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Sometimes I remember that Cam's first interaction with Vivia was straight-up watching her behead his brother to save hers (and by extension also Cam) and I think. Huh. I would also expect this woman to recognise me on sight and trust me unconditionally.
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And anyway what really gets me about Stix (or at least one of the things) is that we're taking this very accomplished, secure woman who is certain in everything, from her relationships to her morals, and we're throwing her to the wolves. We're making her rethink everything she has always known. Her gods are real and she knows them personally. Her enemies are only trying to fend off a larger, worse enemy. There are depths and limits to her magic she has never reached before. She has been too many people in too many places and she no longer has the comfort of principled morality, nor even the basic comfort of knowing who, exactly, she is. It's one fucking thing after the other. An entire man fell through her roof just now.
I also haven't said this in a while though I've been saying this. Familiarity breeds something, definitely.
The nature of the Witchlands books and how they're written, the short time-spans covered, is that we only see the characters in moments of high tension. We are told what they are like usually, we get certain memories or mentions of past events, but on-page, they are almost always at their breaking point.
Where am I going with this? My darling Vivia Nihar.
We are told, constantly, that she keeps people at bay. We see her do this. But we also see that, when push comes to shove, she is desperate for connection.
Not to say that what she has with her Foxes and with Stix and even with her father isn't a deep connection — she is simply not letting herself rely on them in any way that isn't strictly practical and formally (socially) determined. Usually.
At her breaking point, though?
In Windwitch it is Stix who makes the 'first move', as it were, but she is encouraged by the temporary absence of Vivia's many masks.
In Bloodwitch, Vivia — whom we at this point know to be capital A avoidant, capital C cagey — outright begs her to call her by name. You could argue that this is too little, too late, that, after ≈ten years of desperately clawing at Viva's walls, Stix is entitled to some of her own. And her intentions are noble; she doesn't want Vivia to have any more problems to deal with. (She wants Vivia to know more than anything) (Vivia's wellbeing comes before her own).
Is this the exact same thing Vivia is doing? Probably not. Vivia keeps away from all, for fear that she might be hurt, if only indirectly, through not being wanted or respected as she is. Stix keeps away primarily from Vivia (though she tells no-one about the voices), for fear that she might make things more difficult for her.
There is a bond of unbreakable trust between them (Stix abandons her post and sends a message; Vivia evacuates an entire city) but still they are catastrophically bad at reading each other. In a way it's just bad fortune, that Vivia should need Stix most when Stix cannot in good conscience be only her Threadsister.
But Stix is also taking Vivia's distance for granted. Not entirely, perhaps not consciously, yet she phrases it as earning Vivia's true face, as Vaness breaking her walls down, when this is not something that has ever depended on anyone other than Vivia. Yes, Stix and Vaness and any other person could make it easier or more difficult; ultimately it is still Vivia's psyche, Vivia's work to do.
So we come to Witchlight, where Vivia understands herself, finally, but cannot possibly understand Stix, who, at this point, only half-understands her Paladin soul — and to Stix Vivia is still unknowable, even as she finally shows her true face without any reservations. A desperate final gambit that fails.
*takes a bite of my cigarette*...... heh. the character...... *walks into a small puddle but it swallows me up like the ocean* *i am found dead years later in maine*
Stix in Witchshadow thinking about how her father was right, how she was too haughty, how she will heed all his future warnings and admit she'd been in the wrong... Stix in Witchlight doing none of this because it's her father. And even though she'd gone under the Raider King's banner and even though the conversation with Owl served as a final shedding of her perceived truth, she doesn't actually feel the need to justify herself. Not to him.
Of course she is miserable. Of course she blames herself for his injury. But all she says is, I will carry you as you have carried me. And she does. That's all that really matters — not the glory nor the blame.
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