, she lashes out again. 

Hiding an angry, controlling, potentially abusive father is probably first nature to Alyssa. She’s learning - she knows what kinds of things will ostracize you, what will make you weird to the others. Isn’t it better to not let them see that side of you? But honestly, further? It reads even more like she’s just not allowed to bring kids around, period, because of him. When Shinae called to check up on Alyssa after checking on her, she asked if she could go over and visit Alyssa again, and her mom told her that she couldn’t. Whether her dad is actually strict about people coming over or Alyssa is just using it as a line to not allow anyone else (and frankly, it feels more like the latter, since she’s still feeling out what is “normal”), the point is: they’re hiding something. 

So Alyssa has a secret she’s so desperate to keep, that she absolutely does not want anyone, not even Shinae, and especially not her parents to find out. 

The other thing that made me start to feel more confidently about this possibility was the language used by the boys bullying Alyssa. It’s language that is very pointedly anti-gay. 

It’s not just simple bullying - it’s not (completely) about the stolen project, it’s not about who she hangs out with or her socio-economic status or who her paents are, or anything like Shinae is bullied for. 

“You’re really cute, you know that? Such a shame it’s going to waste though... Nasty.” 

What else could they mean by “going to waste” if not that it’s a shame that she, a cute girl, would never date them/some guy, that it’s “wasted” on her going “against the natural order of things” or something equally gross. 

“You know they say people like you have brains that are damaged, right? That’s why you’re the way you are.” 

Homosexuality being written off as a mental illness, as something wrong with the brain, as something that can be converted out of them, as though it’s a defect still remains an argument even in this day and age. Anti-gay hate speech still tries to convince queer folk and especially those who hate or fear them that there is something wrong with them, that they’re defective, that it goes against all that is natural (a man should only lie with a woman). 

These boys are echoing explicit hate speech, and I think it must be tied to the notes in Alyssa’s locker. If they were the same things Shinae is being bullied for, why would she refused so adamantly to tell her about it? If they were bullying her about the same thing, wouldn’t she maybe instead just blame Shinae? But instead, she doubles down on it, because this thing, this thing she’s hiding that she doesn’t want anyone to know about, would ruin everything. Her parents would hate her, and if she were forced to tell them the truth about it, perhaps she’d face even worse consequences with her family. 

Alyssa reiterates that she just wanted to be liked and to fit in. And now, there’s no easy way out of her current situation. She’s conflicted about the choice she has to make. She doesn’t tell Shinae what she’s conflicted about - but I think it’s pretty easy to guess what it is. 

Alyssa’s conflict is: does she remain friends with Shinae who has been nice to her and has treated her so well and probably made her feel special, but also whose relationship has brought Alyssa strife and made others think she might be a weirdo thief in association; or does she do what she set out to and forsake Shinae in favor of the other kids’ approval, to fit in and blend in just the way she wanted? 

We know what choice she made, but despite how things go, I don’t think it was the easiest choice, either. When Shinae calls out Alyssa on things like ignoring her, Alyssa deflects, though not well, and she looks nervous or anxious. When the awful girls are messing with Shinae’s belongings, Alyssa (unsuccessfully) tries to stop them. The whole altercation leading up to Alyssa recoiling and accidentally pushing Shinae out the window seems very much like a battle for Alyssa of what she wants and what she knows is right. 

Shinae had a big impact on Alyssa! She was Alyssa’s first friend, and probably one of the only real, true friends she ever had. Shinae liked Alyssa completely for who she was - for her love for math and science, for her cool trips to cool exhibits, for her ability to play so many instruments. The things that made Alyssa weird to people, Shinae accepted her for. Most importantly, Shinae was a bright beam in her life. She was radiant and seemed so confident and strong and tough - things that Alyssa admired but did not herself possess. 

Sure, it could have just been admiration. After all, when Alyssa began blushing with Shinae, it came off the back of compliments, right? 

Alyssa seems so taken aback by Shinae’s very earnest compliment, by the idea of impressing someone with one of her skills, with the idea of being able to play something for her. But if it was simply about compliments, wouldn’t all compliments make her flush? 

Minhyuk’s compliment doesn’t get much of a reaction from Alyssa. If anyone, she looks a little wary, a little put on the spot. But when Shinae backs him up and reiterates it, she’s back to being flustered, mumbling something Shinae doesn’t catch. 

Something I think is worth mentioning is that quimchee definitely differentiates these kinds of reactions. Blushes are colored red and usually use the lines, but there’s a LOT more cases of the lines being used without a blush. I’ve always thought of that as being flustered - similar to when you embarrass, but perhaps not to the same degree. 

We’ve seen it many times between Shinae with Dieter (compared to Dieter very often going red with the lines). We saw it when Shinae pointed out that Nol’s face had healed by getting very close to him and he got flustered, and even far earlier in the story, when Shinae ran into him in the Hirahara Corp. lobby and he fell out of the chair he was spinning in. 

