#i started the elves arc and

[fumifooms]

"Marchil? I guess I can see it on Chilchuck’s end, but what about Marcille’s? What makes you think she could develop feelings for him?" I’m glad you asked!

The first thing to note is that she does think highly of him

In the page on the right, literally defending his virtues and literally comparing him to Dalclan. And oh…

She does love a brooding mysterious guy who closes himself to love. But surely, Chilchuck isn’t her type at all, right? He’s not princely or knightly at all. In apperances certainly not, both looks wise and demeanor wise, but then that’s why she seeks to know him on a deeper level, to not only look shallowly.

And hmm. Chilchuck really is quite selfless isn’t he? Always looking out for others, and saving specifically her often, always making sure himself and, staying in or even running towards danger for her sometimes. Modesty is often considered heroic…

And can we talk about that drowning one… You can definitely frame the special attention as him knowing she tends to hesitate or be clumsy, and then his insistance on pulling her out of danger that she’s the healer aka the most important to keep alive, but. From the one who says that he just keeps his ass out of fights and won’t help this is a lot of risk to take, and he does die trying to pull her to safety in the dungeon rabbits chapter. And the drowning bit??? That’s when the dungeon collapses. The only reason they DON’T die of drowning here is that the water then gives way to outside. There was NO hope of pulling her to safety here and resurrections would likely not work either, he truly preferred to die with her than try to survive himself.

Sit your ass back DOWN you are in no state, self-sacrifical hero much damn

And Marcille definitely noticed this imo, after all she loves learning all she can about him, remembering things like how he hates waiting on people too. She pays attention to him and what he does and what he says. This to say that it’s notable, whatever reason for it you may think (though we know by this point at least she was already aware he was an adult though it wasn’t internalized), out of everyone it’s Chilchuck’s bed that she wants to sleep in during the Golden Kingdom stay. He’s safe and comforting to her: dependable, the defining trait in her view of him as is shown by the relationship chart in the Adventurer’s Bible.

^ Lending handkerchiefs is a romance trope btw and handkerchiefs have irl history of being used for courting. Especially in old English literature and plays like Shakespeare’s Othello, and personally I do see a lot of Shakespeare in Dalclan (nobility political drama with some romance). There’s how his cowl is a dearly beloved souvenir from his family too, there’s a lot of aesthetic tropes you can apply to him.

All this to say you can 100% romanticize Chilchuck into a princely noble guy if you try and that’s exactly what Marcille does with the wife roleplay. She doesn’t need much in the first place, she latches onto crumbs and makes aesthetic narratives out of details, give her an inch she’ll take a mile.

But what’s interesting about the shift throughout the arc of her and his relationship is that she starts out idealizing him into a little angel of a kid (shapeshifter), and she ends it idealizing him as a virtuous husband and family man instead.

And what’s doubly interesting is that in the former, she’s actively warping who he is personality and demeanor wise to fit the aesthetic, he doesn’t have that bitter pride of not asking for help and the edges have been smoothened. But what she does during the wife roleplay is something else, she acknowledges the flaws and just… Accepts them, rolls with them. She’s aware of his flaws and implements them into the narrative, but the reason why his wife left doesn’t capitalize on them even, rather Chil is chilblivious and his wife loves him very much still, she’s just testing him after having had a night of feeling out of place at his side.

And this is what separates the idealization vs romanticization, she’s not twisting him into someone else she’s just uplifting what he is and focusing on the good sides.

Marcille: "he has a shitty personality sometimes but if he was my husband I’d still cherish him" "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 nice and that’d make me happy, but I’d also be sad because you wouldn’t tell me that you love me enough"

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 and fighting for

And what’s funny too is that you might expect her to cool down on him once she learns more about him but actually she only gets increasingly into his business. You tell her your age and next thing you know you promise to introduce her to your family. Give her an inch she takes a mile. And too the thing is, Senshi is equally mysterious but she doesn’t pester him like at all, asks him ONCE about his succubus and he doesn’t even answer and that’s like… It. With Chilchuck it starts off innocently enough with her wanting to know his age, hometown, the stuff she mentions having asked pre-canon. But it just keeps and keeps going and escalating. Think she’ll be satisfied now knowing you have a wife and kids, maybe she’s disillusioned now? Wrong! She wants to know their names and ages and occupations and hey how did you propose to your wife? Do you think she’ll stop after meeting them? What’s next? What will she want to know next????

She’s… Like it’s not a reach that Marcille is all over him. Like it doesn’t mean it’s romantic but she just is. She is not normal about him idk. Can you not ask him about what tongue technique he used when first kissing his wife, give the man breathing room

Marcille could literally go "if I was Chilchuck’s wife" having deeply pondered and thought out the hypothetical and people would still ask where anyone sees any romantic potential between them. Oh wait

There’s a platonic explanation for everything (almost?) in Dungeon Meshi don’t say I’m saying otherwise, but it’s definitely not like there’s nothing here to read into lol

Going off a bit more under read bc it’s my fave topic

Marcille has a whole theme with the charming prince trope with her idealization and storybook motif and Chil is kinda 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✨" catalyst

Do you see do you see she starts canon thinking the most romantic thing is a prince charming but her arc in the end has her romanticizing an average, flawed, real and realistic family man, who’s on the poorer side and is on the verge of divorce. And that’s what he needed, too, seeing the positive of himself and the situation instead of focusing on the negative is explicitly what inspires him to hope that he might be able to reconcile with his wife, gives him the courage and self-esteem to shoot his shot.

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!!!!

He’s the devoted virtuous man that she wantsss 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 & devoted & loving man. Far from a prince charming, but not fully detached from it either. Something worth fighting for despite the flawed cracks. Like literally, flawed romance being worth fighting for is literally the finale of Chilchuck and Marcille’s arc on the matter, where their separate arcs and issues intersect at the most crucial moment.

Marcille is important to Chil’s arc not only because of her optimism, but also because of her interest and knowledge in romance & matters of the heart, and that’s what he needs to both open his heart up to hope and to try to reconcile with his wife, like idk sounds gay

Their arc together is literally learning to 1) see each other for how they are and not undermining their qualities 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 romantically beautiful like KUI KUI STOOOOP STOP I’M ALREADY HOOKED I’M ALREADY-

 Ok fine that’s me reading into the tropes too much forgive me for being storybook brained but like. Speaking his heart out to a lone woman on a balcony, Romeo and Juliette shit, asking if she, too, doesn’t want to meet his family, madly blushing. And like she’s learned with Chilchuck it’s all in the little things, all the implications he cannot speak aloud. She does reciprocate, does blush madly back, and the first thing she does is shower him in flowers and jewelry and what in her heart is coded as romantic gifts

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 an offer, 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 too…. Crazy

Doesn’t it sound like a proposal. One that’s both so storybook-like and not, contrastedly real and grounded, 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?? This is @ the woman who said "Chilchuck is a shy/bashful man so I know he wouldn’t tell me he loves me, but…" btw

To quote a friend, truly the shiny secret unlockable dating sim capture target : THE DUNGEON LORD BIT WAS SO FUNNY BECAUSE HE KNEW SHE'D TAKE IT HOOK LINE AND SINKER HES THE ONE WHO GOT HER TO TURN AROUND COMPLETELY SHES LIKE. WIDE EYED FLAG RAISED???? FLAG RAISED WITH CHILCHUCK 👀👀👀‼️👀👀‼️👀

And the way that this is the culmination of their arc together… Like people are not ready for the ‘Chil calling out to dunlord Marcille on the balcony has Romeo and Juliette romance novels imagery’ take. Or the ‘their arc is about growing to see beauty even in the non-idealized, in the flawed and in the real’ take which makes it so so perfect if she were to lower her ideal from a charming elven prince to a virtuous halfling man (which she does end up romanticizing)

So there, you got to witness in real time what happens when I think about marchil for longer than 2 minutes, there are so many layers it’s a deranged rabbithole. I saw the necronomicon of subtext and it’s driving me to madness with forbidden knowledge that no one else sees

……. Like what if I told you she implicitly picked Chilchuck over a "unrealistic prince charming who’s actually disingenuous" much earlier in the story already. If she was given the choice to think through going with a guy that seems perfect and chivalrous like her succubus she’d pick Chilchuck over the other actually. If I sound insane rn tune in for my full analysis on them coming this month hopefully thank youu. Interwoven arcs of fantasy vs reality and idealization vs pessimism I love youuu

So now you know the general thesis of my planned analysis about the importance of the prince charming figure in Marcille and Chilchuck’s arc, where she romanticizes things to a sometimes worrying degree or idealize people into something easy and digestible and poetic (like Chil being a kid, and then him being a virtuous ✨✨✨husband), and how she needs to value aesthetics less and actual acts and facts more, be more grounded (like seeing people for what they are flaws and all, and 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 he still is worthy of love and having his cute grand romance story and his happy ending. Ik I keep repeating the same point through this but I need it to be burned into everyone’s brains it has its grip on me I can’t do this. They are so special……

[ambrosiagourmet]

Marcille didn’t use illegal magic to resurrect Falin bc she just loves Falin that much, she was able to resurrect Falin bc she already knew illegal magic bc she doesn’t respect elf cops.

