Apr 3, 2024
Reviving Falin
Meeting Laios for the first time
π€Marcille Donato Approaches You In Three Panels With Increasing Intensity
Loading...
seen from Norway
seen from Malaysia
seen from United Kingdom
seen from United States
seen from Singapore
seen from Afghanistan
seen from Malta
seen from South Korea
seen from Singapore
seen from China
seen from United States
seen from Netherlands
seen from United Kingdom
seen from Germany
seen from United States
seen from China
seen from China
seen from Malta
seen from China
seen from Malaysia
Reviving Falin
Meeting Laios for the first time
π€Marcille Donato Approaches You In Three Panels With Increasing Intensity
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.
Free to watch β’ No registration required β’ HD streaming
Needlessly close reading and long commentary on chapter 57 and how the audience actually has an extremely limited view on what Marcille has been like over the course of her life.
I am once again thinking about how pre-dungeon Marcille is so quiet and stoic that she seems like a completely different person. How jarring chapter 57 is for the audience. Like you have Marcille, who has been just the most blindingly expressive person with resting baby face
And then the chapter drops a title page of Marcille hearing from Falin for the first time in four years and it's like.
Who is that. Genuinely. Would you even realize that's Marcille without the context clues?
And then the chapter just keeps coming in with the sucker punches.
manga marcille: eepy, kinda groggy, gently rolls over and tucks herself into a little elf burrito
anime marcille: waking up from the worst devil's nap ever. pathetic, unceremonious bellyflop back into unconsciousness
Hold on
Was she
Hiding behind a portrait of her mother????? I know I joked about her emulating her mother to put off an air of a competent woman and mage but??? Did Ryoko Kui just straight up make the most straightforward visual metaphor of her feeling like a child behind the demeanor that she directly modelled off her mother??
So I tried to match the timing and volume as best as I could and
it's interesting that they used the same music for what's supposed to be a triumphant and hopeful moment in episode 19, isn't it
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.
Free to watch β’ No registration required β’ HD streaming
I have always, ALWAYS been obsessed with Ryoko Kui deciding to invoke the Mona Lisa as Marcille's mother in the nightmare sequence. The fact that her expression is left blank, riffing of off the eternal "mystery" of the Mona Lisa's smile. It's such a succinct way of borrowing that enigma, that prestige, of effortlessly portraying a woman who is both unknowable as well as beloved and respected. What an incredible way to frame this memory of her mother, of showing without telling how Marcille feels about her.
So I'm incredibly torn on what the anime did with it. On one hand, Ryoko Kui refusing to draw an expression on any portrait of Marcille's mother in her memory is an exquisitely efficient choice in terms of showing more of Marcille's internal world, her feelings towards her mother, and what image of her mother it is that she hides behind...
But on the other hand?
Adding in the same mysterious smile as the Mona Lisa, then reversing it into an expression that's anything but mysterious? Peeling away the enigma like layers of rotten varnish? That is a sick way of further using the original reference. That's an incredible gut punch. Man.
BABY!!!
BABYGIRL!!!
This one fucking segment in the nightmare sequence
The parallel of Marcille crying next to a portrait of herself crying, with someone's hand on her head. The slow pan to reveal another portrait that paints the rest of the picture, to show that it's her mother's hand on her head while they were at her father's funeral.
And then cutting right to this
to show the other side. To show what her mother looked like while she was clinging on and crying. The fact that this is the first instance you get a clear look at this portrait of her looking so haggard, that it's a reversed copy of the first portrait of her that you see, the one that Marcille was hiding behind, the one that you've been seeing throughout the sequence.
They were sick for this.