We even see a small version of the lines on Shinae’s face when she watches Minhyuk at taekwondo and she finds him really cool. 

Now, I’m not trying to say red blush = romantic feelings, although I do think they tend to trend that way. I just want to reiterate that when the red color enters, it feels like more of a flush, a deeply blushing, than just flustered. Blushing can be embarrassment - but we also see it often with the lines (see Nol) or sometimes a sweatdrop. Perhaps quimchee does have a more specific set of rules about this that we’ll one day hear about, but it’s something I try to keep in mind. 

That said, Alyssa blushing A LOT in a black and white flashback where her sexuality has come in to play feels very, very pointed. The flashback has selective color, so Alyssa’s flush stands out. I think it’s meant to. I think we’re meant to infer this. 

Her blushing isn’t simply limited to Shinae praising her, either. 

When Alyssa finds out Shinae was bullied at her old school, she apologizes, and tells her she never would have guessed, asks how she can be so strong. Shinae is nothing but honest, but it’s her brilliant smile that sways Alyssa. 

I think there’s something even more specific about this blush, too. The close up on her face, how we don’t see it all, her eyes withheld, her mouth quivering. Alyssa is so affected by this. It’s not Shinae paying her compliments or praising her. It’s Shinae. Her warmth and radiance and strength and positivity and the way she just shines. 

And that smile GETS to Alyssa!

Alyssa can’t run away this time, so she looks away, but the blush still happens. Shinae’s smile just seems to be so disarming to Alyssa! 

For a while, when I was trying to decide if I thought this was a crush or a red herring, I considered: maybe every time Shinae is so bright and positive, she feels bad because she’s lying to Shinae. She feels bad because she knows Shinae is a better friend than she is. And sure, I suppose that could be. Alyssa doesn’t like when she looks like she’s in the wrong. But given the context of the explicit things the boys said, the bullying that Alyssa wouldn’t open up about, the thing that she absolutely adamantly does not want anyone to know about, that she can’t speak of? 

It feels like it’s exactly what it looks like: Alyssa has a crush on the nice, tough, confident, weird, boisterous girl who is so nice to her and sees something in her. 

Alyssa is so affected by Shinae’s concern, by her expression of actual care. Telling her she misses her, going all the way to her place to check on her, her relief that she’s okay. Alyssa is so touched by the effort Shinae puts forth, so moved to be on the receiving end of it. She just can’t reconcile herself with it. 

Because Shinae represents the thing Alyssa is hiding, that she wants to run away from. She knows the other students think Shinae is weird, and that association with her only pulls down her own reputation. She’s in conflict over what she wants (popularity, so many friends, people to like her to) vs what her heart wants - Shinae’s affection and unabashed confidence and the way she looks in Shinae’s eyes. 

But she can’t admit this to herself. She can’t let her heart, her feelings, rule this conflict. 

I think Shinae hit the nail right on the head - just not in a way she realizes. I think Alyssa IS lying to herself. I think she IS in denial. I think her sexuality is something she’s yet to reconcile, that at this point in time she cannot make peace with. Because people think it’s weird, because they think it’s unnatural, because it’s “wrong”, because they think people like her perverts are monsters. There’s a part of her that she recognizes is not “normal”, in that it doesn’t suit the status quo, what society generally believes to be true, so she hides it. She stuffs it deep down and tries to repress it, to pretend it’s not there, pretend that’s not her, pretend she’s the very picture of “normal” middle school girl. 

She pretends to like the things other “normal” kids do. She starts to feel uncomfortable about the things she DOES like. She’s not embarrassed about math club - she’s just self-conscious. Because being weird makes you stick out. It makes people look differently at you. If you’re “weird” enough, it makes them bully you, ostracize you. 

Alyssa is so lonely and she just wants to fill that void. She thinks fitting in will make it better. She thinks fitting in will protect her. Look how quickly the bully girls change their beliefs about Alyssa, as soon as she pushes all suspicion from her. No longer is she the weird one, suddenly they wall want to be her friend, they think she’s so cool. Just like that. 

Fitting in will afford her protection, because if she’s “normal” enough, no one will suspect her, no one will find her weird, and no one will find out about her darkest secret. It will keep her safe. 

Obviously, this is a naïve belief. Especially in middle school, kids will turn on you for whatever reason. Alyssa is clearly rich, eager to please, and wants to fit in. She’s sold one project and suddenly kids wanted her to do all their work, to benefit from her. It wasn’t real friendship - they just liked her for what she could do to them. But Alyssa is convinced that popularity - that being surrounded by people, by being liked, will protect her. She’ll fit in. She’ll have friends. That aching loneliness that has eaten her up won’t be a problem.

Except none of it is real. The real friendship was Shinae. Shinae was the one who liked her for who she is, not just what she can do for her. Shinae was the one she didn’t have to fake it for, who saw her at her worst and still tried to be her friend. It was the price she paid to protect herself, and her secret. 

