Melon

im obsessed with stories that have a fixed ending before they even start. stories with narrators who are crying as they tell it because there is only one way this can end.

there is only one way this can go.

stories where the characters might know how it all ends and beg the audience to change it, knowing they can't. stories where the characters are unaware, but given the people they are and the situations they're in- well, what else are they supposed to do?

stories that are loops. that start with everyone dying and getting back up again to do it one more time.

because this time, maybe, it will be different.

the narrator cries.

In parallel to the critical take of the damsel in distress archetype, I'm a fan of the princely character who obstructs everything about themselves to fit being a perfect love interest. Who struggle to recognize their own feelings and dedicate themselves to the person they admire to an unhealthy degree

It's kinda an interesting contrast, because the damsel in distress is often portrayed as the one puppeteering the events of the story. Even if it's something pushed on to them. While here it's very similar to that, but the monster is one of their own making and theyre being swallowed whole by it. And they need someone to save them from it.

I love how all the no home girls love Marie and treat her like a cute little thing by hugging her and feeding her food but when you know Marie she's actually very foul mouthed and bites

Marie cutie hours

reminder that being a boy isn't about being tough or shutting yourself off to your emotions. it's about dancing around and demeaning yourself like a pathetic little court jester to entertain any woman who offers you .5 seconds of attention

Lambdadelta being the piece of candy that is used many times in the story as proof of magic and what initially convinced Maria that Beatrice exists, the way Lambda endorsing Sayo as a witch works as an allegory for how the candy trick made Beatrice 'exist' through Maria's belief/acknowledgment and how that was the foundation of Mariage Sorciere and the concept of endless magic VS Bernkastel being the black cat that Kumasawa blames to get Sayo out of trouble when she breaks Kinzo's vase, something that's depicted as Virgilia's finite magic, Sayo's first exposure to magic as a way to actively avoid the harshness of reality which translates to young Beatrice's decision to become Virgilia's apprentice, the way Bern's position in the story seeking to dismantle the illusion of the witch as cruelly as possible reflects how this kind of magic is only temporary relief and reality always supersedes it, you can blame a cat for the vase being broken but it's broken nonetheless and it's easy to prove that the cat story was a cover up, the consequence to lies being piled up on top of lies is that when the truth eventually comes out, it becomes much more devastating (see: Sayo being lied to about herself her whole life)

Lambda and Bern existing as meta-phors not just for two concepts of fate but also two different conceptions/origins of magic, the candy and the cat being keys in pivotal moments where magic first "came to be", the candy magic revolving around truth being created by belief and the cat magic being about escaping truth by creating a lie

Last post lost traction, Black autistic enby still needs help with phone bill, as well as transportation and groceries. Previous trouble working due to PTSD, I know this is a difficult time for everyone and anything helps. Need help commuting to and from new job/school until I get paid. 💖

0/$350

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there is, in fact, a "platonic explanation for this" if you're not a coward

its so fun to see the diversity of tags on this ranging from "they're literally just standing next to each other" to "deep bonds dont have to be romantic/sexual!" to "yeah friends can fuck nasty, platonically. coward." we're all so correct, there are, in fact, a million platonic explanations for this