Deltarune Soriel Comic I Did Month Ago.（1/2）

Bruno’s room?? Analysis??? Theory? Headcanon?? Thingy???

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Encanto Spoilers!!!

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Okay, I promise this will get to Bruno’s room but for starters, I think I should talk about how the casita’s rooms are implied to work. Sorry but it’s important!!

In both the film and the concepts, it very much seems that the casita’s rooms reflect a combination of who their owners are to others, and who their owners want to be. We only see a small handful of rooms in the film but this is best seen in Isabela’s room, which is a perfect, flowery, empty room. There isn’t any furniture that we can really see besides her hanging bed, the rest is all for show, literally advertising how perfect she is with topiaries of herself making “perfect, practiced poses”. This is who she wants, and strives to be for others, but secretly worries that she is lacking in identity outside of what she portrays to others.

Why is this important? Because her room changes with her. In “What Else Can I Do” her entire room shifts and changes just as she does– the more she explores herself and the freedom and passions she never knew she was capable of, the room grows more colorful and wild and more difficult to navigate with her.

The concepts for Luisa’s room were similar– her room concepts consisted of various training areas with a secret room that led to an amusement park– a place where she could just relax and be a kid, but that she felt the need to hide it from others to appear strong. Jared Bush also recently confirmed that Pepa’s room never had “a place for her to let loose”, that that was “part of her problem”-- insinuating she’s been taught to compartmentalize and suppress her emotions instead of letting them go.

So now… we talk about Bruno.

So firstly. No way did Bruno’s room always look like… that. Casita would have never given a five-year-old that room. And it logically doesn’t make sense!! We know from extra content that when Bruno first got his gift he was the “golden child”-- that people were impressed by his gift to see the future, it was only when they believed that he caused bad things to happen that they rejected him. Does Bruno’s room really reflect that golden child?

One thing I noticed was that the wood to Bruno’s room is… hardwood. Underneath all that sand and rock is the remnants of the beginnings of a normal room. It seems like such an odd choice and detail to put there when the rest of the room is all built into natural surroundings. It looks like the remnants of a living space that’s just been covered up to the point of becoming unlivable. And when we examine the specific ways this room has become unlivable, it starts to paint a very interesting picture about Bruno and how he perceives himself.

So we know that over the years Bruno’s reputation has shifted from the “star child of the family” to the Madrigal that no one talks about except in hushed whispers– the one that people are afraid of and dislike. We know from implications as well as discussions from Jared Bush that Bruno had already started isolating himself long before leaving to protect Mirabel.

So what better way to isolate yourself than a literal mountain of spiraling stairs?

They’re so impossibly long that it’s clearly meant to keep most sane people out (sorry Mirabel, it’s true). And we know he didn’t have a shortcut, he used the excuse of the tower having a lot of stairs as a reason to not live there. But again, and I can’t stress this enough, no way did casita give a five-year-old that amount of stairs (and in such a dangerous fashion!).

They’re there to keep people out. Now whether this is because Bruno just wants to avoid them and keep people away from him, whether this is to keep people from harassing him for visions, or maybe (and likely) a combination of both, isn’t explicitly stated. We know that Bruno’s visions can be both emotionally and physically exhausting and draining– to the point of physical pain and weakness. It isn’t much of a surprise that he would want to avoid people asking for visions.

But personally? I think it was also out of a desire to protect people as well. He really starts to internalize this idea that he makes bad things happen, so the more he can avoid people, and the visions, the better. The more he hides away, the more a burden it all becomes, the longer and longer the stairs get.

They’re eventually disconnected completely from the door with an enormous gap. I think this was the last straw when Bruno broke the vision and left, and his door stopped glowing. It disconnected from the inner sanctum completely and the entire room disconnected from the casita. When Bruno disconnected from his family. When he rejected his gift, and with it, himself.

Mirabel knows the casita to the point of even being able to understand its non-verbal communication like she would anyone else, and she seems shocked that it cannot help in Bruno’s room, implying that this isn’t the norm for the magical rooms. His room is cut off because he is cut off. And the deleted scene “Chores” contributes to this idea. Félix says that “his room turned all rotten and gross and Abuela was like ‘no one is ever allowed in there again.’” We know that Alma forbids anyone from going into Bruno’s room because it’s ‘off-limits”, and we can clearly see how dangerous and unstable the room has got, so this isn’t out of the realm of possibility for film canon either. Like Luisa said, his room is off-limits for a reason.

His room refused to let anyone find that vision.

AND NOW FOR THE BEST PART. THE INNER CAVERN.

So after Mirabel risks her life to get to the inner part of Bruno’s room, we finally see these relief sculptures of Bruno on the walls. There’s no beating around the bush, they are terrifying. Empty eyes, blank expressions, gaping mouths. (And they pretty much prove that Bruno’s room didn’t look this way because they display the steps of his ritual, which Jared confirmed he invented himself later on after receiving his gift.) It’s a terrifying depiction of himself, meant to scare people away. He’s considered a curse, treated like the village bogeyman, and he’s clearly internalized these ideas about himself because his room reflects it so much here, in the same fashion that Isabela’s room flaunts the topiaries of her perfect posed stature.

But here’s something I have to mention. The designers did not simply pull this design out of thin air. It is heavily inspired by existing Colombian architecture… specifically burial tombs. The Tierradentro tombs, located in the southwest region of the nation in the Inzá municipality, were made somewhere between 600 and 900 CE and served as a burial site for elite groups. Their structural and decorative features are entirely unique and not found anywhere else on Earth, and the geometrical patterns within them signify the individuals buried there.

