HE FINALLY SAID IT
Van Helsing FINALLY said the v word, FINALLY told Seward what was going on...I mean he did it in a very conversational, nonchalant, Van Helsing sort of way, but! He finally let somebody in on what had happened to Lucy!
I mean this knowledge would have been helpful days and weeks ago, but at least Seward is in a position to understand and believe now... telling Arthur is gonna suck, though.
And god, when Mina finds out... Dracula fucked with the wrong woman's loved ones. He will regret this.
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I'm so glad I'm not the only one obsessed with the Marcille Laios Falin gang. Like they are a unit.... A team.... Even if the rest of the party fell apart they would stay together.... Idk it's just really fun to see all the different groups everyone falls into across the course of dungeon meshi and I love how you can tell that the three of them are a unit even as they are separated for most of the manga.
YEAH!!!! that day in the laughing wolf when falin first stopped marcille from perma-killing her brother that was fate in motion binding them together for the rest of their lives. (/hj but also i have a vague nebulous idea for a series of drawings of the toudens + marcille thru the years starting w the laughing wolf.) i love how we know that in both laios and marcille's ideal visions for the far future they are together with falin and that by the end they make it happen. i love that they both started off being connected only by the strength of their love for falin but eventually developed their own deep closeness that cemented their trio as a balanced whole.
i don't see laimar romantically the way i do farcille but those two for sure mean as much to each other as falin does to them. i love laios's strongest impression of marcille being the moment she gave it all to bring falin back. i love marcille speaking to laios's corpse with her cheek laid on his cold breastplate. i love laios looking out for marcille's comfort and enjoyment as the baseline for the party because she's the most expressive about her feelings. i love marcille always being the first to notice when laios is being dodgy as all hell and making him spit it out.
however it shakes out those three are family 5ever and we all know the lengths they'd go to if they were ever to be separated <333
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I feel bad for Starlo.
Star has a point, idk what the four were ticked off about, there is like 99% chance everyone willingly participated in the trolley problem, based on what we've seen of his behavior thus far it's not like Starlo to be that big of a jerk/drag them by force/yell at them to do it. Ed's words:
he does it because Star asks NICELY
clearly jealous
It genuinely seemed like a fun time/fun roleplay, especially since every day is the same. Like, the five are supposed to be a rowdy and adventures bunch, what exactly did Starlo do wrong, I'm genuinely confused and curious. Except taking a big liking in Clover (his posse should know that this is a big moment for him, according to Blackjack they've known each other since high school and had the same liking for westerns. So they were basically a nerd gang.) Starlo was kind, patient and considerate towards Clover the whole time, even warned Mooch about them not being bandits, taught Clover gun safety, wanted to bring his posse along for a fun time, thanked Ace for telling him about getting Clover a new hat...
Sure, at first he only liked Clover for being a human, but as Ceroba says, that changed and he grew to genuinely care about them, plus I can't help but think Star saw himself in Clover and that's part of the reason he was so proud of them all the time even when they messed up (I'll talk more about this at some point)
What exactly made Ace want to leave the gang? He even said how he doesn't mind "getting run over by the fake train"
he's so nice. says sorry for forgetting the safety goggles even when he was scatterbrained due to his excitement. I love him so much
The only real "faults" (I'll call them temporary faults) I saw in Star during the Wild East section was that he was even more enthusiastic and more proud than usual. But how couldn't he be when he met a member of the species that he has admired for so long because they have real cowboys and sheriffs on the surface (who are seen as brave heroes who deliver justice, while Star canonically feels like a nobody farmer). His posse should have realized Clover wouldn't be there forever and just let their boss enjoy himself with his "deputy who'd have to leave sooner or later anyway"(or be more patient with him/ask him why he feels this strongly towards Clover/if there's a deeper reason for that). His friends including Ceroba just turn their back on him so quickly instead. The moment he's gotten the chance to feel valued for once and put himself first and not have to take care of this whole town and everyone in it and live his dream of meeting a real human, suddenly "his personality is damaged?"
Star's literally built this whole town, organised everything, he worries about everyone, Ceroba (plus was the one to give her emotional strength before and after Clover's sacrifice), Kanako, the monsters, his family, struggles with feelings of worthlessness yet never wipes that smile off his face, always does his best to be hopeful and optimistic and make others laugh, gave his posse a nap time so they don't become exhausted, gave Ceroba a free home, didn't act upon his feelings towards her and was a 110% supportive, caring friend instead. THAT'S who he is. He's the papa bear of this friend group, the glue holding everyone together.