[franeridan]

I understand why everyone who read dunmeshi instantly shipped marci and falin but tbh the fact that it's just treated as canon by the fandom cuts on a lot of interesting analysis that could be done on their relationship outside of the romantic reading, which is kind of a shame

[yusiyomogi]

i actually think there's some significance in the fact that mithrun wears oversized shirt with open collar (it most likely belongs to laios) in the final arc of the manga. i mean, not just that kui simply wanted to draw him in oversized clothes, lol.

in all instances we see young (pre-dungeon) mithrun he's wearing clothes that hide his body as much as possible. which seems normal, until you see what other elves prefer to wear: most of them wear light short tunics with no sleeves and they don't usually even wear pants. here's a comparison to his brother's outfit, for example, as they stand next to each other.

it's not like his fashion choices are unique, but it certainly feels deliberate. he doesn't add any variation to his canary's uniform either, but that's not especially notable, i guess, because a lot of canaries don't do that (i mean, it's still their armor).

but in his perfect world he's also one of the few who always wears this type of clothes. never revealing himself. sitting a little further from everyone else.

he even lies in his bed fully clothed, like he can't ever bring himself to let his guard down, never showing his "true" skin to anyone.

btw notice that his bed is a single bed, even though he's been living with his partner for 5 years at that point.

and that's the idea, isn't it? he never lets himself be truly vulnerable with anyone, even in his dungeon, where people are supposed to like him unconditionally. i think it adds something to the horrible scene with the demon: it's especially disturbing that the demon literally doesn't care how much of yourself you wanna hide, it sees (and eats) right through every protective layer. and we all know what the allegory of this scene is.

when mithrun loses all his desires, he no longer cares what clothes he wears. and in some twisted metaphorical sense it's heartbreaking to see him in a simple elven tunic when he's recovering, the one that doesn't hide any of his injuries or scars or terrible physique.

he doesn't care to hide himself anymore, but it isn't on his own volition. it's something that was ripped away from him, as well as his privacy (a lot of people have to go through this when they're in medical care actually).

when he recovers and enlists to canaries again, he starts to wear full uniform again, but i don't think it holds much significance to him anymore. or at least he thinks it doesn't. we can see that cithis forces him to wear frilly dress at some point and it's implied that he goes along with it (cithis is still an asshole for that btw).

at this point he's fully focused on finding the demon, but i think the sad reality is that he's always been capable of developing new desires. i'd argue that there are already some things he cares about without realizing it, in the main story. but what's stopping him from actually realizing it at that point is that he's clinically depressed. his disability makes his life difficult; he lives with the idea that he's completely "broken", he accepted the reality of living like that and always goes along with what others make him do. so, he doesn't believe in his own privacy anymore. it’s actually something kabru talks about in the adventurer’s bible comic, when he tries to help mithrun to figure it out again, to help him see the value of privacy, of choosing what he wanna reveal of himself. mithrun needed a reminder that he still has this choice like anybody else.

i think the scene where kabru asks him about his past for the first time is interesting in that sense. first of all, i like the symbolism of kabru unbuttoning mithrun’s collar and cuffs, revealing the scars underneath (a good amount of them is self-inflicted). he does so unthinkingly, but in his defence he doesn't know anything about mithrun yet. another interesting thing is that the first reaction mithrun has is covering his eyes with his hands. he's trying to hide. he supposedly has no desire to hide, but this reaction is almost instinctual to him. i think kabru notices this as well (of course he does) and i think it's one of the things that prompts him to voice his concerns about mithrun's privacy later. 

so, what about that laios' shirt he wears in the final arc of the comic? he has to change his uniform's shirt for something else because it's covered in spider's guts. it's unclear if someone puts laios' shirt on him or if it's something he chooses to wear himself. regardless, it's still symbolic for his change. it's not particularly revealing or anything, but it's different from the type of clothes he usually wears, and it's tallman clothes. and in this final arc we can see a lot of his true feelings as well. he's visibly mad at kabru, he shows concern and tries to help marcille, he helps kabru to break out of his spiral. and obviously, in chapter 94 he reveals a lot of what he actually feels and think and shows genuine emotions other than anger. and I think it’s the first time he decided to be open and vulnerable on his own volition, probably in his entire life.

we can see him wearing variety of clothes post-canon and it’s ambiguous how much of it he picked for himself. pattadol probably helps him a lot with choosing outfits and she also prefers high collars. but mithrun knows he can choose now; even if he doesn’t want anything in particular, he always can express his opinion or feeling, like he did with kabru’s food. he always can choose how much he wants to be seen. i’m just glad to see him wearing similar shirt with open collar and rolled-up sleeves on the cover of daydream hour book.

[felassan]

July 22nd DA:TV Game Informer article (their last DA:TV coverage article) on Everything we Know about Bellara - cliff notes:

Bellara is Dalish elf (played by Jee Young Han as we know). There might be more to her than meets the eye

"Now, with two of [the elven] gods on the loose, magic has poured back into the world in a big way"

CC is expansive

Bellara is the first companion we will recruit (Neve and Harding join automatically it seems)

She is a mage, a Veil Jumper (who she represents), quirky, energetic, effervescent, optimistic, bubbly, academic, a tinkerer, an explorer of ancient elven ruins

John Epler wrote her and led her development, and collective team effort from lots of departments brought her to life

The BW team really love her

Gary McKay quote: "I love Bellara, I think she's fantastic. I see people that I know in her and so that's how she really resonates with me. I love the whole tinkerer aspect to her. It was a collective to bring that character to life. It was everything from the writers, to the editors, the animators, to character modelers, to the texturing, to how we light her. I'm really proud of that character."

She is a good choice in combat for both support and elemental combos. She starts out as a support character, but can be built in other ways

She attacks with a bow at range using electrically-charged arrows. She can also cast time-slow and healing spells (she can be built to heal Rook autonomously). She does this by channeling magical energy into her gauntlet

As such she leans into electrical damage

Damage type matters a lot in the strategy and tactics of combat

She can unleash a devastating vortex to pull enemies into an electrical storm (an AOE spell)

She can debuff enemies with the shocked affliction, which makes them take passive damage

Corinne Busche quote: "Oh my goodness, she is amazing. [The Veil Jumpers] investigate the ancient ruins of Arlathan. Everything about her character as a mage leans into that, but she also challenges the kind of archetypal idea of a mage."

The Veil Jumpers journey through Arlathan where the ancient empire used to exist and left a lot of artifacts and magical technology behind when it disappeared

Bellara represents this yearning to find the truth of who the elves were after they lost their magic, immortality and a lot of their history

"they still left a lot of their artifacts and a lot of their, for lack of a better term, magical technology behind"

John Epler quote: "A lot of what they know of their past is based on myth, it's based on rumor. Bellara is a knowledge seeker. She wants to find out what's true, what's not; she wants to find the pieces of who the elves used to be and really understand what their story was, where they came from, as well as figure out where they're going next, and find a future for the elves. And within the context of The Veilguard, she joins the team, first of all, to help stop the gods because Bellara feels at least partially responsible since they are elven gods, but also to maybe find a little bit more of who they used to be. Because again, you're dealing with these elves that were around millennia ago that have now reemerged into the world, and who better to teach her who the elves used to be than them."

