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( ę¤ )â a meta + graphics hub. please do not copy anything here, and give credit if you take inspiration.
tba.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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VERSE² ... THE METAMORPHOSIS : Modern â current arc.
Drawing inspiration from: the original Scarlet Pimpernel novel by Baroness Orczy, the works of Angela Carter (but specifically The Bloody Chamber), the story of Bluebeard, Deathless by Catherynne M. Valente, Kunihiko Ikuhara's Revolutionary Girl Utena, film noir, the gothic and mystery genres, the wider superhero genre, and more.
WEBš ...â I KNEW I WAS IN DANGER OF BEING TERRIBLY UNDERSTOOD.
Marguerite St. Just and Percy Blakeney / Angela Carter, The Lady of the House of Love.
VERSE² ... LE CHANT DU CYGNE : Figure Skating.
JUST IN: Seventeen year old Marguerite St. Just, the reigning European Figure Skating Champion, known in her home country as "the swan" and "Miss Stability" and hailed as the future of French figure skating, is set to represent France in the women's singles at the 2018 Olympics in Pyeongchang. Known for her consistency and graceful artistry, she is a strong contender to podium, with gold possibly in her sight should the cards fall in her favour.

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šMETA ...â THE MYTH OF THE MASKED HERO: On Pimpernel + Genre [Part 1].
âThe notion of unlikely heroes finding hidden reserves of courage is as old as the Frog Prince... or David and Goliath. But [Baroness] Orczy introduced a new idea into the collective consciousness: a heroic figure who creates a lounging, foppish alter ego to hide his (or her) heroic nature. It was as if Orczy saw that the Age of Heroism was over, and that the 20th century would be controlled by bureaucrats and small men. For the hero to survive, he would have to hide behind a mild mannered mask.â â Peter Royston, The Hidden Hero: Baroness Orczy and the Myth of Secret Identity.
The Scarlet Pimpernel has long been cited as the genesis of superhero fiction; with a dual identity combined with a modern reinterpretation of the high Romance story structure Ă la Dumas or Cervantes, it would lay down the foundations for modern superhero and other pulpy fiction that would develop during the early to mid twentieth century.
Despite this, however, Pimpernel remains somewhat of an anomaly even with how well developed superhero fiction has become in the past one hundred years. Its story structure, resembling more of a gothic or mystery novel than the action-filled heroism that has become synonymous with the genre, leaves it in this grey area that many are unsure how to approach. Adaptations try to compensate for these differences by incorporating the swashbuckling elements that are present in the novelâs many sequels, yet they never seem to perfectly capture the essence of the original novel despite Pimpernelâs enduring popularity with audiences to this day.
This meta explores The Scarlet Pimpernel and its relationship with genre; how the story has been altered/perceived as superhero media has continued to develop, and how Margueriteâs role as the novelâs heroine is a rather unorthodox choice, even in the modern day. While this is not really a traditional character analysis meta like many of my others, I hope it sheds some light and helps you to better understand my interpretation of the novel and Margueriteâs general role in the narrative.
art credit.
⽠⼠â ➠² ... THE BUTTERFLY EFFECT : (Detective) Comics verse.
A/N: By default, I have set this verse within the DC universe, however, I do consider it to be quite flexible and easy to tweak to fit Marvel and other comic verses. Thus, I view this as being her overarching comics verse given how little it needs to be tweaked. Furthermore, by default I write Marguerite as being the Pimpernel instead of Percy in this verse, however, I do plan on writing out a civilian verse/a version that's closer to the novel for her at some point in the future. For more information on this roleswap, read about it here. Timeline wise, this verse is set in the 80s-90s, although I am happy to move the timeline around to fit your muse's setting.

