when you're into the Big Ship™ in a Big Fandom™, you have the luxury of having an OTP - a real One True Pairing, where you can read about just them for ages, and you will never run out of fics, and everything is perfect and beautiful and nothing hurts
but when you go to a smaller fandom, you'd better pray to whatever god you worship that someone else in this room ships the same thing that you do, and that if they do, they're writing more than late-night crackfic, because you're on thin fucking ice!
and how small is your small fandom? is it less than 100 fics? maybe even...less than 20 fics?
welp, then it's time to make peace with that god and either open up a text document or learn how to ship everything, because it's swim or drown babey! and your ship is sinking fast
anyway all of this is to say that after hanging out in small fandoms and shipping less-common pairings for a while, going back into a Big Huge Fandom™ is wild because suddenly it's like...wait, why didn't I ship these people again? I don't remember. why was I only sticking to one ship in this fandom?? boring of me, honestly. these guys should make out.
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Evil God Theory part 2
Hello again. I posted about my theory on the tentacled character coming out of the veil in the gameplay trailer in a part one post. Now I’m going to talk about the second figure with the elf ears.
I think our other friend could be Falon’Din. I will be honest, my confidence in the evil god on the right being Falon’Din isn’t as great as my first post but he’s still my first pick and here’s why:
This was a phrase said by an unfamiliar voice in the very short trailer (:33) we got on Dragon Age Day:
“All the world will soon share the peace and comfort of my reign.”
Falon’Din was the god who guided people into Uthenera (a peaceful sleep) but solas says this about him:
I do not believe they sing songs about Falon’Din’s vanity. It is said Falon’Din’s appetite for adulation was so great, he began wars to amass more worshippers. The blood of those who wouldn’t bow low filled lakes as wide as oceans. Mythal rallied the gods, once the shadow of Falon’Din’s hunger stretched across her own people. It was almost too late.
Imagine a god who ushers people into eternal sleep being a bloodthirsty conquerer. He would probably think his reign was comforting and peaceful if everyone is dead.
Also it’s understandable if you don’t necessarily believe Solas. This codex is pretty interesting too though:
The People swore their lives to Falon'Din
Who mastered the dark that lies.
Whose shadows hunger
Whose faithful sing
Whose wings of death surround him
Thick as night.
Lethanavir, master-scryer, be our guide,
Through shapeless worlds and airless skies.
—Song to Falon'Din, found in the Temple of Mythal, author unknown
Reusing this lovely picture from before but highlighting the background in red because it looks like the world could be experiencing an eclipse. A very nice and literal representation of someone associated with darkness and shadows and night being able to cloak the whole world in darkness.
Now onto some other Falon’Din things. The shape on this figure’s head most closely resembles shapes associated with Falon’Din as pictured with the owl constellation Tenebrium. I’ll just put what the wiki says here:
Falon’Din’s sacred animal is an owl. It is either his companion or his manifestation and simultaneously a messenger of Andruil. The constellation Tenebrium, called “shadow” in the common parlance and depicting an owl, may have been associated with him before it became associated with the old god of night, Lusacan. Falon’Din himself is sometimes depicted as a cloaked and hooded pointing figure.
A comparison of the figures headpiece and horn-like appendages(?) behind the shoulders and the constellation association:
Now onto some outfit comparisons.
From Vir Dirthara: Duel of a Hundred Years
The pages of this book—memory?—show a narrow plateau on top of a mountain, Two armored figures—one in gold, one in black—are fighting in the snow. Steel flickers so fast the air hums. Blood dots the ground. They do not stop for breath. The one in black makes no sound as a blade parts his throat.
"Mythal, in her wisdom, interceded in an argument between Elgar'nan and Falon'Din. With clever words, she convinced them to settle their grievance through a battle of their champions. Elgar'nan and Falon'Din agreed, and set their champions against each other rather than declare war among the gods. May those knights long be remembered, and Mythal's wisdom be praised."
The codex does not say which champion was which when fighting but we could assume Elgar’nan’s was dressed in gold (big E and all his sun/light symbolism), while FD’s champion is probably the one dressed in black. While the main cloak/robe seems to be black (refer to the pic after the statue), there’s also a lot of gold so again, not real strong evidence but it could be something. Also the sleeves match up decently with the Falon’Din statue sleeves.
I did notice too that this outfit seems to match up in some ways with Falon’Din’s outfit in the mosaic. Where the clothes in the mosaic are belted together, it seems this character has the same style but I can’t be certain because the lighting doesn’t help.
I also included an old dao picture of a statue because the shoulder piece in that statue plus the way the figure stands near the end of the gameplay trailer reminded me a lot of that particular statue. So I put them side by side so you can have a look for yourself.
All that to say, my theory on the second one isn’t as strong and I don’t feel like I have enough evidence yet to be super confident but this is my best guess.
