#Yes this image is at least four screenshots merged into one.

[cedarmoons]

reversed nadia & tragic heroism

aka, stop dismissing complex female characters as bitches you heathens

to preface this meta: i’ve included screenshots where i can, but as tumblr only allows 10 images, i’ll also include transcripts of scenes i want to discuss. screenshots have been cropped to only include the text, and should be read from left to right. i have left out some filler text, and “blank” boxes are only meant to keep the image even. all mentions of “Nadia,” unless otherwise stated, refers to Nadia in her Reversed route.

tldr: Nadia is Textbook Tragic Hero, it wasn’t animal abuse, Nadia did not sell MC to Satan for one corn chip, and it certainly wasn’t “bad writing.”

Long ass character meta under the cut! obviously contains spoilers for Book XX, Judgement - Reversed.

So. I originally had no intention of playing any of the reversed routes, but there were some claims about Nadia (i.e., she abused Mercedes & Melchior, she killed Lucio in cold blood, and she sold out MC for her own power) that made me think HMST and play it myself. Unsurprisingly, every single one of the above takes does not provide any greater context whatever.

I changed four (4) things to get Nadia’s reversed route: I never encouraged her to talk to her sisters or ask them for help; I told her to send Portia away; I did not allow the Flooded District partygoer to talk to her in Temperance; I told her to kill Lucio in The Devil.

And playing Nadia’s route seemed incredibly familiar to me, though it took a little while for me to realize why: Nadia, in her reversed route, is the textbook Tragic Hero. The Tragic Hero has a “fatal flaw,” which leads them to commit catastrophic errors in judgement, which leads to their allies, family, and friends abandoning them and their own isolation, which leads to the Tragic Hero realizing (too late) the gravity of their own errors.

I can’t believe I’m busting out my degree for a mobile game because some people like to twist things, but here we are. Someone has to go to bat for Nadia when the narrative surrounding her the past 48 hours has been doing her so dirty.

Part 1: The Lucio Problem

Now, let’s get straight to the first bout of character analysis: Lucio’s death. Nadia does not, in fact, cut Lucio down in cold blood. Lucio actually gets her to stop, and she allows him to explain why he should be allowed to live, which essentially is “because then I can help you overthrow the Devil.” The following is a transcript of their conversation, starting with Lucio explaining how he was supposed to be the Devil (instead of the ghost goat form we see in early-to-midgame), up to and including his death:

LUCIO: “It should have worked too! It was supposed to work! It wasn’t my fault. The Devil played dirty, he cheated me out of my chance to win! But together, we can defeat him. We can do it right this time!”

Nadia stares at him for a very long time, then throws her head back and laughs.

NADIA: “Yes, because you’ve been so trustworthy in the past.”

NADIA: “You would become the Devil and spread your treachery further than even Vesuvia. You would do the same thing he is attempting. You would cause death and destruction. Neither of you deserve the title. If you want something done right... do it yourself.”

LUCIO: “I won’t lose here! I don’t lose!”

Lucio lurches forward, anger flashing in his eyes. He reaches forward with a gold-gauntleted glove - And stops, as blood gurgles up from his mouth, trailing down his chin. Nadia’s blade is plunged deep in the center of his chest, the blade finally finding its mark.

LUCIO: “...”

She pulls the sword out and he crumples, his last words lost.

It should be noted Lucio’s sprite isn’t bloodied during his “...” dialogue. It’s interesting that no one mentioned Lucio lunged for Nadia first, isn’t it? Of course, one can always say he sensed his incoming death, and only attacked in self-defense: this is a reasonable and valid argument. But he unquestionably moved first, and Nadia also killed him in self defense: hardly the cold-blooded murder I had expected going in. 

It is not Lucio’s death itself that struck me in the writing, but the aftermath. After he is dead, MC can respond with either “Why did you do that?!” or “He had it coming.” I chose the former, and the following is the transcript:

MC: “Why’d you do that?!”

My head is still spinning. Nadia just killed someone in front of me... and she doesn’t seem to be bothered by it at all.