But for Alyssa, who may see a part of herself as “wrong” because it won’t be accepted, who is so lonely and just wanted to be liked and to make friends, maybe she hopes that being liked will make up for that “wrongness”. Maybe, if enough people like her, it will make her feel loved in the way she wants, but won’t allow. If she thinks something is wrong with her, couldn’t the love and adoration of the masses, make her feel like it’s not true, cover it up, make it feel like it doesn’t matter? 

I think even now, in the present, it’s possible that Alyssa’s sexuality may be a thing she hasn’t reconciled with. Is she still hiding from it? Is she still fighting to be seen as “normal”? Who was she, before Yui made an idol of her, when she was friends with Nol, Dieter, and Soushi. Did she crave that faux normalcy even then? 

I’ve considered, too, that perhaps Nol provides another benefit he’s unaware of. Again, as I’ve said, we can only speculate on Alyssa’s sexuality, so it doesn’t rule out that she could also like men. But could it be that Nol provides her the protection that she needn’t deal with her sexuality? She has a boyfriend, case closed. It doesn’t matter then, who she’s interested in. It doesn’t matter, because who is going to question anything? 

(Also, tangential, but fake-dating someone who so-very-much resembles young Shinae, with that bright, radiant smile that had a way of always undoing Alyssa? Listen. You can’t tell me that’s a coincidence. Even if she’s never had feelings for Nol, I still think she was drawn to him because of how Yeonggi reminded her of Shinae, how he was like an echo of the only real friendship she’d had, and I think that was a big part of the draw. Shinae had such an impact on her that years later, she was shaken to her core by someone whose smile was just as radiant as hers.) 

I don’t think this is the last we’ve seen of Alyssa’s sexuality, either. It wouldn’t have been repeated so many episodes if not. I always thought that Alyssa’s career will fail at some point, because the whole point of her character is that she is constantly trying to chase love and affection in places she won’t find it, and her fans’ love for her is only conditional. It used to be I thought that bullying allegations would arise and that would cause her call. Claims that Alyssa was involved with a girl who got pushed out of her school window, that she turned on her. It’s so easy to take the truth and twist it up a little. Shinae saw her first bully again when she was buying comics. Who’s to say Sarah Lee won’t show up again to bring down Alyssa. As a former trainee, wouldn’t Sarah have the most jealousy towards Alyssa? But now I do worry that it could be rumors of her sexuality that could be her undoing. After all, how did the boys targeting Alyssa know what they did? Where did they glean the information they used against her? 

I know Alyssa isn’t a popular character with a lot of the choices she has made. But I do think it’s worth acknowledging how her potential sexuality ties into those choices she made, and the kind of pressure she felt to fit in, to be seen as “normal”. A lonely girl who wanted nothing more than to have lots of friends, who probably felt so empty despite her parents’ overbearing interest in her, but who also knew that there was something about her that is considered Not Right, and that it was something that could threaten the very thing she covets - being adored. Idk, I think in that context, her choices make sense. They’re still selfish, she still can’t face conflict, she still doesn’t get that being loved is not about a role but who you are. But I think if she could feel that part of her accepted, if she didn’t fear what her parents would think, if she knew she’d be supported no matter what, maybe she wouldn’t have made those choices. 

Like everyone in ILY, Alyssa has to contend with who she really is and she really wants. Now that she’s an idol, she’s come to realize that even this love is conditional. That it doesn’t fill that lonely void, that it doesn’t replace whatever it is she’s seeking - it just makes it worse. 

[bonefall]

Maybe I'll make a post on this at some point but like, something deeply fucked up about TNP and Po3 that people have totally forgotten about is how badly they try to whine that "Tigerstar Had Good Traits :("

Firestar does it, Brambleclaw does it, and they keep doing this after it becomes this GRAND irony that Firestar almost gets Tiger'd to death in a fox trap because he was too trusting. Bramble gets his pity award of keeping deputyship and then cries to his son about how No One Saw The Good In Tigerstar :(

And it's wiiiiild that no one else in this fandom has done anything with the fact that Leopardstar broke the Warrior Code to appoint Hawkfrost, who had no apprentice, an extremely aggressive and warmongering Tigerclone who says things like "Tigerstar wasn't the worst cat to look up to." ONLY qualifying trait was being kinda like Tigerstar.

And she practically did that the SECOND Mistyfoot went missing. And then Leopardstar continued to be one of the most violent and xenophobic leaders through Po3, joining with WindClan to attack ThunderClan.

What I'm getting at is that like, a few years ago, with books like "Blackfoot's Reckoning" and "Shadow in RiverClan" it's like they suddenly decided to retcon in a bunch of "redemption arcs" in hindsight. They just pretended like there was this grand high reckoning with TigerClan, when there literally wasn't, and if anything that caused SERIOUS problems for the cast that the authors didn't fully acknowledge as such.

And now ppl haven't actually read the main series and are just working with their recent memory of all these retcon books.

