In this scene, we have embarrassed outrage covering up a
true motive, honesty so misleading that it encourages the worst interpretation
possible, blatant lying, and a thunderstruck realization that this conversation
has somehow gone very badly, but not badly enough to be worth clearing things
By golly, it’s glorious.
I love this scene and everything it chooses to be. Ymir
argues for Krista’s safety. Kristoria notices and calls her on it. Ymir
strongly objects. Kristoria rightfully points out that if she’s wrong, Ymir has
no reason to stick around. Then self-esteem issues the size of Wall Maria (and
about as functional) pick up and Kristoria asks the direct question: Is Ymir
bothering with her because of her family?
Yes, of course she is.
But don’t worry, it’s not like, a service thing; Ymir’s
exactly where she wants to be.
The beauty of it is that
Ymir is attached to Kristoria because
of her family. She joins the army looking for someone who’s known the exact
same pain she has, and she finds Krista. Krista, who never would have existed
without her wreck of a family.
Everything Kristoria has lived through calls Ymir to her, and
that’s so much easier to say than that Ymir cares for everything she is.
But that isn’t what’s communicated. On Kristoria’s end, all
she hears is that the person closest to her is only sticking around because of
her blood. It’s entirely by choice, but she isn’t there because she likes her
So Krista comes out to play, and lies about how okay that is
with a smile.
Now for Ymir to feel really guilty and offer any kind of clarification to make things better never.
One Night Only Dreamgirls // We Own The Night Matthew Morrison // I Dreamed A Dance Next to Normal // A Part Of That The Last Five Years // You Can Do Better Than Him Bonnie And Clyde //What You Mean To Me Finding Neverland // I Am Changing Dreamgirls // Fight For Me Heathers: The Musical // This Never Happened Before Bonnie And Clyde // Something To Believe In Newsies // Dangerous Game Jekyll & Hyde // All This Time Count of Monte Cristo // Nobody Needs To Know The Last Five Years // Hopelessly Devoted To You Grease Live // History Is Made At Night Smash // I Imagine You’re Upset Bat Boy // First Date/Last Night Dogfight // Beggin’ Jersey Boys // Light My Candle RENT // Seventeen The Heathers // I Want You Baby Dreamgirls // You and I Bare: A Pop Opera // As Long As You Are Mine Wicked // In His Eyes Jekyll & Hyde// Our Love Is God Heathers: The Musical // The Point of No Return Phantom of the Opera // Youre The One That I Want Grease // The More You Ruv Someone Avenue Q // Fallen Angel Jersey Boy
does historia know about ymir's true feelings? she seems like she's oblivious to them
Friend, Historia’s best determination of her own feelings is, “I don’t know how to explain it…”
Her response to Ymir’s dramatic deathbed confession, dubbed a love letter by the crafter, is, “How am I supposed to understand like this…?”
Historia is the worst at romance.
Except not really, because that wouldn’t be giving Ymir’s failures enough credit. Ymir lets Kristoria get away with believing that Ymir doesn’t care for her because correcting her would involve way too much emotional vulnerability. Any direct reference to her feelings is carefully constructed so that if you have zero self-esteem and sense about relationships, it could be misconstrued as a joke.
They’ve created this mutually hopeless style of communication where one has the freedom to be completely honest with no emotional risk because the other, quite literally, will not get the point even if it is hand-delivered in writing.
Connie, he of the most insults directed at his intelligence, has to explain to Historia that maybe, just maybe, Ymir doesn’t have a huge interest in sacrificing her to save her own skin.
It’s incredible, but the person who has three years of life devoted to inspiring specific emotional responses in others (and besides succeeding, goes on to uses those skills to take the throne without causing a fuss) does not understand emotions when they fall around her personal experiences.
Historia grows up internalizing the concept that she’s wholly unloved (part of why Frieda makes such a splash when she remembers her). So she can look at some of Ymir’s actions and immediately understand that Ymir is fighting for her and their comrades, and know that she and Ymir know each other better than anyone else, and believe that living for themselves involves the two of them living together–
–all while letting the plainly obvious truth completely pass her by.
They are both terrible at this.
My thanks forever for another chance to discuss it.
imagine like a Falconers Face-off thingy where it’s one of those quickfire round of questions like:
interviewer: who is grumpiest in the morning? Falconers: Guy Interviewer: who eats the most? Falconers: Tater Interviewer: who spends the most time on their phone? Falconers: JACK
which Jack finds odd because he’s never really been like attached to his phone much before but now he’s constantly texting or calling Bitty and the reality sinks in like ‘oh, i haven’t been subtle at all’
Falconers: We know what he’s really up to Falconers: Little Jackie’s in lo~ve Falconers: Shows on face Interviewer: is that true, Jack? Jack: *groans*
Followed distantly by Eren, then Frieda, Falco, Connie, and Carla.
I have a lot of fondness for most of the cast (there are very few I actively dislike), but I’m more attached to the themes that they reflect than who they are, if that makes sense. I like Attack on Titan best as an ensemble piece. The parts don’t bring me nearly as much joy as how they fit together.
With the glaring exception of Historia.
Historia is my favorite character. Fandom qualifier unnecessary. She’s a delightful, stubborn mess whose eventual refusal to play by the rules she’s been abusing all over the place for years allows the world to change for the brighter.
She tries to kill herself by marching resolutely through a blizzard, accompanied by unconscious body. She throws rocks at titans. She asks titans to hold off on killing her because her girlfriend needs to know her name before she’s done getting eaten alive. Two people she’s known for years are revealed to be traitors and causing all sorts of ruckus, and the only sign that she even knows any of that is happening comes from her accusation that they’re forcing Ymir to join their kidnapping guild. She can compartmentalize well enough that she’s okay with the only friend she’s made since Ymir’s departure being chained up on a sacrificial podium (everything is totes fiiiine). She’s desperate enough for love that turning into a titan and eating that friend alive is absolutely something she’s willing to do. She mostly stops herself because the price is her agency. She has the best misanthropic lines ever while she cares for the people that everyone else has forgotten. She calls Eren a crybaby and hits him while she’s rescuing him from danger she’s largely complicit in. She kills her father because she wants to see her first family dispute all the way through.
Historia is a massively flawed human being who figures out how to find her pride in life instead of death, and her journey is flush with understated melodrama and theatrical yelling.
The milkovich family is so confusing. The actor in this diagram listed as “Joey” is listed as Colin Milkovich on Wikipedia and IMBD. So who is Joey? And isn’t there also a Jamie? Too many faces. Too many names! Too many damn Milkoviches.
This is always going to be one of my favorite scenes.
When I first read the manga, I decided that Krista was my favorite character the second I saw her. In a series wrought with horror, she was the tiny moe one in the top ten. I spent my entire binge read hoping that she’d get an awesome story to go with that contrast.
Utgard is my favorite arc in the entire series, and more favorite aspects of it are incoming, but this is the moment that makes all of the future ones for me.
Attack on Titan is a series about humanity’s pursuit of freedom–of life, essentially. Our Heroes fight desperately for it, laying down their own lives for the greater purpose of humanity thriving. Their deaths are always, always tragedies, and they litter the setting.
Kristoria, as defined here, is the character who can’t see the tragedy of her own death. Her happy ending isn’t an ocean, or a world without titans. Her happy ending is mattering, and she’s given up on life providing that.