NADIA: “We knew it would come to this, MC. I couldn’t risk him causing more chaos and destruction. He would have always remained a threat.”

She pauses, reaching out slowly toward me.

NADIA: “You understand, don’t you?”

I’m interpreting MC’s “Why’d you do that?!” as a horrified growing realization of how far Nadia has fallen. They were the primary influence over the course of 20 books in shaping Nadia this way, but the way Nadia kills Lucio really cements her fall from grace for them. And Nadia, when she “reach[es] out slowly” toward MC, seems to know that MC has realized this. She says “You understand, don’t you?” — words that can easily be considered a plea.

You understand why I did what I did, don’t you? You understand I had no choice, don’t you? You understand there was no other way, don’t you? You understand I am not a monster, don’t you? You understand I do not want to lose you, don’t you?

I take a deep breath, still staring at where Lucio’s body was, then nod slowly. Nadia lets out a soft sigh of relief, and strokes my cheek affectionately.

NADIA: “Good. I couldn’t handle you turning from me, MC. It had to be done. I had no choice.”

Nadia already considers herself alone against the world. The MC is the closest thing she has to an ally; the MC is the closest thing she has to a confidant(e). Yet her anxieties and trust issues keep her from truly allowing MC to be as close as they are in her Upright route. This is seen as early as Book 9, when in the carriage ride (and immediately after discovering Portia’s betrayal), she wonders if MC will betray her, too, and whether she is destined to stand alone in the world. 

Over the course of the 11 books from Book 9 to Book 20, she has come to realize that if she loses MC, she is truly, truly alone in the world. Thus, her hesitation (“slowly”) to reach for MC. Thus, her blatant relief in MC staying with her. Thus, her admission that she would be unable to handle MC turning away from her.

Part 2: Becoming the Devil

In any heroic story, the hero must achieve a seemingly impossible feat: saving the world; defeating the unstoppable Big Bad; et cetera. Tragic heroes also seek to achieve impossible feats, but their “feats” straddle the line between good and evil, or their reasons — why they want to achieve the impossible heroic feat — are not grounded in conventional morality. Tragic heroes attempt to achieve their impossible feats, but their efforts, whether successful or not, always have catastrophic consequences.

Hamlet’s impossible feat is to avenge his father: his efforts to do so result in the deaths of his (debatable) love interest, his mother, his step-father, his friends, and himself. 

Solas in Dragon Age: Inquisition’s impossible feat was to stop the Evanuris: his efforts to do so created the Veil, stripping elves of their immortality and power, leaving them open to exploitation, enslavement, and death (and opening the way for him to undertake a second impossible feat: destroying the Veil to restore the elven people’s power). 

Clarke Griffin in the TV show The 100 had the impossible feat of saving her people from having their bone marrow harvested by Mount Weather: her efforts to do so saved her people, but killed hundreds of innocent people who had nothing to do with the cruelties inflicted on Clarke’s friends; gave her and another major character PTSD; and led to Clarke’s self-imposed exile from her people.

Nadia’s impossible feat is to defeat the Devil Arcana. 

Where in her Upright route she believes MC is powerful enough to bind the Devil’s powers, essentially limiting him to his own realm, in her Reversed route she does not believe this: she thinks it is too risky to MC’s safety, and she is unwilling to lose MC after they “nearly died binding Vlastomil.” Instead, she will replace the Devil Arcana herself, as it is the only way to guarantee that the Devil’s threat would end. 

VALERIUS: “It’s a terrible idea [to replace the Devil Arcana]. You want to be trapped here, forever?”

NADIA: “I see no other option. The Devil cannot be allowed to continue his machinations.”

THE HIEROPHANT: “Interesting. I hold no love for the current Devil. He oversteps his bounds. ... Yes. I believe you’d make a lovely Arcana. At the very least, you’d mind your own business.”

The Hierophant tarot is all about tradition, convention, authority, “staying within your own bounds.” The Devil’s attempt to escape his realm and merge the magical and mortal realms certainly disrupts the accepted status quo. If Nadia replaces the Devil, then the status quo is maintained (“at the very least, you’d mind your own business”). Of course the Hierophant is going to encourage her to do this.