But TNP and PO3 are still there, and you can go and see the ACTUAL timeline where Leopardstar is really not apologetic at all, and Blackstar is a useful stooge for the very next wannabe dictator that strolls in, in spite of the new side content that COMPLETELY mischaracterized them for their plots to work.

[bumblingbabooshka]

My name is [BRUTUS] and my name means [HEAVY] so with a [HEAVY] heart I'll guide this dagger Into the heart of my enemy

Something about having absolutely no choice in who you marry. About being literally forced by the law to spill blood - to accept this stranger as your husband over a man you truly care for or accept the fact that the man you love might die because you put him in danger. Something about risking becoming the wife of a man you've never even seen before a few minutes prior because you know anything would be better than putting your beloved in harm's way. Something about the trust inherent in that decision and in the way she speaks of it after. Truthfully, T'Pring doesn't know the captain and she doesn't know Spock. Either one of them could have taken her as their wife but she does know Stonn. She knows that Stonn will remain by her side no matter what. They made a plan together. They have an agreement which T'Pring believes will be upheld even though the plan changed with the arrival of Kirk. Stonn will always be there, always, and Stonn will be hers. Something about the language used around T'Pring: Ownership, subservience, non-personhood. T'Pring is an object that Spock can win. She cannot reject him, she has no say in the matter other than having Stonn 'claim' her instead. Even when Spock leaves after being very clearly rejected by T'Pring he says "Stonn, she is yours." as if despite her clear rejection he still owns her and is must formally 'give' her to Stonn. But the language T'Pring uses around Stonn is a break from that: "There was Stonn who wanted very much to be my consort, and I wanted him." Stonn who wanted very much to be HER consort and she WANTED him. The language here is very particular - It's not, for example: "Stonn wanted me to be his wife" - he is HERS. And she WANTS him. There's a mutual affection there and a strong trust - a trust which seems to be well founded since Stonn (though silent) stands by her side at the end of the episode. <- That might seem small but if Spock would reject her for 'daring to challenge' (again, the language is not 'because I don't want you' but more of an implied disgust at her having the AUDACITY to reject him) then it's not a stretch to assume that it'd be considered an insult in the TOS Vulcan society to NOT choose Stonn as her champion after a prior agreement. Anyway T'Pring was a woman in an impossible situation within a society which saw her as more of an object than a person and she wanted Stonn and Stonn wanted to be hers and she trusted that he would understand if she had to publicly pick someone else to ensure his life would be spared and he did understand.

[infinite-infinite-stars]

What if... Who Killed Markiplier... but it's Ace Attorney Investigations...

"Ace District Attorney Investigations", if you will.

(Everything you see here was drawn by me, with some backgrounds/that one evidence photo being either screenshots from the show, or edits of official photographs of Mythea Castle, where WKM was filmed)

[aquanutart]

Nyaha~! Caught in my electroweb! ♡

[kanonavi]

(Spoilers for 4.5 Potion event (just in case lol I know I'm late on this))

At this point, I'm really wondering if we're gonna end up getting some payoff in the future for much Paimon absolutely hates Venti for no discernible reason. Because he isn't the only person she's been kinda standoffish with over the years, but he's by far the most consistent. Like, when you consider the fact that Paimon even warmed up to Al-Haitham by the end of Sumeru, it kinda says a lot about her apparent grudge against Venti by comparison. (And I love Al-Haitham to death, but I'm not about to say he's a ray of sunshine compared to Venti.) (Event interaction-related stuff under the cut)

The contrast to how Paimon treated Diona versus how she treated Venti when they came to the potion shop together was like night and day. I've been going around to all of my friends today and describing Paimon's reaction to them as something like "Diona omg hi it's so good to see you it's been forever how have you been!!! .........And Tone-Deaf Bard." which is obviously a comedic exaggeration, but also not entirely off the mark. And all Venti did was... exist? Try to help Diona out with what she was trying to do? Yes, he's going to get free drinks out of it but he also went truly above and beyond to help Diona find a new ingredient all the way from the middle of nowhere in Dragonspine. If he didn't care about Diona's feelings and what she was trying to do, he wouldn't have done that. (But of course, Venti does care because he's a good Archon and a good person and I love him for that.)

There are genuinely very few things that make me believe in the theory that Paimon is some kind of agent from the Heavenly Principles than the fact that she hates Venti so steadfastly. There's so much evidence that connects Mondstadt and specifically Venti/the Thousand Winds to the old civilizations of Teyvat that the Heavenly Principles once destroyed. For Venti to still exist in the world and let his people make their own choices in the way that he does, of course they and by extension Paimon would hate him. Plus, even if her annoyance with him started with his tendency towards being cryptic, why would Paimon care so much about what he knows? Why does one of his voicelines imply that he doesn't want to tell the traveler things with Paimon around?? It's just so incredibly suspicious.