He was just *really* excited. Y'all know he's insecure and just wishes to escape who he is and yet y'all blame him for liking Clover so much. Yeah, the four are very clearly jealous. But why won't the four of you control your feelings for a while? As mentioned, Clover WILL HAVE TO LEAVE EVENTUALLY. They won't be Star's "deputy" forever (the kid who's just as into westerns as he is, who values justice just as much, who also values doing the right thing. Someone he clearly felt understood in the presence of, whom he loved; just look at the way he talks about Clove during Showdown). Star seems genuinely confused of what he did wrong poor guy just wanted to live his fantasy for once and feel important:
Even at the beginning Moray's like "oh no Martlet is upset" Mooch replies "don't be a buzzkill nothing exciting ever happens around here" and Ray's like "Yeah you've got a point"
If you all agreed to have a little fun with a human who will very soon leave forever why is Starlo's enthusiasm such a big problem? If the posse weren't into this after all (unless they were simply too jealous which could have been solved with a honest talk and a little patience) why are you doing this "rowdy" job with Star in the first place? Do you want your boring routine day to day life so much back? Or just for Clover to leave (which they will soon enough)? You, western enthusiasts, literally met a real human, A HUMAN FROM WESTERNS YOU ARE SUPPOSED TO BE PASSIONATELY INTO (clearly not as passionate as Star but passionate ENOUGH to understand where he's coming from).
... okay.
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AGoT was absolutely making some big statementsᵀᴹ re deconstructing unrealistic fantasies and how they make tragedies out of children, with Jon, Bran, and Sansa being the main vehicles for this commentary. They are basically three different versions of GRRM’s critique on the genre. All three had built life expectations based on the songs fed to them as children, but had to have those dreams and aspirations (very) violently shattered as they were thrust into a world that didn’t care how it made corpses out of them. They have all been made victims of fantasy’s violence in a tragic process that is believed to be the natural order.
Sansa realizes in time that the songs didn’t paint the full picture. The singers neglected to warn her that not all handsome princes are kind, and not all knights actually understand the contradictions in the vows they swore; some don’t really care to in the first place. She learns that the handsome prince she loves can brutalize her through the very knights who should protect her (an innocent maiden). Though he doesn’t know it yet, it was Bran’s very ideal that almost killed him. He wanted to be Barristan the Bold, a valiant knight of the kingsguard. But it was a member of this “noble” order that tried to murder him (and thus made his hopes and dreams impossible) because he witnessed him betraying the man and institution he swore allegiance to. And Jon, like Bran, wanted to be the valiant hero. He banked on the songs which propagandized the Night’s Watch and their noble exploits. Then he actually joined the watch and came to learn that this “noble” order is an oppressive xenophobic force; and the contradictions presented when the oppressed (a bastard boy with little social status) unwittingly becomes an oppressor (him initially buying into the propaganda that the wildlings shouldn’t be a protected class).
Once all is said and done, all three children are forced to take on roles that couldn’t be farther from what they envisioned. Sansa is a princess hopping from one tower to the other, forced to cater to the whims of abusive men. Bran is a crippled boy who unlocks a magical power that he doesn’t really care for; he wanted to be a knight not a magician for crying out loud! And Jon does become Lord Commander as he wished, but he is utterly depressed and lonely when he’s made to foreswear family ties and drive his friends away once he gains power over them.
But the cool thing is, in the very same way that fantasy is deconstructed through them, it is also reconstructed and given new meaning as they find a place for themselves in the world in spite of their tragedies. Sansa is still a pretty princess in a tower, but she is learning to be her own rescuer and she has managed to retain empathy and kindness in an environment that tried to tell her how futile it would all be. Bran may be crippled and incapable of becoming Brandon the Bold, but he has reinvented what it means to go on the hero’s adventure and he is beginning to build a role as the Prince of the North. And Jon may be a bastard, yet he has somehow become the living embodiment of what it is to be the valiant prince that little children love to dream about.
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"The newly widowed Elizabeth (Woodville) was exceptionally vulnerable. Several of the trustees responsible for her jointure refused to hand over the manors that were meant to sustain her in her widowhood. Moreover, her brother-in-law, Edward Grey, had seized estates that her son Thomas should have inherited from his paternal grandfather, while her mother-in-law’s new young husband, Sir John Bourchier, had prevailed on Lady Ferrers to settle her principal properties on them jointly for life, ensuring that Thomas would have to wait far longer for this inheritance too. Rivers and Scales were pardoned in July 1461 and swiftly moved into the Yorkist establishment, which perhaps explains the success of the chancery suits Elizabeth launched to regain her jointure. Her son’s inheritance proved harder to recover. By 1463, Rivers was often in (Edward IV's) company and on his council, but Elizabeth needed someone with much stronger influence over the King. She turned to a distant kinsman, William, Lord Hastings, the King’s chamberlain. Hastings drove a very hard bargain for his aid but it was probably amid these negotiations that the King’s desire for Elizabeth was kindled."
-J.L. Laynesmith, "Elizabeth Woodville: the Knight's Widow", Later Plantagenet and Wars of the Roses Consorts: Power, Influence, and Dynasty
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