Thank You @hozukitofu And Everyone Who Got Me To 5 Reblogs!

Thank you @hozukitofu and everyone who got me to 5 reblogs!

Doll-Tearing = Loss of Innocence

In ASOIAF, doll tearing is often associated with the loss of innocence. When Arya visits a village, the village elder's daughter begs Arya to play with her. Annoyed and frustrated, Arya rips apart the young girl's toy knight, shouting "Now he's like a real knight! Torn apart and bloody!" (i can't remember which book). Arya has seen harrowing sights of violence and death that no normal adult should witness, much less a child. This incident highlights how deeply traumatized Arya is after what she has been through.

A similar scene occurs with her sister Sansa. She's building a snow Winterfell, thinking the snow has the "taste of innocence". Robin Arryn, her cousin, then destroys it with his stuffed toy. She accidentally tears it and Robin storms away, sobbing. Littlefinger then comes and kisses Sansa. This isn't Sansa's first time suffering an unwanted advance, but she truly realizes how little support she has when her aunt tries to punish her. Sansa has relied on the memory of her family for strength and the only relative she's seen after the death of her father threatens to kill her after an incredibly vulnerable moment.

poor emi. she's stuck in the world's worst custody battle

Ursalina Duvianos: Reina's Dark Reflection

A good villian should aways mirror the hero, showing that it's easy to go wrong. Dona Ursalina Duvianos shares Reina's same insecurities and suffered for it. As a young woman, she was obsessed with Feleva Aguila, the ambitious valco leader. Superficially, Ursalina's relationship with Feleva mirrors Reina's relationship with Celeste. Reina and Ursalina both were infatuated with valcos whom they served. There is another interesting facet, however, that I think may have lead to Ursalina becoming the vengeful sorceress we see in the books. Both Reina and Ursalina felt inferior because of their species in the presence of their love interest.

At the beginning of The Sun and the Void, Laurel dismisses rumors about Feleva raging her way to an early death because of Laurel's marriage to Enrique. Even if Feleva's discontent wasn't that intense, it still must have been there for the rumor to exist. What would that have done to Ursalina? Seeing someone whom you love degrade their daughter-in-law because they are the same species as you must have destroyed her. By this point, however, Ursalina grew to accept the disrespect. She had already let Feleva take all the credit for discovering iridio. Ursalina's son, Juan Vicente, was raised to serve Don Enrique even though they were both heirs.

However, Ursalina's attitude towards Reina's mother is hypocritical. Juan Vicente left Dona Ursalina to marry Beatrice Torondoy, a nozariel. Ursalina's disdain for Vicente's wife mirrors Feleva's scorn for Laurel. Even though Ursalina resented Feleva for her speciesm towards humans, she never recognized her own prejudices.

Farnese-The Lily Blooms

It's not a coincidence that both Guts and Roderick look similar and have comparable talents. Both men are also important to Farnese: Farnese nearly worships Guts and Roderick is clearly attracted to her, but Farnese doesn't reciprocate his feelings. This dynamic mirrors the Golden Age love triangle between Guts, Casca, and Griffith. Just like Casca, Farnese has to choose not just between self-acceptance and self-rejection.

Farnese's journey is one of becoming more courageous through service. She was a fearful girl who armored herself with aloofness and acts of terror. She wanted people to be more scared of her than she was of the things that frightened her. Farnese's encounter with Guts during the Conviction Arc demonstrates a new way of confronting horrors- head-on rather than running away. Her inability to care for Casca forces her to confront her vulnerabilities and overcome them for someone else's sake. Farnese even learns magic so she can become more self-reliant and defend Casca herself.

Guts is the catalyst for Farnese's aforementioned development. Farnese worships Guts as the embodiment of the resilience she desperately desires. This is reminiscent of how Casca idolized Griffith. By giving Casca a sword, Griffith gave Casca a means of asserting and defending herself in a world that would otherwise oppress her. She, like Farnese, idolized a man who gave her greater autonomy.

Ironically, Casca's self-image became dependent on how Griffith could use her. She even disdained her womanhood, seeing it as an obstacle to serving Griffith. Farnese self-esteem isn't nearly as low, but she is clearly crushed whenever she doesn't get Guts' attention.

Her improvement finally grants her a chance to get more of it. It isn't until she meets Roderick, however, that she finally has a chance to be loved. Roderick is curious about Farnese, saying he always wanted to see the Vandimion devil child. The worst parts of Farnese's history don't scare Roderick away but only intrigue him. Likewise, Guts saw the worst of Casca: her abrasiveness, jealousy, and insecurity, all derived from her unrequited crush on Griffith. However, this only endears Casca to Guts further. Roderick is similarly patient towards Farnese: he understands she has feelings for the Black Swordsman, but isn't jealous.

Both Guts and Roderick respect their love interests' prowess as well. When Farnese protects the ship using magic, Roderick calls Farnese a goddess among angels. For a man from a society that prohibits witchcraft and limits women, this response is remarkably accepting. Farnese and Roderick's relationship will mirror the total acceptance found in Casca and Guts'.

Farnese's romantic relationships mirror Casca's almost 1-to-1. The protective admirer (Serpico), the unrequited love (Guts), and now her possible soulmate (Roderick). As of now, I see Roderick and Farnese getting together. Farnese's gentle and compassionate nature would make her a great partner, and I can see her joining Roderick on his journeys. I'll keep in mind what Lady Vandimion said about Farnese's unpredictability. Farnese may surprise not only her brother but us as well.

Doll-Tearing = Loss of Innocence

In ASOIAF, doll tearing is often associated with the loss of innocence. When Arya visits a village, the village elder's daughter begs Arya to play with her. Annoyed and frustrated, Arya rips apart the young girl's toy knight, shouting "Now he's like a real knight! Torn apart and bloody!" (i can't remember which book). Arya has seen harrowing sights of violence and death that no normal adult should witness, much less a child. This incident highlights how deeply traumatized Arya is after what she has been through.

A similar scene occurs with her sister Sansa. She's building a snow Winterfell, thinking the snow has the "taste of innocence". Robin Arryn, her cousin, then destroys it with his stuffed toy. She accidentally tears it and Robin storms away, sobbing. Littlefinger then comes and kisses Sansa. This isn't Sansa's first time suffering an unwanted advance, but she truly realizes how little support she has when her aunt tries to punish her. Sansa has relied on the memory of her family for strength and the only relative she's seen after the death of her father threatens to kill her after an incredibly vulnerable moment.

Petyr the Disillusioned Hero

Petyr Baelish's story could be ripped out of a fairytale: the wimpy heir to a poor, unremarkable noble house fights for the affections of his beloved. I wouldn't be surprised if Petyr's bravery (one might say foolhardiness) was inspired by songs. Much to his disappointment, however, life did not reward his bravery. It's no wonder, then, that he frequently warns Sansa that life is not a song: he fell into that trap and paid dearly for it. Life taught Petyr no lessons, it only gave him more grudges to hold.