The scene is kinda funny though when you look at how good Venti is with kids (how helpful and kind he is to Diona despite her wanting to get rid of alcohol, which he loves) and yet one of the most childish characters in the entire game absolutely despises him. Every day I wake up and wonder what in the world Paimon's damage is and if we're going to get a justification for it, or if this is sincerely just what the writers think is funny.

[possamble]

What are your headcanons about Marcille's mom if you have any? It's interesting that what drew Donato to her was cause she lived the history he studied, or that was said somewhere at least. She must've had an interesting life.

so this was going to be just a normal answer but then I realized I have a Lot of Things To Say. so here goes, a compilation of what we know for a fact from the canon, what I've extrapolated from the visual cues and details, and my theories based on all of that.

Things we know for a fact about Marcille's mother because they were explicitly stated in the manga and supplemental materials:

She was a court mage for a Tall-man kingdom at the southern part of the Northern Continent

Donato, a court historian, fell in love with her because she had lived through the history he was studying, and he courted her for 17 years (age 15 to 32) before getting married

She was a cheerful person who rarely showed extreme emotion and took things as they came

She always cooked a huge meal for Marcille on her birthdays

She remarried a gnome after Donato's death and a short distance away from Marcille's childhood home

Pipi, Marcille's pet bird, was actually older than Marcille and originally belonged to her mother (bird died at 62)

She was extremely heartbroken when Donato died and ultimately ended up instilling a deep fear of mortality in Marcille with her words

the only time she showed extreme emotion in front of her family was when Donato could no longer eat his favourite dish near the end of his life.

She scolded Marcille for being cruel to ants (implying she can have a stern side when needed)

Things that are explicitly shown but mostly through visual cues

She has a very distinctive style of dress always involving a ribbon choker (mirroring Marcille's habit of always wearing a matching choker with any of her outfits that don't cover her neck)

She was almost stereotypically good at housekeeping and traditionally "wifely" things (very frequently depicted wearing an apron or doing some domestic chore when not at work, seems to have been an avid cook).

She knits? (also, note the affectionate smile as she's looking at Donato and Marcille reading a book together in the full panel)

She was as excited for Marcille's milestones as Donato was.

She didn't tell Marcille much about elven food

(there are a couple things that this panel in particular implies:

She lived a good deal of her life (if not being born and raised) in a mainly elven country in the West, implied by her knowing enough of an elven region's cuisine to prefer Tall-man food over it

seems to have a pretty carefree and casual demeanour overall, if this is how she replied to Marcille asking her about it (sounds like she never gave her culinary preferences that much thought to begin with)

slightly related to number 2, it seems like she and Marcille had a fairly casual parent-child dynamic (especially in comparison to the Toudens' memory of their father)

(local elf tastes Italian food once and never goes back))

However, she seems a lot more... serious in most of the other times we see her? Almost like the very stereotypical archetype of a graceful elf.

Subsequent conclusions about her personality:

Usually pretty carefree and cheerful at home, has been a loving and attentive parent throughout Marcille's childhood (while not being so doting that she didn't discipline Marcille).

Slightly more conjectural theories on her personality:

Had a much more graceful and professional personality at work, which would explain the more serious portraits we see of her.

Given that both she and Donato had positions at the royal court, it seems a little odd that she'd go out of her way to do all the housework herself, so maybe she just enjoyed doing it?

Now taping all the evidence together and toeing the line between analysis and fanfiction:

It's clear that she loved Donato very much and was utterly devastated by losing him. But there's one thing that really stuck out to me in what little we see of her:

Doesn't she seem... angry? The way she's gritting her teeth, clutching the tablecloth, and how this is the first and only time we see her eyes opened that wide. In the following panel, you see her being quiet and dejected after her initial outburst. She's still crying very intensely, but her brows are furrowed, and she's not really responding to Donato's affection in her body language.

We're not told the details of how she felt about losing Donato other than that it upset her. But this, to me, implies that she was angry and resented that he was aging, that the end of his life was approaching. An "it's not fair" type of preemptive grief. And if this was the first and last time she cried like this in front of her family, she was either very good at coping in private... or very bad at letting herself feel unpleasant emotions until they become unavoidable and end up overwhelming her.

It's not too remarkable a detail on the surface. It's even reminiscent of what the audience has seen of Marcille. But... when it comes to the big picture, you'd think an elf who voluntarily chose to marry a tall-man and have a half-elf child would have been better prepared for this.

It kind of recontextualizes her cheerfulness to me.

"I'm sure everything's gonna be okay!" (or some variation thereof, depending on what translation you have).

And this is stated to contrast her extreme grief when finally confronting Donato's failing body and eventual death. But I'm wondering if... maybe this optimism was why she was so upset. What if she went into all of it thinking "everything's gonna be okay"? What if she was a little young by elven standards, and just followed her heart thinking that her own resilience would get her through anything?

Of course, only to get completely overwhelmed when she actually loses Donato. She turns into a completely different person. And that's heartbreaking on its own-- but what the audience sees is the effect it had on Marcille. Can you imagine being her, watching your invincible and upbeat mother suddenly lose all the light in her eyes in one go?