VALERIUS: “And give up your own humanity in exchange! I’ve been there, Countess, it’s no way to live.”

Nadia shakes her head, looking out the window to the vineyard beyond.

Nadia looking out the window the vineyard beyond is not only a description but symbolic of her own reasoning. Her attention is diverted by looking out the window, so she is not fully attentive to what Valerius is saying. She is unwilling to look at, and thus give attention to, those who disagree with her; she has turned her face away from reason and disagreement.

NADIA: “What choice do I have, really?”

MC: “There’s always a choice!”

NADIA: “Not this time, MC. You’ve been with me through it all... but this last thing I must do alone. I won’t risk you.”

MC then has the choice to say “I’m with you” or say “I won’t risk YOU!” here. I chose the latter option for thematic relevance: MC is panicking, now, fully understanding what Nadia intends to do — and fully understanding that they might lose Nadia forever. They are trying to undo the damage they have done in the earlier parts of the route, but it is too late. Nadia’s heart has hardened.

MC: “I won’t risk YOU!”

NADIA: “MC... That’s my duty. As Countess of Vesuvia, as Princess of Prakra... as your lover. I will do what no one else can. I will drag this world, kicking, screaming, and ungrateful, to safety.”

Again, Nadia is the only one who can do this. She will drag this world “kicking, screaming, and ungrateful, to safety” — she knows she will not be thanked, or praised, but it is necessary. It is for their own good. Nadia knows best, and Nadia can only trust herself to get things done. 

MC: “We’re in this together, Nadia. I’m coming with you.”

NADIA: “You cannot follow me into the darkness, MC.”

(It should be noted that Kevin MacLeod’s “Wounded” is playing during this. This is the tragic piano that is also heard in Asra’s route on the Lazaret. I mention this because the tragic piano always fucks me up emotionally, so y’all have to suffer too.)

Nadia’s line — “You cannot follow me into the darkness” — is typical of a Tragic Hero who wishes to protect others, especially their love interest. Using my prior two examples from Dragon Age: Inquisition and The 100:

When a Lavellan Inquisitor who romanced Solas tells him, “let me help you, Solas,” Solas says: “I cannot do that to you, vhenan.” 

When Bellamy Blake asks Clarke to stay at her home, instead of impose self-exile, Clarke says: “I bear it so they [her people] don’t have to.”

The point of these kinds of statements is this: This terrible undertaking is my responsibility alone; only I can accomplish this impossible feat; I do not want you to be hurt; I would rather something happen to me than you.

But where the Tragic Hero usually succeeds in isolating themself from their love interest, MC inverts this aspect of the archetype: they convince Nadia to let them accompany her to the Devil’s realm. If MC had told Nadia in earlier books, “I’d follow you anywhere,” this is truly an echo of that sentiment: MC is willing to go to Hell for Nadia Satrinava. 

THE HIEROPHANT: “If you go down this path, you cannot hesitate. If you lose your nerve, he will come back. If you waver, he will see it. If you do this, you need to mean it.”

NADIA: “To keep the world safe. To keep MC safe... I’ll do anything. I won’t lose.”

It’s important to state Nadia does not want to become the Devil on her own merits. It’s not a power grab (at least, not consciously). She realizes it is dangerous. She genuinely sees no other option to end the Devil’s threat, and thus save the world, that does not risk harm to MC. As stated before, MC is the closest thing Nadia has to an ally: it makes sense she is unwilling to consider any options that have even the slightest chance of her losing MC. It makes sense that she is willing to do “anything” to keep MC safe.

She is constantly stating there is “no other choice,” even though the other characters (Valerius and the High Priestess) offer alternatives, namely binding the Devil in his own realm (what happens in the Upright end). It is not that she is not hearing these alternatives, or unwilling to listen to reason: it is that they are unacceptable to her, by virtue of the danger posed to MC. It is that [Solas voice] every alternative was worse. It is that [Solas voice] terrible choices are all that remain. If you have to kill Stranger A to save 100,000 lives, and someone offers Stranger B to kill instead of Stranger A, it is an unacceptable alternative.

