#karon

Just a man vibing with his bestie over deep stuff and ballet. This scene made me wheeze so hard.

We've all been there buddy :) But regardless of what people think, Charon owns the dance floor. Period.

Fakir kidnapping Mytho and holding him captive, with him being of Drosselmeyer's bloodline, was what caused the Story to not move? (As intentional or subconscious as it could have been on Fakir's side.)

Because Drosselmeyer's goal with it was to trap the characters in a perpetually reoccurring cycle of Despair, right? And Fakir shattering Mytho's heart and keeping it shattered (and letting the Sword of Lohengrin rust, only to later reforge it IN HIS OWN BLOOD which is of Drosselmeyer's own line) stopped the Story, because the point of the Story was to endlessly repeat the cycle of "everyone loves the Prince - their feelings wake the Raven - the conflicts free the Raven - the Prince fights the Raven - the Prince loses his heart". (The shard that is soaked in Raven blood is Love for more reasons than one, because Love takes on many forms, and is easily tainted, as Edel has said.) By suspending Mytho in nonfeeling darkness, Fakir effectively stops the cycle of Despair.

Enter Duck, whom Drosselmeyer personally seeks out and engages by giving her the Shard of the Prince's Hope - a both real and false hope which is to both force the Story to move, make the characters blindly believe they can succeed, but also deepen the Despair the characters would feel during the climax as Hope is unavoidably betrayed. Drosselmeyer gaslights Duck and makes her temporarily forget her origin, causing her to better adapt to the Story, which probably in some way also influences the memories of other characters, including Fakir, as the Cogs begin to turn.

This would mean that Fakir, over the course of the series, and likely more instinctively than not, stops, resumes, rewinds, breaks and resumes again, and finally completely reconstructs the Story's original narrative, in that order.

Note that he meets Siegfried just around the time he causes his parents' death as well, albeit after the fact, so around the time he stops writing (actively, that we know of).

For there to be creation, destruction must occur first. Chances of failure, of re-establishing the cycle of Despair are grand, so no wonder Fakir is so wary of Tutu, and so reluctant to agree with her mission, and believe in their success. Once he does, Duck's own Hope and Faith light the way, and not the borrowed Hope, which is also a product of Drosselmeyer's writing just as much as the Prince himself.

Fakir likewise renames Siegfried to Mytho when he 'claims' him from Drosselmeyer, and personally shatters his heart and traps him in protective limbo.

Fakir also damages the Sword of Lohengrin twice, once before the beginning of the series, (inadvertently or not,) and the second time when he breaks it while enabling Tutu to win the Shard of Love from Kreahe. (Not to mention he also inspires her dance confession, because he is the one to tell her not to speak the words of love and disappear.) A sword that is meant to belong to the Knight from the Story, but is in the end wielded by Mytho. (So is Mytho/Siegfried a knight as much as he is a Prince?) The Sword's two halves transform into two swans (a motif also on its hilt) that end up pulling the flying carriage at the end of the series. The Sword is only ever reforged in blood once, it being Fakir's (bathed in the blood of the Prince's enemy, god, captor, friend, and protector). Mytho reconstructs the two broken halves by summoning the swans to face the Raven. It is also partially wielded by Rue, who slays the Raven together with Mytho.

I'm not sure how I want to end this post, but I had to out these drabbles in writing.

Also how come, while even Fakir's and Autor's memories were altered, and complacency encouraged by the Story's influence, Charon appears to have forgotten nothing at all points in time?? If even Drosselmeyer's own Heir is made to forget his origin, and his puppet of destruction (Tutu) as well? (Autor logic-ed his way to the right conclusions.) The only other people who seem to be immune to the Story's hypnosis are the Bookmen.

Was Charon secretly a Bookman who deffected from the Order to raise the Heir to Drosselmeyer in hopes of winning against Drosselmeyer once and for all? So that this poor child would neither die as a result of Drosselmeyer's sadism, nor suffer from either his ability or the Bookmen's prosecution? So that he would be the savior of the new age?

All my problems start to fade, and the only thing I care about is this girl, who went through so much for my sake. Who lost a piece of herself that she can’t get back again.

Catwoman (2002) #19