Also if we think about the two that Mythal has had to humble it was Andruil and Falon’Din. Mythal had to take Andruil’s voidy toys away. Falon’Din got too blood thirsty and was forced to go into timeout when Mythal went to Dad Elgar’nan about him and he lost the duel. Plus there’s some connection with his symbol being an owl and the owl being a messenger for Andruil. So it would be fun to see this little duo be our boss fight baddies.
Again, if you read this far, thank you!
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alright that last post had me thinking. i understand a ton of people wish penelope and colin got more screen time directly. believe me, i get that! i am always the first to say we should have gotten ten episodes, not eight, just to let the other plots and especially scenes with colin and penelope breathe a little more. but. i keep hearing a lot about how some of the other plots were "completely unnecessary" and "didn't add any value" and that's just plain incorrect. i think a lot of people who i see saying this just sort of... don't understand? narrative foils?
for those uninitiated, a foil is "a literary device that compares and contrasts one character with another to reveal their traits, values or motivations of one character through the comparison and contrast of another character." think of this like a mirror, or a photo negative.
if you are looking for foils of only penelope and colin, we've got plenty, though many other characters foil each other, too. this is bound to happen naturally in a show with so many characters, but for this post i'll focus on them first and foremost:
- the mondriches:
many wondered what the point of the mondriches plotline was, and though i simply enjoy having them on my screen, (they are incredibly cute together) their narrative purpose is very clear. their son is now a baron, and they must navigate the world as not someone with title, but as the mother and father of a titled lord. penelope and colin, we learn by the end of the season, also have a son, who will be the new baron featherington. it is the very same solicitor that delivers the news to alice and will, who threatens to take away the chance at keeping the estate from the featheringtons. the titled son plotline was clear from the beginning, though it was a "mystery" which sister would turn out to be the mother of the new lord featherington. (mystery is in quotation marks since i doubt anyone actually believed that it wouldn't be penelope). either way, they are foils to another family, and other main characters.
still, they are not finished in their role, as they also serve to illustrate the struggle of working members of the ton, and the argument to give up a business you love in order to remain in good standing. in this, will is penelope's foil, and alice is colin's. though i love both alice and colin, they initially do not understand what it means to give up something you have worked unbelievably hard for, and see their partners giving up their businesses as the easy, clear choice. alice contrasts colin by winning her argument, and convincing will to let go of his bar. will contrasts penelope in the same way, by letting go of something that was important to him in order to make room for other ventures. while will and alice come to a compromise that prioritizes alice's desires (hosting balls to entertain rather than keeping the bar) penelope and colin come to a compromise that prioritizes penelope's desires (revealing her identity as whistledown and getting permission from the queen to continue writing). yet, both pairs have made the choices that are right for them, and both feel satisfied by the compromises.
and the last note on the mondriches' purpose: they show us what is expected of families of the ton, to inform penelope and colin's arguments later in the show. we are shown alice and will being given separate bedrooms, as many of the other families have been shown to have, though it hasn't been quite as clearly remarked upon until now. in their plotline, it is quite a big deal that they are expected to sleep separately, as they haven't before, and do not wish to now. they ultimately decide that they will share alice's designated room — and later, we see that after they argue, it is likely penelope's room that colin is sleeping in front of, rather than going to (presumably) his own. now, it is unclear whether this was simply a set limitation or not, as we never see an interior of colin's bedroom, but it's likely that he had long since decided they'd be sharing penelope's, as that is the room he chooses to introduce to her in the mirror scene, and the sitting area of that room is where he places his desk, whereas hers is inside the bedroom proper. (we only see this and their drawing room, but i don't doubt that the house is larger than was shown, given the size of both those rooms and the hallways that connect them.)
- violet, agatha, and marcus:
let's see, a brother and a sister, where the sister's best friend wants to be romantically involved with the brother, and all three of them are being weird about it. now where have i heard that one before? in these moments, agatha is a foil to eloise, marcus to colin, and violet to penelope. through them, we can extrapolate ways eloise may be feeling about penelope and colin's relationship, as violet and agatha talk it out, whereas eliose scampers off to scotland quite quickly. the contrast here is that violet and marcus are very timid and reserved in their relationship until they obtain the 'blessing' of agatha to pursue it, whereas penelope and colin dive headfirst into marriage before eloise and penelope reconcile their damaged friendship.
however strangely, though, the foils here seem to swap characters often: marcus also mirrors penelope, as it is him who wronged agatha, not violet. another comparison within these three are violet and agatha mirroring penelope and colin, as violet has to outright state to agatha: "i hope you know that my care for you is not contingent on your aid. i am here for you, agatha, always." which shares a sentiment with what penelope states to colin later: "it is not what you do for me that makes me love you. [...] just being you is enough, colin. i do not need you to save me, i just need you to stand by me." agatha and colin, here, both assume their value lies in what they can do for others, rather than simply being themselves with those closest to them.
- benedict, tilley, and paul:
what, do you not want to see benedict kiss a guy? the fuck?
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