Magic's place in the world in DA:TV differs from prior games. In Tevinter and other spaces in DA:TV it's much more present by definition and the lore (though the devs wanted to make sure magic didn't violate previously-established lore rules)

Solas is a "determined and tragic character" who "tends to wallow". [nb, these are quotes from the article]. in contrast, Bellara has seen a lot of tragedy in her backstory (we will see this as we get into her arc), but instead of wallowing, she has forced herself to push past it. "She looks at her regrets, and she tells herself, 'I don't want to feel regret'

John: "Whereas again, Solas tends to wallow in his to a large degree. And it allows us to create a very big differentiation. Part of it is also because Solas is an ancient elf, whereas Bellara is a Dalish elf, but she just sees a problem and wants to solve it. She feels a tremendous amount of responsibility to her people [...] to the Dalish, and to the Veil Jumpers, and that drives her forward. That said, she does have her moments where she has doubt, she has moments where she has a more grim outlook, and there are moments where you realize that some of her sunny, optimistic outlook is kind of a mask that she puts on to hide the fact that she's hurting, she's in pain. But in general, she doesn't see any benefit to wallowing in those regrets."

[source]

[raayllum]

EZRAN: Prince Karim, all Queen Janai wants is peace. There's no need to attack. Take your army, the people who follow you, and build your own future somewhere away from here.

KARIM: But I agree with you. There is no need for violence today if my terms are met. EZRAN: Your terms? Prince Karim, I may be a child, but I know how to count. Janai's five armies are more than your one. The Queen expects to defeat you decisively. KARIM: And I expect my sister to surrender unconditionally and acknowledge me as the High King of the Sunfire Empire. EZRAN: I don't think— KARIM: And all humans will leave our lands immediately, and return to the other side of the border. Where you belong. EZRAN: You can't force the humans to leave. People have made friendships, built families. Your own sister is marrying a human! KARIM: I know this must seem harsh to you, but... history cannot be forged without fire. Without strength.

EZRAN: I am a king. And as a king, I choose love over strength. Sometimes it's hard, but when I struggle, I think about the people I love and how they are counting on me to do the right thing. Not the harsh thing, not the strong thing. The right thing.

KARIM: But she will always be my sister. EZRAN: Then you can still choose love. It's not too late. KARIM: The great Archdragon of the Sun was faced with a choice long ago. He chose fire. I honour Sol Regem now, as my sister should have done when she had the chance. [...] EZRAN: You want Janai to attack! And when she does... you'll call down Sol Regem and—they won't stand a chance! KARIM: Ah. Humans might be more clever than I thought. I don't need five armies when I have one archdragon.

A few notes, as always:

Karim, when nudged by Miyana, acknowledged in 6x02 that what they were doing, they were doing "for us" and "for [their people]" and I think in a lot of ways, like Viren, that's what it initially started out as. However, here we see most clearly that this is about Karim's ego (shocking, I know) and pride. He wants to be king of this land, he wants to crush and restore 'natural order' to Xadia by expelling humans again. Just having this own followers and his own piece of land elsewhere isn't enough, even though it would be if his people's happiness was all he cared about.

Ezran offers a variety of options and perspectives to Karim to appeal to him — you could leave peacefully with your people, you can make active choices, don't you love your sister? — the latter of which being the only one to really get under his skin. I also like seeing Ezran advocate on behalf of his citizens (and possibly others) who have been integrated into Sunfire society and daily life. Karim wants to return Xadia to being wholly divided, but Ezran — like Janai, and Amaya, and the bulk of the main cast — want reintegration, for humans to live on both sides of the border again (and elves beyond just Rayla I'm sure).

We also see consistent motifs such as the 'paths' element that arc 2 has largely fostered, Karim's focus on history and fire, consistent themes like the emphasis on choices, as well as anyone — but especially Ezran — harkening back directly to Harrow's letter from 2x06, which is the first time in seasons we've heard the same sentiments so directly expressed. (Crying over "No, it's too late for that" in 1x02 vs "Then you can still choose love, it's not too late").

I also really enjoy the way this scene tests Ezran. As he said in 4x03, "We all want love and we all want peace" and here, he's presented directly with the opposite: Queen Janai wants peace, but Karim wants violence, he wants to be attacked so that he can have the upper hand, and that's when Ez and Corvus know they need to get out of here.

I also can't help but think about how relevant Ezran's speech here is going to be when he encounters Runaan in S7. We saw in the TDP short story "Deep Below" that he will likely want to do the "harsh thing, the strong thing," rather than the right thing. It makes me wonder if we'll see more of an Ezran&Rayla focus as a way to guide him through. After all, Runaan murdered his father, but Runaan is also Rayla's father—and doesn't Ezran love his sister?

[am-i-the-asshole-official]

AITA for killing my character and quitting a D&D game I was part of?

Apologies in advance but this is going to be rather long, I'll put a TL;DR at the bottom.

So this all started about eleven months ago when I (14, she/they/he) started getting into D&D, and joined a D&D group thanks to a friend of mine we'll call T (14, he/they). The group was made up of about five people total, but the main people in this situation are me, T, and the DM who we'll call N (15, he/him).

Now when I was making my character, T was helping me out by letting me describe what sort of character I wanted and suggesting different races, classes etc to make it work how I wanted, and what we ended up with was a Pact of the Undead warlock. The backstory of my character was that their older brother died defending them from an invasion of the village they lived in.

My character managed to make contact with their spirit in the afterlife and formed a "pact" with them, gaining power in exchange for letting him "look after them" (i.e. keep watch over them from the afterlife, protect them from harm, all that sorta thing). T told me to run the final concept past N but that they were sure it'd be allowed and that the pact idea was really sweet.

So I told N about my character and the backstory idea like T suggested and N seemed really on board with the whole thing, though he wanted to make a few slight changes to things in secret that would come up during the campaign, to make things more exciting I guess.

I told him I was alright with that, as long as nothing about who the pact was with and what it was for changed too much. He assured me that it wouldn't and that he'd get back to me on what changes he was planning, but he never did, and at the time I just put that down to him being busy.

The campaign starts, and for the first few months things are going pretty good. I do notice that a lot of NPCs, in fact nearly every non-child NPC, seems to be flirting(?) with my character, but I don't think too much of it at first, she is a young elven woman with blonde hair and silver eyes and everyone in the group has said that she's very pretty.

It isn't until one of the others who is also playing an elven character points out that they've been on the receiving end of essentially racism towards elves from NPCs who have simultaneously been showering my character with compliments that I start realizing how frequent and honestly rather obsessive it is, and as mentioned, just how many of the NPCs are doing it.

Then we get to T's character arc, exploring his character's backstory and helping them with things that come up. However, there are certain characters that are introduced that, out of character, T reacts rather negatively to, and when I ask him outside of session what's going on he confides in me that N is changing elements of his backstory that he'd told him he didn't want changing. As an example, T wrote that their character's mother was never part of their character's life growing up.

One of the characters we met was the character's mother, who was instead apparently a very prominent part of their life and cared greatly about them "not that they ever noticed". He also changed the character of T's father from "kind and caring man who did his best to raise his child alone and teach them how to defend themselves" to "stubborn, angry and neglectful father that is constantly disappointed in his son", which completely blindsided and upset T.

T also said that he'd tried talking to N about this but that the response had ended up being, to put it bluntly, "I'm the DM so I have the final say in things". This started to worry me, especially when I realized that N had never gotten back to me with his "proposed changes" to my backstory.

So I sent him a message, but because I didn't want to drag T into my own business with N I decided to say something along the lines of "hey, did you ever figure out what you wanted to change about my backstory?". He messaged back and said that he'd figured it out, but that things with school were so busy that he hadn't had time to sit down and properly write it all out to send to me yet, but assured me that he would by the time T's arc was over.

Several more months passed with no further word from N about my character's backstory, and as T's arc wraps up there's this idea that starts getting brought up, of how demons often exploit the grief of mortals to latch onto them and claim their souls by impersonating the dead person.

The others in the group all latch onto this and start speculating about how exactly the demons use impersonation to claim souls, except for T who gives me this rather worried look from across the table, and it suddenly hits me that this is probably meant to be the opening of my character arc.

I pull N aside after the game is over for the night and ask him directly if this is the opening to my character arc, and he says that it is, but not to worry because the demon thing is, to quote, "just being brought up to get the others interested". I remind him about what I told him about not wanting anything to change about who the pact was with and what it was for, and ask him again what changes he's made to my backstory.