I've already made a huge post about how I think Marcille models her "work persona" off her mother, but another thing that stuck with me as I was looking for more details in the manga was this:

copy pasting from the other post i made about it lmao it's like... the second she resigns herself to lifelong pain and terror, there's another portrait of her mother facing her like this. with their heads bowed, in mirrored body language of resignation and despair and sorrow. Except it's posed like Marcille is still looking at her mother but her mother is looking away.

It took me a second to realize, but I think that it's a visual metaphor for the fact that Marcille's mother was the only long-lived role model she had-- and she failed to model healthy grief for her daughter. I don't say this as an accusation or to disparage her as a character, but just as a matter of fact. In her, Marcille was seeing herself older and losing a short-lived spouse or loved one of her own, and all she saw was hopelessness.

But her mother didn't mean to instill hopelessness and terror in her. She wasn't really thinking of how it would truly affect Marcille at all (at least, that's how I'm interpreting her looking down and away from Marcille in the metaphor), she was just sad. And she, in her own way, was trying to protect her daughter and help her prepare for future losses.

What she meant was "loss is inevitable, and you have to learn how to be in pain but live on anyway." What Marcille heard was "loss is inevitable, and you will be scared and hurt for the rest of your life."

Again. Marcille's mother doesn't feature explicitly in the story the way her father does -- but in so many ways, her shadow, her silhouette, her reflection is always hanging over Marcille.

All that to say... headcanon-wise (everything from here on is 100% without evidence lmao), I'd like to think that she matured and realized that she failed Marcille. I imagine her being regretful about it, wanting a chance to fix it but never finding a way to insert herself back into Marcille's life when Marcille is so so so busy becoming the most accomplished mage possible. I imagine her being herself again, now, so many years after her loss and after remarrying -- but with her cheerfulness tempered with a lot more wisdom and the pain of having gone through loss like that. I think the second Marcille actually tells her what happened in the dungeon, she'd want to go running to her daughter again -- if Marcille tells her the full truth instead of just being embarrassed she let things get that far. (oh, the tragedy of her wanting to be more like her mother and an accomplished adult who doesn't need to be babied... being embarrassed to actually tell her mother how much she fucked up...)

There's also the tension of her having remarried -- I know that there's at least a little bit of resentment that Marcille harbours about that, because she's childish like that at heart even if she makes an effort not to externalize it. I think that her mother would be aware of that, potentially adding to her sense of guilt and apprehension at trying to reappear/intrude on Marcille's life. I honestly don't think Marcille has met her stepfather -- or even considers him a stepfather rather than "mama's new husband" and kind of a total stranger. I think she and her mother actively don't talk about it in their correspondence, like an elephant in the room.

but, ultimately, I think her mother is on her side no matter what. Ancient magic? Dark necromancy? Sure, she'll feel guilty and like she was partially responsible for setting Marcille down such a painful path, but she wouldn't care. that's her daughter!! she would've moved back west and been petitioning for her at the court, buying a house right next to the Canaries barracks and visiting her every day that she wasn't on a mission. And if her husband had opinions on Marcille becoming a "dark arts user," he either gets over it or it's divorce with him. Yes, she might have had her optimism completely humbled by losing Donato like that -- but she's still headstrong and self-assured and she doesn't care what people think of her. It's her way or the highway and she's always going to be in Marcille's corner.

(She also needs a name lol. I went with Juno, just to be cute about "Marcille"s closest real life equivalent being Marcella, which is the female version of Marcellus, which in turn is a diminutive of Marcus, which was derived from Mars. Absolutely in love with Marcille potentially being named after Ares/Mars the fucking god of war btw)

[imunbreakabledude]

that tweet about piper i reblogged has me thinkin. part of the reason i love piper so much isn't just because the character she grows into is the type i always love. it's also because she doesn't start out that way. you see her go from terrified peacemaking middle sister to exhausted quick-temper blow-things-up-first-ask-questions-later big sister, and... i just think piper halliwell is so special, for depicting in real time on a fun TV show, how good girls get fed up taking shit and realize you have to be a bit of a bitch to get anything done

[americankimchi]

wish i knew what to do with this helpless frustration i feel every time i see people vilify the jedi for their way of life when the person doing the vilification doesn't even understand them properly. it's one thing to criticize and dislike them if you have an accurate picture of who they were and what they're trying to do vs. hating them because you straight up don't understand them at all 😭

[louisdelac]

there’s a question to be asked i think about to what extent “getting out” can be conflated with “being saved” in this show, and what freedom actually means to any of these characters.

like you can argue that shiv saved ken by voting against him on gojo, but what if your intent behind saving someone is to inflict a worse punishment than if you’d just left them trapped? can a child weaned on poison survive on milk, or are you just sentencing them to a death by inches, starved of the only thing they know? and if you save someone specifically because you know that being saved is the worst thing that can happen to them, is that kindness or cruelty? at what point does a good thing become a malicious act?