An essential aspect of the Tragic Hero is colossal mistakes in judgement. In Nadia’s case, this would obviously be her decision to replace the Devil’s Arcana. But this has been reinforced to her over the course of 20 books through critical decisions made earlier in her route:

Not talking to Nadia’s sisters, which accomplishes two things: 1) reinforces to Nadia that you are on her side; 2) reinforces to Nadia that she is right to maintain her grudge against her sisters. Her first instinct is to resent her sisters. There is no challenge to Nadia to change her mind, or move past old hurts. She remains static, stubborn, and seeking to prove herself - not only to her sisters, but to herself.

Encouraging Nadia to cast out Portia, which reinforces to Nadia that she cannot trust, confide in, or believe others: she will always be betrayed. Nadia’s first instinct is to send Portia away. Agreeing with her reinforces that she is right to distrust everyone, and only believe in her own competence and ability. She remains static and closed off from others.

Encouraging Nadia to kill Lucio. Nadia’s first instinct is to kill him, as she sees “no other way”. MC agreeing with her reinforces to her that her decisions are best, and that sometimes there are no other choices, or at least [Solas voice] terrible choices are all that remain. She remains static and unchallenged in her viewpoint(s).

Part 2.1: Trusting Nadia

Nadia’s “betrayal” is framed as random, coming out of nowhere, and only for her own power. I was suspicious of this framing from the moment I saw it, because characters like Reversed Nadia — straddling the line between good and evil, isolated, pursuing their impossible feat — tend to place high priority on the people they love, to the point of over-protectiveness, obsession, and/or obsessive devotion. An excellent example would be Victor Fries/Dr. Freeze in the Batman comics, who is willing to commit evil acts in pursuance of his impossible feat to save his wife.

I never doubted Nadia’s love for MC, even in the reversed route. As stated before, Nadia thinks that MC is not like the others in her life, who are incompetent fools, or simpering power-seekers, or her detested sisters. They are unique. They are special. While she may not be able to trust them fully (again! everyone can betray her! she is the only one she can trust!), she certainly loves them for what they mean to her.

Working under the assumption that Nadia truly loves MC, then, following the precedents of other tragic characters who came before her, she would be utterly unwilling to allow any harm to come to MC. This would extend to her allegedly offering MC to the Devil without any remorse. I was more inclined to believe (even before I played the Reversed route) that it was some ruse of Nadia’s to trick the Devil.

And so imagine my surprise when Nadia and MC left the Hierophant’s realm to go to Nadia’s gate, and the book provided the following scene: 

NADIA: “I have a plan, MC. Lucio failed to defeat the Devil. But that does not mean it cannot be done. Unfortunately... I cannot risk telling you. I need your reaction to be genuine. Will you be loyal to me, MC? Will you trust I want what’s best for you?”

MC: “Yes.”

NADIA: “Good. Everything that happens is for you, do you understand? Promise me you’ll remember I’ll always keep you safe.”

Boy, it would’ve been nice if someone mentioned this when discussing Nadia selling out MC!

This is such obvious foreshadowing of Nadia playing the long con it’s painful. She cannot tell MC her plan about how to deal with the Devil, because she needs MC’s reaction to be genuine; she needs MC to be surprised. If the Devil realizes he is being played, everything is over, and her efforts will have been for nothing.

For Nadia, the stakes are high. She either:

Tells her lover what her plan is, i.e. to use MC as a bargaining chip, which could have backfire in multiple ways: MC could be uncooperative, or MC could play their part unconvincingly to the Devil, and tip him off. She might stay with MC, but risk the world.

Or, she withholds it from MC, so that their surprise and shock (and, yes, feelings of betrayal) are genuine, and thus more convincing to the Devil. She loses MC, but saves the world. 

Her decision is pragmatic: she will sacrifice MC, even if it means she loses MC’s love, for the greater good (saving the world). She understands that the healer has the bloodiest hands. She is accepting the blood to make things better. By choosing the second option, she is choosing to trust herself and her plan instead of trusting MC to pull off a successful deception. (In a similar vein: remember how much she enjoyed deceiving Valerius in Book 6, The Lovers.)