He promises he'll have a full list to me by the start of next session, that we'll have time to sit down together and discuss it all even, and that he won't do anything I don't want him to do. Despite my concerns and the fact that he has already said several times he'll send me this list without doing it, I decide, like a fool, to trust him, even though in hindsight I had absolutely no reason to by this point.

The next session rolls around, and of course there's no list, instead a lot of NPCs who start voicing concern whenever my character brings up the fact she's a warlock, or her dead brother, especially if the pair come up in quick succession. One of the other characters figures out what's going on and asks if they can basically cast some sort of spell to determine if a demon's got control of my soul, which N agrees to, and the spell determines that yes, that's exactly what's going on.

I immediately confront N, mid-session, and tell him outright that this isn't fair, that I told him I didn't want him to change this part of my backstory, and I wanted him to change it back immediately or I wasn't going to play anymore. He started on this long-winded response basically summarizing as "I'm the DM, I can do what I want".

This is the part where I may be the asshole, because well, I saw red in that moment, and decided I not only wanted to follow through on my threat of quitting, but also do something to ensure that my point was driven home.

I fired off a quick message to T on my phone warning him what I was about to do, and while the others were talking about what to do to help me I loudly announced that my character was stabbing herself through the heart, which N had previously ruled would be an instant method of death if carried out.

Silence falls over the group. N tells me that I need to roll to see if I even hit, which I argue (with T backing me up) that if my character is willing to get hurt then it's automatically a hit. N tells me that I need to roll to see if I even pierce my heart. Okay, fine, I roll, and as luck would have it I roll a Nat 20. N attempts to send me just to death saves, but I remind him (again, with T backing me up) that he'd ruled that this was an instant death.

So then he tries to have an NPC cleric show up and revive my character, but T brings up that the soul has to be willing to return to life for that to work, and I immediately say that my character wouldn't even be able to consent to that if her soul was held by a demon, nor would she even be willing if she could. Then I tell N directly that he can consider this my official resignation from the group and walk out, and T follows along behind me after a few minutes.

Ever since then N's been blowing up my phone, fluctuating between begging for me to rejoin the group and promising that he'll do things differently this time, and calling me a selfish bastard for "ruining the fun". T still goes to sessions occasionally, though I think now it's just to spectate, and he's said that maybe things went a little far with the character death in hindsight. And honestly, I'm not exactly proud of how I acted now either.

TL;DR -- I joined a D&D campaign where the DM has made unwanted changes to my character's backstory, despite my attempts to communicate with him, so I retaliated by killing my character mid-session and refusing to let him revive her before quitting. AITA?

[skinner17]

Can't believe so few people like laiosxmarcille ship. Are they blind? Are we reading the same book?

I am new to the series, just start to watch the anime because I want to see the tasty food scene. At first I thought farcille was the sure thing on this series, that's why people hype their scene and their relationship so much.

Until I read the manga and realize it actually built up Marcillle x Laios relationship ship more.

After certain point I think the series fixed MarcillexLaios as an item within the group. Sure they weren't bantering and flirting like kabru and rin. But there's something there. Which is natural because both bound by their love and devotion for Fallin and both are nerds with deep dark desire.

Theres too much deliberate effort to pair these two together throughout manga... Like the succubi arc, the past arc and the arc when Laios learned magic.

The last and most thought laios had when he was at death door was Marcillle while Marcillle last thought was Laios.

It imply how much they mean for each other.

The fact that Laios only ask Marcille to stay with him while ruling the kingdom, even make the scary elves let go of Marcille, It's like him saying

"I can only bear the burden of this curse as long as you are here beside me"

[comicaurora]

Hey Red, what the Hell is ElfQuest

indie comic started in the late 70s where elves are ageless telepathic space alien shapeshifters who crash-land on a stone-age earth that nerfs their powers and they all deal with it Very Badly. protagonists are the "wolfriders", a clan of lil elves who are fairly distant descendants of the original crash-landing alien elves, they have big 80s hair and ride wolves and are slightly part wolf because of aforementioned shapeshifting hijinks several generations back. like 90% of everyone is bi and poly and that plays into the fact that elves have this kind of magic soulmate thing called "recognition" and it all gets very complicated. In my personal opinion it peaked in the first arc and got steadily less interesting the longer it ran, but every five years or so the stars align and I go into a fugue state and reread the entire first run.

[we-stan-cale]

I talked about Choi Han and Cale, let me talk about Alberu and Cale.

As usual, I'm going to warn about spoilers and put the rest below the cut.

When Cale and Alberu first meet, there's not a lot of trust going on.

Cale is wondering about all the secrets Raon let slip, notes that Alberu had a healing power he didn't use for a random citizen (though he indicated it was okay in the next sentence. Before commenting that if Choi Han had such a power he would have), and on Alberu's side we have a royal prince who had to claw his way to power while hiding his dark elf heritage. In an environment where he could only trust the dark elves.

Despite all that, Cale seemed quite willing to work with Alberu. (If he'd started in the Empire I imagine Cale would have been overthrowing Adin even earlier).

I think that's partly because Cale is always willing to work with people who have their priorities straight - and even some that don't. He's very focused on his goals and as long as you're not betraying the trust of the people you're responsible for he's generally okay with you. Murdering citizens and abandoning foot soldiers? Not okay. Valentino? Okay, with reservations. Toonka? Same, before Toonka's own rather amazing growth arc.

Like Park Jin Tae, who Cale worked with despite their issues. Because when push came to shove, that guy was there.

I'm digressing though.

Cale letting Alberu know he'd figured out about his dark elf heritage was, naturally, scary for Alberu. At first.

He was vulnerable.

But it came in handy (as Cale showed he could be trusted with that) when Alberu needed someone to retrieve that magic thingy from the dark elves.

Plus Cale kept doing crazy shit that always benefited Roan.

So they started growing closer, kind of slowly.

I think the real turning point, for Alberu at least, was when they went to the Empire together, and Cale used his shield to protect everyone from that attack.

Cale, we now know, has lived through crisis after crisis and no longer reacts to deadly danger like a normal person.

Alberu, for all his political skill, hasn't really been in a situation like that. Poison and underhanded political moves? Sure. And he was there for the plaza incident too.

But what was interesting here was Alberu wasn't thinking about the politics.

He was concerned about Cale.

Cale is the one who reminded him how he should play the situation.

After that we really start to see Alberu open up.

He keeps showing signs of genuine care.

Tries to protect Cale's slacker goals (even as he sees it gets harder and harder), comes up with the sworn brother idea. And really, by the time we get to part 2 he's rather a mother hen.

We see him learn about the curse, grow confident in himself, and then...

Becomes the Dark Tiger.

Which is hilarious, but also puts him almost as close as Choi Han to Cale.

Oh, and he has some absolutely amazing scenes where he's schooling the White Star on his terrible leadership.

We also see how much he's grown when he encounters his other younger self, in that 'game' in the temple. His understanding of where he was then also illustrated how much he'd changed, as he found a group of honest-to-god friends.

Anyways.

Which makes rereading the story especially fun, because it's such a contrast.

I absolutely adore how their relationship developed over the course of the story.

[hadesisqueer]

I appreciate The Dragon Prince because it gave me tragic antagonists or villains that I love (Claudia), villains that while I don't really like them I understand how they came to be and can feel a bit of sympathy for (Aaravos or Viren), villains I straight up fucking hate (Sol Regem) and villains that I don't really hate because when they appear on-screen I just sigh wondering how they can be so fucking stupid (Karim). They really give you everything.

No but for real, Karim's entire character arc consists of 'The risk I took was calculated but I am bad at math' because. He's so dumb. He keeps saying he wants to restore the Sunfire Empire to its former glory, but like-- how? What plans do you have for the future? Are you going to try to retake Lux Aurea? Because you can't. Oh, you want humans out? Okay-- how would that help to restore the former glory, though? You're just being a bigot?

The thing is that all Karim ever did was talk about his birthright —that's not even his birthright, actually, because he's the youngest sibling— and keep babbling about history demanding blah blah blah of people and how his sister wasn't a competent queen when actually it is the opposite. Janai proves, by allowing the architect to live while still giving her an according punishment, that she is a fair queen who chooses mercy and allows people to grow while still choosing justice; also, that she's more practical, because what good is a talented architect dead —who did something awful but still was sorta right about fire being dangerous around the camp— when you can just make her build a shrine so this kind of incident never happens again. Janai also had the Sunseed and plans to nurture it and help it grow, help her own people grow. She actually had plans for the future, and she had the patience necessary. She understands that you must learn from history but that it also doesn't define you, that you must not let it define you.