and you can say that roman is finally free, but what exactly is he free from? the company? his father? does unlocking a cage mean saving a dog, or are you allowing him out on the street knowing there’s a kill shelter nearby? if the driving anxiety behind roman is that he’s an idiot and a failure—that he’ll never amount to anything, and trying will only lead to pain—and he’s finally cut loose once all of those anxieties have crystallized into cold hard fact in his mind, what has he actually escaped from? if the cage is in your mind, is it even possible for somebody else to unlock it?

the fundamental truth of a tragedy is that even being saved can be a death sentence, if the characters are incapable of escaping the thing doing them the most harm (themselves and their childhoods)

[scintillyyy]

thinking about it again (steph's anger holding a lot shame & disgust for her parents/their life choices/her upbringing and her negative biases as a result and her desire to completely divorce herself from her roots & be, what she thinks is, better than that)

[dangerliesbeforeyou]

ok so we're all in agreement that the way the show is handling trixie and matthew's storyline is complete shite right?

[sysig]

They’re perfect for each other honestly (Patreon)

[blueskittlesart]

any thoughts on how once again zelda was robbed of her agency because her "father figure" didn't listen to her? even if rauru was kinder to her than her father. and that she had sonia who was patient and loving for a little while before she died (just like her mother). i know rauru apologizes for his hubris but still, i wish we saw zelda be upset about it. and even if zelda was such a big part of the quest she still literally sacrificed her humanity once again because of someone else's mistake- because rauru literally didn't listen to the girl from the future that warned you that shit was going to go down. o know nintendo just loves putting zelda inside crystals and stones but i wish we got something better. even if it was her decision to become a dragon... did she have any other choice? it really just feels like they robbed her of agency again just like botw and the games before

i've been trying to figure out how to answer this one. because there are two ways i could analyze this plot point, either from a writer's perspective or an in-story perspective, but neither of those lead to me fully agreeing with your interpretation? I think there's definitely something to be said about zelda consistently being pushed aside in these games, but. well. ok let's get into it ig

from a writer's perspective, I do honestly have quite a bit of sympathy for the zelda devs as they attempt to navigate the modern political landscape with these games. The cyclical lore, though canonized relatively recently, holds them to a standard of consistency in their games in terms of certain key elements. one of those key elements is that there has to be a princess, and that princess must somehow be the main macguffin of the game. The player must chase her, and the end goal of the game must be to reunite the player and the princess. In 1986 this was an incredibly easy sell. women didn't need to be characters. players were content with saving a 2-dimensional princess whose only purpose was to tell them "good job!" at the end. but as society advances, that princess becomes a much more difficult character to write while adhering to the established overarching canon. (as a side note: i don't necessarily believe that the writers SHOULD be held to the standards of that canon. I think deviating from it in certain areas would be a good change of pace. but i also recognize that deviations from the formula are widely hated by the loz playerbase and that they're trying to make money off these games, so we're working under the established rule that the formula must be at least loosely adhered to.) Modern fans want a princess who is a person, who has agency and makes decisions and struggles in the same way the hero does. but modern fans ALSO want a game that follows the established rules of the canon. so we need a princess who is a real character but who can ALSO serve as a macguffin within the narrative, something that is inherently somewhat objectifying.

the two games that i think do the best job writing a princess with agency are skyward sword and botw (based on your ask, our opinions differ there lol. hear me out) in both games, we have a framing event which seperates zelda and link, but in both games, that separation was ZELDA'S CHOICE. skyward sword zelda runs away from link out of fear of hurting him. botw zelda chooses to return to the castle alone to allow link the time he needs to heal. sksw kinda fumbled later on by having ghirahim kidnap her anyway, but. i said BEST not PERFECT. botw zelda I think is the better example because, with the context of the memories, she's arguably MORE of a character than link is. we see her struggles, her breakdowns, her imperfection, specifically we see her struggle with her lack of agency within the context of the game itself. when she steps in front of link in the final memory, and when she chooses to return to the castle, those are some of the first choices we see her make almost completely free of outside influence; a RECLAMATION of her agency (within the narrative) after years of having it stripped from her. from an objective viewer's standpoint, this writing decision still means she is absent from 90% of the game and that she has little control over her actions for the duration of the player's journey. however I think this is just about the best they could have done to create a princess with agency and a real character arc while still keeping the macguffin formula intact--you're not really SAVING zelda in botw. SHE is the one that is saving YOU; when you wake up on the plateau with no memories, too weak to fight bokoblins, let alone calamity ganon. the reason you are allowed to train and heal in early-game botw is because SHE is in the castle holding ganon back, protecting YOU. When you enter the final fight, you're not rescuing zelda, you're relieving her of her duty. taking over the work she's been doing for the past hundred years. in the final hour, you both work in tandem to defeat ganon. while this isn't a PERFECT example of a female character with agency and narrative weight, i think it's a pretty good one, especially in the context of save-the-princess games like loz.