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That heaven I'd forgotten eases through in you ...
â... Early on the idealized woman (Marguerite) is cast into shadow, not merely as someone who may betray ideals within the compass of her own person, but very specifically, as someone who poses an active threat, who has already enabled the enemy, and will likely do so again. Important here is how specifically focused Percy's suspicion is on the results of her actions, rather than their full context or her motivation; while those results remove her from idealism's inner circle, what will matter in the end remains for a long time obscurely unreadable: her inner character and her capacity for bravery. (...) Both Percy and Marguerite must endure a terrible disjuncture between appearance and reality: Percy perceives nothing in Marguerite's person to contradict his early idealization of her, yet has learned that she has betrayed a mutual friend to his death, whereas Marguerite continues to see glimpses of the Percy she married even though the persona he presents to all, including her, devoid of redeeming features. Both feel betrayed by realities that deny a projected ideal without fully effacing it.â â Raymond Knapp, The American Musical and the Performance of Personal Identity.
AFTERWORD: Or; an addendum to + a few extra notes on Marguerite and the St. Cyr debacle ⌠(A companion piece to Morality Part 1.)
In the original meta on this topic, I focused primarily on Marguerite's motivations and criticizing many adaptations' decision to rid Marguerite of her autonomy and have her involvement in St. Cyr's death happen solely through manipulation of some kind. While I do still stand by most of what I have originally written, I did write that meta nearly three years ago at this point, and my thoughts and interpretation of the entire debacle and some aspects of Marguerite's involvement in it have changed since then. Given how important the St. Cyr denunciation is to my characterization, I wanted to look back on it now and try to piece together what exactly happened and if any of my thoughts have changed since then.
This is meant to focus more on the how rather than the why, explaining my interpretation of how Marguerite's denunciation played out while also adding a few clarifications or notes to my stances in the original meta. I will try to be succinct to the best of my ability, but when push comes to shove, there will always be a bit of word salad in my analyses.
02. đ. â GALATEA NEVER DOES QUITE LIKE PYGMALION; Marguerite + Lady Blakeney.
Baroness Orczy, The Scarlet Pimpernel / 2. The Scarlet Pimpernel (1934), dir. Howard Young / 3. Frank Wildhorn & Nan Knighton, Script for The Scarlet Pimpernel: The New Musical Adventure / 4. ABBA, I'm a Marionette / 5. George Bernard Shaw, Pygmalion / 6. Wikitionary / 7. Catherynne M. Valente, Deathless / 8. Angela Carter, The Lady of the House of Love / 9. Wayne Koestenbaum, âFigure,â My 1980s in Other Essays
š đ. .. ââ ALL THE WORLD'S A STAGE: On Marguerite + Identity.
Having established many of the most common tropes in modern superhero media, itâs no wonder that the theme of identity is at the heart of The Scarlet Pimpernel. Sir Percy, with his dual identity as the eponymous Pimpernel, is the most obvious example, however, the way Baroness Orczy presents Marguerite to the reader throughout the novel has always been a topic of interest for me. Despite being the novelâs protagonist, Marguerite is never straightforward or wholly honest to the reader in her inner monologue; she is constantly putting on a performance, even when she is alone, and as a result, the lines between fact and fiction become muddled.
Throughout the novel, Orczy presents Margueriteâs identity as being split between two halvesâMarguerite St. Just and Lady Blakeneyâor in other words, her real self and the version of herself that she presents to the public. With her prior background as an actress in mind, it is this âsplitâ identity that is at the root of the mystique in her narrative, as well as some of the contradictions in her character, and the theme of identity itself holds more weight in Margueriteâs narrative than any other in the novel.Â
While there is still a lot of room for growth, Margueriteâs security in her identity by the end of the novel coincides with her regaining her autonomy which she had been stripped of the entire first and second acts. Reclaiming her identity and redefining her sense of self is only one way in which she regains her autonomy, however, it is incredibly important to both her character arc and her personal growth by the end of the novel; having been defined by the words and perceptions for too long, Marguerite is finally able to accept herself for who she is, and not who she believes she is.

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š đ. ââ WHAT COLOUR DOES YOUR LOVE FEEL LIKE ?
đ: warm burnt orange â Riding off into the sunset, the hope of a happy ending, the bitter after taste that still in it's own way smells kinda great. Your love is all bitter hopefulness, all about a broken heart that refuses to quit, all about the unshakable knowledge that a burning fire has a great comforting warm and a soft glowing light, all about the way when the sun comes down there's a beautiful starry night. It's stubbornness, it's the refusal to give up, the clutching of broken shards despite the searing pain and being adamant that dammit you can still make a beautiful stained glass window out of it. Yours is a screaming heart, a pleading love, a bitter and almost belligerent hopefulness that things will still work out even if you have to roll up your sleeves and make them. And god, aren't you tired? Isn't your heart heavy? Is all your hard work worth it? Don't you just want to curl up and let it be? Let the fire turn to ashes and the sky turn dark and let love die down and watch people leave? But you don't, do you? You're the bravest out of all of us, so you pick up the pieces and you keep going, you keep believing and you keep your heart full of hope because some day. Some day you know you'll get it. You keep riding off into the sunset and you keep filling my heart with hope as you go because god, how do I wish you finally get it too.
VERSE² ... INTO STORMS THAT RIP THE NIGHT : Roleswap / Pimpernel Marguerite.
Beginning shortly after the death of the Marquis de St. Cyr, this verse seeks to explore the question of: âwhat if Marguerite became the Scarlet Pimpernel instead of Percy?â Motivated by her guilt, Marguerite decides to take action and do what's right, saving innocents from the guillotine as the bloodshed in Paris begins to rise to an egregious point. Vigilantism isn't all it's cut out to be, however, and following her disastrous wedding night and the person she loves seemingly turning on her for good, the original goal of the Pimpernel mantra appears to be lost. Saving innocents turns into an outlet for self-destruction, and it isn't until her brother is arrested and taken as a hostage that her outlet on life, morality, and the role of the Pimpernel shifts once again.
A/N: This is just one part of a larger project I'm working on centered on this concept. The written-out/narrative version can be found here. Given how long this will be (and its current unfinished state), however, I'm hoping this will cover all of the bases in a more digestible manner. While this verse is not strictly relegated to Pimpernel's canon era (1790s) and is very flexible, this post only covers how it affects canon era and briefly touches upon her modern verse. Other variants of this verse (comics, etc) to be expanded upon at a later time.