Karim doesn't get that. He was obsessed with history and the old ways. He didn't have any patience. And he didn't have any long term plans. Or even backup plans for when his plans inevitably failed, either! He was so convinced Janai would refuse his duel he was shocked when she actually fought him, and resorted to fighting-- with fire magic-- against someone who's fireproof-- again, no actual plan. He tried using an assassin to kill his sister, the actual person the assassin had a life debt to. He wants to steal the Sunseed, actively fucking over his people. When Ezran tells him to take his followers and start somewhere else, Karim refuses because he says he doesn't want crumbs off his sister's plate, but at the same time it's like-- that's exactly what you were gonna get, buddy. You wanna use Sol Regem to torch your sister's army. The only thing you're gonna rule over is the followers you have now plus what remains of Janai's, if they even accept you. So, yeah. Literally crumbs.

Also, again, he's so fucking entitled. 'What's rightfully mine' he's the youngest sibling, nothing is rightfully his, he's an usurper. Part of his demands being that humans leave and go back to 'their side of the border, where they belong', buddy, you'd be the king of the Sunfire Elves, not the King of all of Xadia. As king you could make humans leave your territory, but not Xadia. If a bunch of humans, hypothetically, befriended Moonshadow or Skywing elves and lived at the Silvergrove, or wherever the Skywing elves live, with them-- what, now you're gonna try to wage war against the the other elves, too, because they're not following your ways? You can threaten them with Sol Regem, sure, but also consider, because you didn't even consider it when you went to him-- he's an Archdragon, yeah, but the weakest of the Archdragons right now. Let's say Ezran and Janai follow through and give up and leave. They could go with Zym and head straight up to the Mushroom Mage and come back with Zubeia, the current Queen of the Dragons, right after she's done with her treatment. They arrive. Who's gonna win? A healthy Archdragon on her prime or an old, blind Archdragon that hasn't flown or fought in centuries? Also, once you give him the Sunseed he actually has no reason to be on your side, he already got what he wanted. Even if the Katolis thing didn't happen, he could've turned against you very easily. He likely would've done so.

He's an awful leader who doesn't actually care about his people. He disrespects other world leaders like Ezran immediately. He's an entitled, bigoted idiot who doesn't actually think things through and that actually makes him both incredibly annoying and very realistic, which actually makes me like him as an antagonist but still makes me let out a exasperated sigh every time he talks. Best part of him is that he's obsessed with going down in history as someone great when, with his actions, he's only going to pass down as the prince who tried to usurp his sister three times and failed the three times, each failure worse than the previous one. Lmao.

[pinacoladamatata]

I am once again thinking about Solas and how his potential arc this game could go regarding the Veil being up or down and I'm gnawing at the bars of my enclosure [spoilers obviously] I don't like being intelligent/thoughtful on here I prefer to be stupid but here we go

In [yet another] article that came out, idk? today? Mark Darrah says the story "allows us to, hopefully, give a good conclusion to all the varied attitudes toward Solas that are going to be coming from people who love Solas, who agree with Solas, who hate Solas, people who want to kick Solas off of a building – I think that we give you the opportunity to bring that to a close, but then tell a greater story about The Veilguard and about the world as a whole."

and I don't know what to fucking think about this? They obviously know people's opinions are varied and I think it should be obvious that this is not a case where 'one ending fits all'

Because like, he is such a tragic character and I know there's gonna be an option to kill him, calm down, before you start in my inbox with "I WANT TO KILL HIM" like, you will be able to, that's kind of...almost a certainty. Especially for low approval Inquisitor/swore to stop him at all costs. Because if he Won't agree to stop trying to tear down the veil and causing mass destruction, (even after dealing with Elgarnan and Ghilly) then you'll have to kill him. Even trapping him forever isn't really an option because he created the fucking veil, man's crafty, he'd eventually find a way out. Like, If he will not and cannot see reason, then you, the protagonist, will have to end him.

It's the OTHER option that has me spinning because, you could, maybe, potentially, hopefully, talk him out of it. And if you did that, either as a romanced or friendly Inquisitor, or apparenty? Rook? based on this new info that Solas and Rook are going to have a lot of interaction, then he doesn't NEED to die. If he stops wanting to tear down the veil, he could potentially just disappear and do whatever he wants, like nerd out over magic.

And honestly, having him die on both paths is such a slap in the face for "your choices matter" because like clearly they do not if that happens; like what was the point of making me choose at the end of trespasser? If the only difference is 'stop Solas at all costs' leads to a boss fight where you kill him and 'redeem Solas' leads to ? him dying anyway somehow? Like I'm sorry but that is lazy and boring. His redemption should not end in death, he should have to live and deal with the consequences, because that could be so much more interesting.

[because I'll be real, I don't think they're going to let us have the option to tear down the veil/side with him AND have the option to keep the veil up. I think it will be one or the other no matter your choices; Simply because there is too much of a massive difference between world states of 'killed Solas to prevent him taking down the veil Thedas remains status quo' VS 'let Solas take down the veil, Thedas is now fundamentally different in an almost inconceivable way'. Like the setting for any future games depend on this; you would have to create 2 very different games. There has to be some uniformness to the world state, like; the veil remains, but it's thinned or whatever and the people of Thedas are living life more or less as usual if they ever want to make DA5. Would be wild of them do go the route of no matter what you do the veil comes down anyway. Which would be annoying if you swore to stop Solas at all costs and he just... succeeds anyway, even if he dies? Of course, there is Sandals prophecy, which I think is about the events of DA4. And devs have said in the past they had 'something' planned since Origins. "One day the magic will come back - all of it. Everyone will be just like they were" - The veil coming down and everyone gaining magic? Not just elves but humans, dwarves and qunari too? "The shadows will part and the skies will open wide" - Talking about the veil coming down?? Do shadows represent the abyss? "When he rises, everyone will see" - I'm actually convinced this is about Elgar'nan, or, something even worse; like the 'thing' that Mythal locked away, that the "evanuris in their greed could unleash" that "would destroy us all". So I think the end of DA:TV will be either the veil stays in place no matter what, or the veil comes down no matter what, which is, idk, interesting? Because again, they can't have both- that just gets too messy for the setting for the next game. They could have the veil come down no matter what, but, you would need to have a "better option" as Varric and Solas put it. Which, let's say for narrative purposes, this option exists and we tell it to Solas and he goes "Okay let's do that instead" and it results in a world state where the veil is 'down' but not in a catastrophic mega-calamity way. Even then though, some players are just not going to pick that and also if the veil comes down; what the fuck are we guarding it for???? I think it might come down temporarily. Maybe we have to make a new one? a better one? we have our fade tamagotchi fen'harel who happens to be the only fucker who knows how to make a veil too. Could this 'better veil' alleviate some of the problems Solas had with the old one? If there was like a set door way that allowed people and spirits to pass safely? One that didn't cause so much discord between spirits/people? Is our Veilguard a Fade TSA? I can dream. But who knows. Either way, I think we're only getting one endgame worldstate regarding the veil.

So; OK, back to Solas and how the fuck that could end. Harking back to that Varric/Solas conversation about the old man living alone. Solas is clearly speaking as though he is the old man, and he can't fathom just living a quiet life when there are literal world ending gods waiting for a weak moment to bust free. He Will not, Cannot stand by and do nothing while he knows his prison is failing. He HAS to at least deal with the 2 evanuris before tearing down the veil bc he doesn't want them to cause harm. He didn't want that before (hence locking them away) and he doesn't want it now, even for modern day Thedas (hence him helping Rook). He's got such a fucking heart under all that armor. He cares about people, he demonstrates it again and again. But my god what if, he finally *sees* that the veil may not have been a mistake, it doesn't need to be torn down, (maybe it has to be remade, better?or just altered?) and then us the protag, no longer has to kill him to stop him from tearing it down?