as for totk, you put a lot of emphasis on rauru not believing zelda and taking action immediately, which, again, from an objective standpoint, i understand. but even when we're writing characters with social implications in mind, those character's actions still need to... make sense. Rauru was a king ruling over what he believed to be a perfectly peaceful kingdom. zelda literally fell out of the sky, landed in front of him, claimed to be his long-lost granddaughter, and then told him that some random ruler of a fringe faction in the desert was going to murder him and he had to get the jump on it by killing him first. the ruler which this girl is trying to convince rauru to wage an unprompted war on has the power to disguise himself as other people. no one in their right mind would immediately take the girl at her word. war is not something any leader should jump into without proper research and consideration, and to rauru's credit, he DIDN'T ever outright dismiss zelda. he believed her when she said she was from the future, he allowed her to work with him and he took her warnings as seriously as he could without any further proof. but he could not wage an unprompted war on ganondorf. that's just genuinely not practical, especially for a king who values peace among his people as much as rauru seems to. as soon as ganondorf DID attack, giving rauru confirmation that zelda's accounts of the future were real, he began making preparations to confront him. remember that zelda didn't KNOW that rauru and sonia were going to be casualties of the war--she didn't make the connection between rauru's arm in the future and rauru the king until AFTER sonia's death, when rauru made the decision to attack ganondorf directly. I think the imprisoning war and the casualties of it were less an issue of zelda being denied agency and more an issue of no one, including zelda, having full context for the events as they were unfolding. if zelda had KNOWN that sonia and rauru were going to die from the beginning and was still unable to prevent it that would be a different issue, but she didn't. none of them did.

I think another thing worth pointing out with rauru and his death irt zelda is that rauru is clearly written specifically as a foil to rhoam. this is evident in how he treats both zelda and link, with a constant kindness and understanding which is clearly opposite to rhoam's dismissiveness and disappointment. consider rhoam's death and the circumstances surrounding it. He died because, in zelda's eyes, she was unable to do her duty; the one thing he constantly berated her for. Rhoam's death solidified zelda's belief that she was a failure, a belief which she KNEW rhoam held as well. his death was doubly traumatic to her because she knew he died believing it was her fault. Now contrast that to the circumstances surrounding rauru's death. Rauru CHOSE to die despite zelda's warnings, because he wanted zelda and his kingdom to live. rauru's death was not agency-stripping for zelda; in fact, it functioned almost as an admission that he believed her capable of continuing to live in his place. With him gone, the fate of the kingdom fell to her and the sages. he KNEW that he would die and still went into that battle confidently, trusting zelda to make the right decisions once he was gone. where rhoam believed zelda incapable of doing ANYTHING without link, rauru trusted zelda COMPLETELY with the fate of his kingdom. several details in totk confirm that when rauru died there was no plan for zelda to draconify, that all happened after rauru was gone. it was HER plan, the plan which rauru trusted her to come up with once he was gone. and I think it's also worth noting that zelda's sacrifice with the draconification parallels rauru's!! Rauru gives up his life trusting the sages and his people to be able to continue his work in his place. Zelda gives up her physical form trusting link and the sages in the future to be able to figure out what to do and find her. these games in general have this recurring theme but totk specifically is all about love and trust and reliance on others. zelda relies on link, link relies on zelda, they both rely on the champions and the sages and rauru and sonia and they all rely each other. reliance on others isn't lack of agency, it's a constant choice they make, and that choice is the thing which allows them to triumph.

The draconification itself is something i view similarly to zelda's sacrifice in botw--a choice she makes which, symbolically & within the confines of the narrative, is a demonstration of her reclaimed agency and places her at the center of the narrative, but which ALSO removes her from much of the player's experience and robs her of any overt presence or decisionmaking within the gameplay. again, I think this is a solution to the macguffin-with-agency dilemma, and it's probably one of the better solutions they could have come up with. Would I have liked to see a game where zelda is more present within the actual gameplay? yes, but I also understand that at this point the writers aren't quite willing to deviate that much from their formula. the alternative within the confines of this story would be to let zelda DIE in the past, removing her from gameplay ENTIRELY, which is an infinitely worse option in my opinion. draconification allowed her to be present, centered the narrative around her, and allowed the writers to reiterate the game's theme of trust and teamwork when she assists the player in the final battle, which i think was a REALLY great choice, narratively speaking.

In any case, I don't think it's right to say that zelda was completely robbed of her agency in botw and totk. Agency doesn't always mean that she's unburdened and constantly present, it means she's given the freedom to make her own choices and that her choices are realistically written with HER in mind, not just the male characters around her, and I think botw/totk do a pretty good job of writing her and her choices realistically and with nuance.

[solilakoi]

Monster High March Day 3: Toralei Dancing

Idk why, but as I drew this I imagined her dancing to I Am A Poseur by X-Ray Spex.  Has that kind of aggressive “I dont give a fuck” and abrasive-on-purpose energy that I think Toralei revels in.