Still, she does not want to sacrifice MC, but sees no other way. It is painful, but for the greater good. Thus why she emphasizes why Her Decision Is Best, and In MC’s Best Interest: “Everything that happens is for you, do you understand? Promise me you’ll remember I’ll always keep you safe.”

You may be hurt, but it is for the greater good, don’t you understand? Don’t you trust me to do the right thing? Don’t you see that I have your best interests in mind? Don’t you see that you can trust me? That you should trust me?

She even goes so far as to test MC when MC promises her that they will know she’ll always keep MC safe. I call it a test, because that is what it undoubtedly is: she holds MC’s throat, and asks, “Even now?”

This is a lead-in for a premium scene, but it goes deeper than that. Implicitly, she is saying: Even when I have you so vulnerable, even with my hand around your throat, do you trust that I will keep you safe? Can I let myself believe you when you tell me that yes, you do trust me; that yes, you know I have your best interests at heart?

MC has the option of proving it to her (premium choice), or simply saying “yes”. I chose the latter. It is simple, and honest, and depending on people’s MCs, undoubtedly true. MC is willing to go to Hell at Nadia’s side; this is a minor thing, by comparison.

MC makes the interesting observation that Nadia looks at them “like a pet.” Sure, it could be a reference to Nadia’s obvious petplay kink, but I think it’s indicative of their deeper relationship: Nadia may love MC, but she does not consider them her true partner as she does in her Upright route. Again, she can only trust herself, no matter how important MC is to her, because MC, too, might end up disappointing her. They are lovers, and they are partners, but Nadia and MC are not equals (unlike in Upright). Nadia sees MC like a pet (to cherish, love, and care for, but not treat as equal) and I fully expect she will continue to do so in the next update.

Whether or not Nadia is aware that this isn’t the healthiest way to love someone is up in the air, but I’m inclined to believe that she is not aware, and she is demonstrating her love in the best way she knows how: protecting MC (which leads to making MC’s decisions for them), providing for them (which extends into petplay and spoiling), and praising them (you are special, you are unique, you are not like everyone else in my life, who disappoints me). 

Later, approaching the Devil’s realm, she reminds MC of the conversation they had in her gate:

MC: “You have a plan. One you can’t tell me about.”

NADIA: “Yes. And I need you to trust me for it to work. Do you still trust me?”

MC: “I do.”

NADIA: “Good. Remember that when we’re in there.” 

NADIA: “... I love you.”

(Edit March 22: Nadia’s sprite during her “I love you” line is her embarrassed/uncertain face. A subtle signal that she, too, has doubts, even if she’s trying to hide them.)

The whole point of the cliffhanger was to shock people, but I think that people who are saying that Nadia sold MC out for her own power are misguided. Nadia spent the entire book talking about how she had no choice but to do this and foreshadowing that she was going to do something that would be unpleasant but necessary. To say that Nadia sold MC to the Devil for her own power is to completely ignore everything that’s been set up throughout the book.

Also, if you still don’t trust her / consider her a bitch after I’ve gone through this whole section talking about how Reversed Nadia is a character type that would never let someone important to her (i.e., MC) come to harm (though she may use them for her own gains) and that it’s 99% likely she has no intention of actually following through on this “deal”... that says more about you than it does Nadia.

Part 2.2: The Dogs

The way the dogs were framed made me think that Nadia was straight up cruel to them. I thought the dogs were physically there, and Nadia was actually abusive to them (though I was inclined to believe it was neglect, not abuse. again, quibbling). 

Considering Nadia’s treatment of the cheetah, and even the vampire leeches, I should not have taken these accounts at face value, because they are flat-out misleading (at best!).

For context, Nadia and MC have left Nadia’s Gate to go to the Devil’s realm. The Hierophant has just warned them of a perilous journey. They leave the Hierophant’s realm, go to Nadia’s Gate where they have the discussion about trust, and then enter the frozen forest background. What happens is the following:

MC: “Where are we?”