Like, I am very partial to the "what if love changes everything" trope especially for such a tragic character. Bc he's got death flags left and right; "I walk the dinanshiral" "there is only death on this journey" "this does not end in my downfall" his "dying alone" fear tombstone, and he's lonely he's miserable he's afraid. I'm so worried they'll kill him off anyway bc 'he was always doomed' trope and it would be easier to write, but motherfuck it would just, be SO so satisfying if, instead, there was a path where he wasn't doomed; whether it's bc of Rook or the Inquisitor or a combo of both. I feel like what if, either platonic or romantic; if there was just at least one path where love changes everything.

ofc this is massive amounts of copium and I don't expect bioware to give me anything so cool as "the veil starts to come down anyway and you, Rook, have to rebuild it with Solas' and the Inquisitor's help and at the end you can either kill him or convince him that this world is worth living in"

but hey, i can dream ¯\_(ツ)_/¯

[ambrosiagourmet]

Hey, Kabru and Mithrun spend some interesting time together, don't they?

With Mithrun having just officially premiered in the anime, and a lot of discussions swirling around about him, I've been thinking a lot about that section of the story quite a bit. These chapters - Roasted Walking Mushroom and 6 Days - are some of my favorites. For a lot of reasons, really. Not only are they are a huge turning point for the story as a whole, but they have some excellent character work, and represent an important shift in Kabru and Mithrun's individual arcs and relationship to each other.

The chapters are also kind of a fully contained story arc just on their own, which is an impressive bit of writing, and makes them super fun to analyze. So that's exactly what I'm going to do!

This will be structured as a close reading of chapters 61 & 62, with some asides for additional important context. I'm going to talk a little bit about a reading that I disagree with, but for the most part I just want to focus on how Kabru and Mithrun's relationship progresses during these two chapters. In particular, the ways they both grow from the time they spend together.

Also I just want to quickly note that this isn't written as Ship Content. It's meant to be an analysis of their relationship as presented in the text - layer whatever additional meanings and filters on top of that as you'd like, but please respect that my intent is not to talk about or champion a ship, or frame any of this content as romantic.

So, with that all being said:

How do Kabru and Mithrun help each other?

First of all, I think there are two important pieces of context that inform the Kabru & Mithrun Dungeon Adventure chapters. Both are related to Kabru's state of mind, and both are set up before or during the chapters in question.

The first is the context of what happened just before Kabru and Mithrun fell into the dungeon. Specifically, the events that led Kabru to make them fall.

Kabru, essentially, gives up his life at the end of chapter 55. When he stops Mithrun, and when they both plummet with the collapse of the first floor, he is okay with dying. Mithrun warns him that they will both die if Kabru doesn't let him go, and Kabru accepts this as a worthwhile exchange.

Why?

Well, because he doesn't want the elves to take over the dungeon. Throughout the last 3 chapters, the Canaries have been effective, but they have also been cruel in their efficiency, and they have made it clear that they don't care about collateral damage. They lured people into the dungeon specifically to provoke a violent reaction from it, without regard for who might get hurt by the violence.

What's more, they are keeping important information from Kabru, and he knows it.

He's not just looking for a solution, he's looking for the truth - a truth that he believes that he will only find through conquering the dungeon. With good reason, to be fair! The elves make it very clear that they aren't there to treat the other races on the Island as equals.

So Kabru uses the only tool he has available to him - his own life. It won't get him the truth, but it at least gives a chance for another person from a short-life species (namely, Laios) to earn it in his place.

This dovetails nicely with the more thematic context that's introduced in at the start of chapter 61: the room where he could eat all the cake he wanted.

This place, a place that Kabru never wants to go back to, is a place where he is safe, and a place where he is ignorant. A place where he is sheltered from danger, but also from the truth. The same place the Island would become, if the Canaries had their way. He doesn't just want to be safe, and he doesn't even just want the world to be safe, though he does want to be able to protect people from what happened in Utaya.

But he doesn't just want to entrust that safety to the paternalism of the elves (especially since he is all too aware of the ways they can fail, or the people they are willing to sacrifice in the name of that "safety"). He wants to be given the agency to seek safety and peace for himself.

He wants to understand. And he wants the chance to act.

This is the context we have, going into the arc of 61 & 62. But before I talk about how the chapters build on this context, I want to take a step back and look at what else the chapters establish early on, before delving into their exploration of Kabru's agency.

First of all, I kind of want to challenge the framing of Kabru and Mithrun's relationship as solely that of a caretaker and his charge.

Obviously, Kabru is forced into a caretaker position - at the threat of his friend's safety, no less. (Okay, it's actually Toshiro and Namari that are being held, but still. There are hostages involved in this) But I do think it's important that Mithrun isn't the one who puts Kabru in this position - Cithis is.

Before this conversation, Kabru and Mithrun are already exploring the dungeon together. Mithrun doesn't threaten Kabru, or force his hand. He kind of just assumes that Kabru will join him. It's rude, and not particularly respectful, but given the dangers of navigating a dungeon alone, I don't think that's really an unreasonable assumption. And it certainly isn't the same as Cithis' approach.

If they were left alone with no intervention, they probably would have ended up in a similar position to the one that Cithis leveraged them into. Kabru is smart, and he could have figured out the things that Mithrun needed help with. And, to be clear, those are things that Mithrun needs help with not because he is selfish or thinks they are owed to him, but because he is disabled. It's not unreasonable for him to need that help, and it's not unreasonable for Kabru to provide it, under the circumstances.

Besides, they both need each other down there. Kabru wouldn't have survived without Mithrun - he doesn't know enough about monsters, and isn't familiar with the deeper dungeon's layout. And Mithrun wouldn't survive without Kabru - he isn't able to notice his basic needs and would burn himself out without food or rest, making him an easy target for the monsters he could otherwise take care of on his own.

Aside from both needing each other, another interesting layer to their relationship, which is established right away, is that Kabru doesn't have to - and literally cannot - put on a mask of social niceties around Mithrun. He can't suck up. It doesn't work.

So Kabru, who spends so much of his time concerned with how others perceive him, and who compromises his own comfort in order to become the most appealing version of himself at any given time, has that tool taken away. He has to help Mithrun, but notably, he can only help Mithrun to a certain point. He cannot compromise his open and honest feelings to help maintain someone else's view of the world - or at very least, it doesn't benefit him at all to do so.

Instead, they sit together, in the same position, share the same shitty mushroom dinner, because they both have to:

And that's notable, too. They both have to. Cithis' demand is most specific about the need to eat. Three meals a day! But this is something they both need, not just Mithrun.

Still, their relationship at this point still isn't exactly supportive, or even respectful. Kabru may have realized that he didn't need to keep up an act around Mithrun, but ya know, he still turns around an immediately try to, with that shitty mushroom dinner.

(The 'badly drawn shapeshift Kabru' gag here isn't just funny, imo, it's also a reminder of the thing he JUST LEARNED. Mithrun is immune to the Kabru smile anime sparkles filter.)

Mithrun also doesn't tell Kabru any helpful information at this point, and doesn't really put much effort into helping him at all. He slaps him awake out of a Nightmare, and treats him with the same disregard he did at the start of the chapter, focused entirely on moving ahead.

But then Mithrun collapses, and the current structure of their relationship collapses with him.

I think it's interesting here that the shift in their dynamic also includes Mithrun explicitly noticing Kabru's desires. Obviously it's not actually like some kind of I truly see you and recognize your humanity moment shared between them, but I do still like the way that it pulls Kabru's internal wants to the surface. Kabru not voicing his desires doesn't mean they don't exist, and Mithrun recognizes that the same way the dungeon does.

And then Mithrun does, in fact, grant one of Kabru's deepest desires. He tells Kabru the truth.

Just like how they are working together in the first place, this truth is as much a necessary concession to survival as anything. But that doesn't mean it's not impactful for Kabru. This is the thing that every other elf in his life has kept from him. A secret foundational to his core belief that long-life and short-life species can never come to mutual understanding.

And Mithrun isn't just giving him the bare minimum information here. What he shares isn't just a truth, it's his truth. It's a level of complete and total vulnerability that few people share with each other. And again - some of this may just be coincidence and necessity. I imagine Mithrun is so open, at least in part, because he doesn't have the same barriers that other people do when it comes to sharing these things.

But, then again... we see Mithrun at his most vulnerable and empathetic when he is talking to dungeon lords & potential dungeon lords, and trying to convey to them the truth of the trap they are walking into.

This face:

Is very similar to this face:

These are some of the few instances that we see Mithrun emote in this way, and his story does come just after he notices the dungeon responding to Kabru's desires.

But, no matter if Mithrun's openness is in response to Kabru being tangled in the dungeon's hunger, or just part of his nature (or, maybe, a little of both), his story changes things for Kabru. It gives him the chance to make actual choices, now that he understands the truth. It gives him a chance at agency in the story.