So. Bruno’s room is based on an existing gravesite. That’s a lot to unpack.

Bruno feels that he, or at least the version of himself that his family wants from him, is dead. The star child. He had tried to cling to this idea, to be someone they could be proud of, but he just doesn’t know how. His family no longer understands him. He feels like a stranger who has replaced the person they used to love, who’s now buried in a literal tomb of self-doubt.

A tomb that Mirabel almost dies in because of how unstable and disconnected it has become. A tomb that follows an infinitely long spiral staircase up to a room filled with spiraling imagery– all to find a man who truly has spiraled. And one who isn’t there because he is so terrified of hurting people.

Bruno’s room looks the way it does because of his warped self-image that has become so twisted over the years. This internalized perception that he hurts people- that he causes these twists of fate- and while I think he knows on a logical level that this isn’t how his gift works, clearly doubt has infected the way he feels. We can see it in the way he treats Mirabel, wanting to push her away at first because he’s scared he’ll somehow hurt her, refusing to do visions, refusing to help until she tells him that the family needs him. And that’s all he ever wanted, really.

Maybe his next room won’t have all those stairs.

they probably need to talk

Dumbledore is someone I find hard to hate.

He used Harry, he used Remus (let's be honest, he only helped him to have an werewolf at his side of the war) and he used Severus.

He could had tryed to bring Sirius outta Azkaban, like he did with Morfin and that elf, but he didn't. He let Sirius stay there because his freedom would disturb his plans.

He let Harry stay in an abusive household.

He let Sirius get away with attemped murder, while forcing Severus to secrecy. (He obviously didn't gave a shit that he was probably traumatised)

He literely did nothing to stop the Slytherins to turn to Voldemort. (Either because they had no one else to turn to or by influence of their familys)

He treated the gryffindors better than he treated the other houses. (He let his precious gryffindor boys getting away with merciless bullying for 7 years)

But I just re-read HBP and man, he is sweet. He is very sweet. He cares. Maybe not about people that had no use for him, but he did. He cared about the Wizarding World. I dunno what was on his head, it is even harder to understand than what is on Snape's head. I really dunno. Help me.

what bugs me about this tweet is that he didn’t die to save the wizarding world. harry did that. snape died because a snake bit him. i fail to see how his death was a sacrifice. but oh no, he was so “brave,” bullying children all those years. some people try to defend that with “oh he was trying to protect harry and this and that and bla bla bla” but harry was not the only one he bullied. he made hermione cry! he tried to poison neville’s toad! sorry joanne, snape is a devil. thank you for listening to my ted talk.

13 year old Peter Quill to go w/ the Yondu I did yesterday. He’s a little moody. For that mini comic that I’ll totally work on, probably. 

Jeeves, of course, is a gentleman’s gentleman, not a butler, but if the call comes, he can buttle with the best of them. It’s in the blood. His Uncle Charlie is a butler, and no doubt he has picked up many a hint on technique from him. He came in a little later to remove the debris, and I asked him if he had had a good time at Brinkley. ‘Extremely pleasant, thank you, sir.’ ‘More than I had in your absence. I felt like a child of tender years deprived of its Nannie. If you don’t mind me calling you a Nannie.’ ‘Not at all, sir.’ Though, as a matter of fact, I was giving myself a slight edge, putting it that way. My Aunt Agatha, the one who eats broken bottles and turns into a werewolf at the time of the full moon, generally refers to Jeeves as my keeper. ‘Yes, I missed you sorely, and had no heart for whooping it up with the lads at the Drones.’

"Stiff Upper Lip, Jeeves (1963)" by P.G. Wodehouse

Just like Slughorn, Albus Dumbledore collects people. Only, instead of focusing on those with influence, he looks to the outcasts.

The expelled half-giant. The young werewolf. The repentant Death Eater.

He protects them and gives them a second chance. All he asks in return is their loyalty.

And, if on occasion he requests that they undertake a certain task, invoking their debt of gratitude - well, that is no more than he is owed.

He once thought to add a certain disowned Black to his collection, but quickly realised his mistake.

Sirius is not an outcast, but a rebel. He knowingly chose his path, and chooses what price he is willing to pay for it. He refuses to be used.

So Albus Dumbledore abandons him.

Samuel Beechworth, though.

Samuel with his muddy boots planted uneasily on the banks of the Wrenhaven, Samuel preferring the soft murmur of the water to the silence of the land, Samuel smelling of wind and sea and salt and smoke, who knows the tributaries of the river better than the veins on the backs of his hands.

Samuel teaching the young Lady Emily how to whittle, how to skip stones, how to read the next day’s weather by the wind and the clouds, the schooling of hagfish. Samuel taking Callista out on the water, smiling as she closes her eyes to turn her face into the saltmarsh breeze. Samuel sharing a pint with Cecelia, tinkering with an audiograph he half understands, settling down every night on a hard little mattress, where he thanks whatever gods care to listen that he’s still around to see the stars.

Samuel with his big callused hands and his rough sailor’s palms, holding them out open and easy until Corvo relaxes bit by agonizing bit. Samuel making idle chatter on their rides together, politely averting his eyes when Corvo tears off the mask with bloody fingers and wretchedly vomits over the side. Samuel waiting until Corvo stops shaking before he offers him a flask. Telling Corvo it’s okay, knowing he’s backed the right man when Corvo just shakes his head. Samuel being there, with his graveled voice and his steady presence.

A self-contained lighthouse in an otherwise dark city.

The man whose light will guide you home.

Siebren in Overwatch drabble (I can’t think of a name, again) 

Contains: Not translated Dutch, emotional turmoil, near death.

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this is so good......

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