And he immediately turns around and uses some of that agency in an interesting way:

When asked about why he can't sleep, Mithrun says he needs to be magically compelled. Being magicked to sleep is simple, and it is efficient, but he doesn't even just say it's the best option. He seems to believe it is the only option.

So much in Mithrun's recovery has been framed through how it will let him fight the demon. Recover so that you can return to the dungeon. Sleep so that you can return to the dungeon. Eat so that you can return to the dungeon.

But rest, much like eating, isn't just about achieving the bare minimum required for efficiency. And as Senshi would probably say, the easiest path isn't always the best.

I don't think that the Canaries are intentionally running Mithrun ragged or anything, but as I mentioned earlier, they are very focused on efficiency, with little thought spared to what is lost or hurt in the process.

And there is something different about Mithrun's time with Kabru in the dungeon. Lycion even notes it, when they finally connect back up.

I don't think it's a huge leap to say that how Mithrun falls asleep here is emblematic of that difference. When Kabru helps Mithrun to sleep by massaging his feet, rather then using magic, he is explicitly taking a step beyond the minimum. He is providing comfort to a body that has been given only necessities for a long, long time.

These two events - Mithrun sharing the truth of the dungeon with Kabru, and Kabru choosing to help Mithrun to sleep through a foot massage - shift their relationship. There's a clear difference in how we see them treat each other, and especially in how Mithrun treats Kabru.

Before, Kabru provides food that he has gathered himself (okay, it was a mushroom he put his foot through on floor one, but the point still stands that Mithrun offered no help at all with getting food).

Afterwards, they gather food together.

Before, Mithrun teleports Kabru towards a monster, using him as a weapon when he can't find anything else.

Afterwards, he helps Kabru escape monsters, and fights them directly.

Before, he slaps Kabru awake after 5 hours of uncomfortable, Nightmare-filled sleep. A rest which, notably, Kabru didn't even intend to take for himself.

Afterwards, we see Mithrun keeping watch while Kabru sleeps in a bedroll.

I don't necessarily think that all of these things are choices that Mithrun consciously makes. Like, after 6 days, Kabru would have to get some actual sleep eventually, and Mithrun would pretty obviously have to keep watching during that time.

Nonetheless, there's still a difference in how these scenes are framed, and the fact that it is these things that are used to portray their journey together. Kabru is not the sole person providing food and sleep and safety - they provide these things for each other. Kabru eats alongside Mithrun, hunts alongside Mithrun, and he sleeps in the same way we see Mithrun sleep, laying down and resting deeply enough to be groggy when woken up.

What's more, during their time together, there are even a couple of instances of Kabru being more willing to care for himself and accept care. The sleeping is one example - note how he is surprised at having slept "that long" when told he was asleep for less than even the minimum recommended amount of nightly sleep - but I think the pattern of his eating is even clearer. In making sure that Mithrun eats regularly, he is forced to eat regularly too.

And I especially like the progression with the Barometz meal. After Mithrun has fallen asleep, Kabru thinks about wanting to "give [Mithrun] something nice to eat," but also notes that Mithrun's lack of desire "means there isn't even anything he wants to eat." So what does Kabru do?

He makes Mithrun something that he wants to eat.

I've already talked a bit about the ways that Dungeon Meshi depicts people finding support through "borrowing" the desires of the people who care for them, and I think this scene is a great example of that idea. Especially in the way that it pulls an expression of desire from Kabru, who is so prone to ignore his own hunger and needs. The meal may not end up anywhere close to the flavor intended, but it's still a far cry from the roasted walking mushroom.

All of these pieces come together at the end of chapter 62, resulting in a pivotal choice that could only happen because of the ways Kabru and Mithrun have, at least a little bit, grown closer to each other.

As they are preparing to leave, Kabru hears a bell ringing in the dungeon, just as he hears Toshiro's matching bell on the other side of the portal. Realizing Laios is nearby, Kabru hesitates. He knows the truth about the demon, and how he has a chance to act on it.

Cithis, the person who extorted Kabru into taking care of Mithrun in the first place, pushes for Mithrun to follow along with the plan.

(okay a quick aside here I just want to say I do love Cithis and I'm not trying to bash on her here. I just think it's interesting that she is the one to establish the terms of Mithrun & Kabru's cooperation, as well as the one who tells Mithrun to leave the dungeon at the end of the chapter)

But Mithrun doesn't go along with her command. Instead, he does something unexpected:

He asks what Kabru wants to do.

In contrast to Milsiril's smothering comfort,

and in contrast to his Mithrun's own assumption that Kabru will follow him, when they first wake up in the dungeon,

Mithrun follows Kabru's lead.

This, right here, is the change between them. Not only that, but it's a shift in the entire balance of agency in the dungeon. For what might be the first time in a very long time, Kabru - a tall-man - knows the truth, and is acting on it. He makes a huge decision purely on his own judgement. He is not trying to appease or coerce anyone, and he doesn't win Mithrun over by hiding his true intentions.

Rather, it's the honesty between them that builds to this moment. Mithrun's honesty earns Kabru's trust, and Kabru's honesty earns Mithrun's respect. They bond not because they are forced to spend time together, but because they choose to spend that time giving each other more than the bare minimum - even when they are both people used to accepting the bare minimum.

It echoes Laios' argument with Toshiro, in a way. They eat three square meals a day (Cithis mandated admittedly), they get plenty of sleep, and in doing these things, they take each other seriously. They treat each other as more than just a means to an end.

I don't necessarily think it's a flawless, unbreakable bond that's built during this time - hell, they both kind of revert back to their old behavior, once reunited with the rest of the Canaries. People don't completely change their habits overnight, after all.

But it is a shift. It's a shift that gives Kabru the chance to steer the story towards the ending he has fought for all his life, and it's a shift that helps Mithrun find a way to move forward after he loses his own reason for living. They reach their goals, and then they step past them - facing life beyond the moments they thought defined their reasons for living. Facing life beyond the bare minimum.

And that is how they help each other.

[mikkeneko]

Samwise Gamgee and the song at the end of the world

I first read LOTR at a young age, continued to read it when I became an adult, but it's really only with some critical context that I can go back and finally see some parts of the story for the first time. When I was younger, while I loved the books, there were parts I always found baffling. The Tom Bombadil interlude is one. The conversation between Galadriel and Frodo at the Mirror is another. That conversation at time seems kind of baffling, and in the moment leads nowhere -- until Frodo enters Mordor, and starts testing the limits of his mastery of the Ring, which culminates in his confrontation with Gollum. The conversation with Galadriel in Book 1 was a direct set-up for that moment in book 3. And the interlude with Tom Bombadil in Book 1 is a direct set-up for this moment, in book 3, in Cirith Ungol.

You see, Tom Bombadil -- as @astronicht pointed out in their wonderful LOTR liveblog -- is very clearly a scop, a bard from the old anglic tradition that Tolkien was writing from. He uses galdor, spells made of song, to work his will on the world. Tolkien is spelling it out very clearly for us here: yes, this world runs on the same rules as the old traditions. Yes, in this world, spells can be made of song. And two books later in the tower of Cirith Ungol, in his moment of darkest despair, Sam... sings.

"....weary and feeling finally defeated, he sat on a step below the level of the passage-floor and bowed his head into his hands. It was quiet, horribly quiet. The torch, that was already burning low when he arrived, sputtered and went out; and he felt the darkness cover him like a tide. And then softly, to his own surprise, there at the vain end of his long journey and his grief, moved by what thought in his heart he could not tell, Sam began to sing.

In some ways this feels like the turning point of the whole Quest, of the whole book, as much as the moment in the heart of Mount Doom or the Battle of Pelennor fields; this feels like the culmination of Sam's character arc, as much as the choice to go on after Frodo's death or the moment he shakes off the Ring's thrall.

Frodo is a scholar; he's well-read and speaks several languages, he knows more of Middle-Earth than almost any hobbit alive save perhaps Bilbo. (And arguably a kind of seer, though I won't go into that now.) But it's Sam who is heir to Bilbo's love of poetry. It's been Sam, throughout the whole journey, who is the most interested in poetry and song. He wrote the song about the Trolls; he is thrilled by the dwarven song of Khazad-dum; he wrote a new verse on the spot for Gandalf's eulogy; he recites the Oliphaunt. Sam has been enamored of poetry and song as much as he has been enamored of Elves, of the old legends and songs of heroism. Sam, like Tom Bombadil, is a scop, one who can weave spells through song. And now, in the darkest night in the heart of the Enemy's lair, Sam weaves a song.

His voice sounded thin and quavering in the cold dark tower: the voice of a forlorn and weary hobbit that no listening orc could possibly mistake for the clear song of an Elven-lord. He murmured old childish tunes out of the Shire, and snatches of Mr. Bilbo's rhymes that came into his mind like fleeting glimpses of the country of his home. And then suddenly new strength rose in him, and his voice rang out, while words of his own came unbidden to fit the simple tune:"

In this moment Sam reaches out for help, and something reaches back. Someone answers. Another voice joins his, and lifts his quavering song to something high and clear and strong, and Sam finds the strength to rise from his despair. And most of all, the song allows Sam to find Frodo in the dark.

 Though here at journey's end I lie in darkness buried deep, beyond all towers strong and high, beyond all mountains steep, above all shadows rides the Sun and Stars for ever dwell: I will not say the Day is done, nor bid the Stars farewell.

Who answered? Or perhaps the question should be, Who answered? I'm personally inclined to think that it is themselves the great elven heroes of old, the ones who have been through this darkness before and come out the other side through their own song, whom Sam always idolized and did not dare to dream that one day he might be counted among them, who reach back to Sam in that moment. It's already foreshadowed in his ascent through the Tower, where his form is overlaid by that of a greater power, one that makes the Orcs he encounters believe him to be an elf-lord. His tale is their tale, and their power, in this moment, becomes his power.

But one can't forget that this very world was created by a song, by the Lord of song, who exists in a place beyond all towers strong and high, a remote and clear power untainted by darkness. Did Tolkien's letters say that there was only one time, during Lord of the Rings, that this distant power interfered directly in the events of the War of the Rings? This has sometimes been proposed to be interference in Frodo and Gollum's struggle in Mount Doom, which led to Gollum's fall, but I never believed that; the geas accounts for that sequence well enough by itself. Maybe it wasn't in a battle at all. Maybe it was here, in darkness and despair, lending a little bit of his Song to his smallest singer.

[yusiyomogi]

in one of my posts i mentioned that people probably mistake mithrun for a tallman sometimes because of his ears and eyes, and you know what? something clicked in my mind about him and his character arc.

we know that a big part of his backstory was actually about him trying to be a "perfect elf" to deserve love and how it'd never brought him happiness and eventually almost destroyed him after he'd become a lord of the dungeon. and after all that, he was effectively rejected by elven society because of his disability and appearance, basically not being considered a person anymore. instead it was a tallman who accepted him as a person and gave him reason to live.

and isn't it interesting that his arc resolves in him deciding to fully move on from the elven society and starting his new life in a land of short-lived races instead, with people he was raised to hold prejudices against. and not a relaxing life of a noble, but rather a life of someone who's willing to do something dangerous and difficult to help people of this land. i mean, especially if he'll actually decide to open noodle shop someday, he'll have two of the worst jobs ever: monster hunting and food service (lol).

i've mentioned before that there's something symbolic in the fact that he wears tallman's shirt in the end of the manga (aside from all other symbolism of that shirt) and i think this is it. he finally leaves the elves behind to find his new home in melini.

[fumifooms]

You're always so on point with your posts. On that note, it made me realize that; Considering the themes of desires in DunMeshi. It's also to say that what you think you want isn't what you actually want.

Like, Marcille thinks she wants the handsome prince from the novels she reads... But what she actually wants is someone maybe more like her father who she admired so much. Kind, virtuous, caring to a fault, a family man. Things she later finds in Chilchuck.

Because as traumatizing as it was to see her mother's spiral after her father's death; Her memories of her father itself are some of the most important to her. And it fits with her pursuit to increase her loved ones' lives, because she does want what her mother and father had.

Sipping. I do go over ‘what you think you want vs what you actually want + what you need’ in my (upcoming) Marcille & Chil arc analysis ;) It’s a part of Dunmeshi that I really like and is super fascinating, I’d honestly like to make an analysis-post on the topic: all the different threads and characters in canon that reflect that, desires vs wants and themes of idealization in Dunmeshi, but it’s one of those things that’s just so huge to make. See this is the freaking problem with doing Dunmeshi meta you start talking about the themes or a narrative and everything is so interwoven you get distracted with tangents BUT IT’S ALL COMPELLING AND RELEVANT

I know that’s something laimar does a lot too, the dad thing, with Marcille in a post-canon comic knitting beside him paralleling her parents and whatnot. I don’t know if I fully agree on the angle but there’s definitely stuff to dig at there…

Like I know that I’d like to analyze Marcille’s succubus more, it comes up in my analysis draft but it’s not the point I’m trying to make there so I focus on other stuff but… I always saw the focus of Marcille’s succubus as that she sought out an emotional connection most of all, it’s romantic and courtly in nature but more importantly there’s personality and behavior there and it’s a character she already loves and knows deeply from having read the series, so it’s not like Chil where it’s just a pretty face whose identity doesn’t matter. A friend of mine though, @room-surprise, goes with the angle that it shows she isn’t ready for a relationship and that the appeal is very self-centered, and I def think compelling points are made…

Point I was trying to make, the succubus is definitely at the crux of figuring what it is Marcille wants and craves in someone I’d say, where she’s emotionally at wether consciously or subconsciously, or how she sees herself being involved in romance at least… It’s true Marcille is enthusiastic about romance, but always someone else’s, never hers, and she seems unwilling to examine her own relationships with people. She oversteps boundaries either obliviously or carelessly and doesn’t like change…

And then there’s how complex people’s relationship to fiction can be on top of that and graaaaah

Edit in bc I forgot I wanted to mention this like an idiot: OH and I do think the Daltian Clan serves a role in the general tapestry of Dunmeshi as well, sometimes in in depth ways that Room-Surprise will tackle in their research paper way better than me I’m sure. My understanding of the importance of general Hagreus in a more general narrative sense is that he reinforces the theme of idealization/fantasy vs reality that’s super present through the manga. Beyond just Marcille’s arc and his importance to her he’s designed uncannily close to Mithrun, it parallels real elves and their very flawed military system and the broken people it cultivates vs the romanticized elves put on an aesthetic pedestral in novels, especially considering it’s "general" Hareus

To give some previews of the analysis wip: 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 Dungeon Meshi is in part 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 illustrates very well with the dungeon lords that you can be a slave to your desires. Dunmeshi prones the important of balance for both a healthy body and a healthy mind, and the arc of optimism vs pessimism with Marcille & Chilchuck is one such case <3

Ouuuugh how flawed relationships with flawed people can still be made into somehing good and healthy that make the world brighter…

We’ve gone far from the topic of how her family shaped what she seeks in relationships haha, I think you put it well already though I don’t have much to add on that front Edit in 2: SIKE! I’ll add that there’s an interesting thread in the manga of Marcille maturing and becoming more like her mother, which would be interesting and fun to pair with the fatherhood of Chil. Because Marcille is sometimes a mother figure as well: she’s the mom friend. I go over it here, and since when I made that post I’ve seen more interesting analysis on the topic too, like noticing she hides behind her mother’s portrait in the nightmare chapter, perhaps the inspiration behind her more mature reserved academic persona she sometimes has. Her parents are def important to her so it’s interesting to see how all the dynamics and her own psychology fit into that….

But yeah I think what she (thinks she) wants out of romance has a lot of layers, both conscious and subconscious… I haven’t gone into the bigger picture of how fiction affects her relationships here but it’s the central topic of my Marcille & Chil arc analysis so. She idealizes the trope of the prince charming and finds it attractive but is that what she would actually latch onto… Is it fully superficial, is it more about herself than it is about her potential partner... Is it mainly because she wants to get validation, from being special that she typically gets from high academic performance… We do see she can be rather insecure and worried about others’ perspective of her, that they think she’s not useful or capable enough, especially in the mandrake chapter… Unconditional love perhaps

What is your emotional landscape Marcille. How emotionally intelligent are you. I don’t think she knows what she wants romantically. I think she has a job so she don’t really care about that rn I’m just not sure if we can figure out what she ~actually~ wants on her behalf that might be too many levels of interpretation but idk idk, thinking on it still