NADIA: “There are many roads connecting the realms. Lost paths in the dark. The forest is an illusion. It is likely our minds cannot comprehend the true shape of these spaces. Instead, the world changes into metaphors we can understand. But you must remember they are only metaphors, MC. Keep your wits about you.”

We continue walking, wary of every strange noise that flickers off the narrow path we follow. Every step we take causes more fog to swirl from the ground, until we can barely see in front of us once more. I hear a snarl behind us, close enough that I can feel the breath. Without thinking, I turn around to face it —

Two figures emerge from the fog, their mouths dripping red. Mercedes and Melchior. Everywhere the blood from their mouths drips onto the ground, a cluster of flowers sprout. When I look closer, I realize... they’re all poisonous.

NADIA: “They must have gone mad with Lucio’s death.”

She tugs me closer behind her, but the dogs don’t try to approach. They just haunt our steps like specters, snarling and howling.

(Edit March 22: I just realized Nadia tugs MC closer behind her after seeing the dogs. She’s putting herself between MC and perceived danger, i.e. the dogs, further reinforcing her fear of losing MC and determination to protect them against anything. But sure, she doesn’t care about MC at all and is only using them for her own power.)

None of the posts I saw discussing Nadia’s treatment of the dogs ever mentioned that this happens in the magical realms, or that Nadia and MC discuss the forest’s visions being metaphorical immediately before the dogs’ appearance. Which is a shame, because it completely removes any context of the scene and does the double whammy of demonizing Nadia. 

I guess it’s easier and faster to type out “Nadia abused Mercedes and Melchior!” over “The magical forest in the Arcana realms manifested a bloody Mercedes and Melchior [whose sprites are their pomegranate juice sprites with a little bit of blood added] as a metaphor for the line that Nadia has crossed, i.e. killing Lucio, and the possible guilt that she is either not feeling at all or is feeling and is simply pushing away so she will not have to acknowledge it.” 

But the dogs’ mere presence — they follow always at a distance, like ghosts — is enough to force her to recognize it. She remarks that they must have gone mad, and moves on. She has come too far now to doubt herself. If she looks back, if she doubts herself, she is lost, and everything will have been for naught.

Part 2.3: The High Priestess

Leaving the icy forest, Nadia and MC come upon an old pavilion, where the High Priestess and Chandra await them. MC notes that “the dogs wait [behind us], never coming closer.” Further evidence that the dogs are metaphorical visions, not actually Mercedes & Melchior. 

THE HIGH PRIESTESS: “You’ve strayed far from the path, child.”

NADIA: “High Priestess. What are you doing here?”

THE HIGH PRIESTESS: “I was calling to you. Did you not hear?”

NADIA: “I have been quite busy, High Priestess. I did not have time to answer.”

Nadia’s personal card is The High Priestess. Reversed, the High Priestess means one is ignoring their own intuition and/or subconscious, to their detriment. In Asra’s Book X, Nadia states that her intuition is more like a curse than a gift, which certainly echoes here in the meaning of the High Priestess, Reversed: “Perhaps you doubt yourself or feel silly or guilty for listening to your intuition, and as a result, you deny your ability to tune in and receive this potent information.” 

This conversation also echoes Judgement, Reversed: “The Judgement reversed often appears when the Universe is trying to send you a message and invite you to something bigger, but you’re not listening. You are doing your best to pretend you didn’t receive it and are [...] hoping it will go away.”

The conversation continues:

THE HIGH PRIESTESS: “And so I come to you. These are words you cannot ignore. If you continue down this path, Nadia, all will be lost to you. Your family. Your intuition. Your humanity.”

NADIA: “If I do nothing, I will lose it just the same.”

THE HIGH PRIESTESS: “You know there is another option. You can bind the Devil instead.”

NADIA: “What, and lose MC instead? Slap the Devil on the wrist and throw him in jail? He’ll break free eventually. What’s a thousand years to an immortal being? This is the only way. The only permanent way.”

Note she corrects herself: the only permanent way. She understands there are other alternatives, but hers is best. When the High Priestess offers a solution, binding the Devil, Nadia angrily rejects it because of the risk it poses to MC, and she is unwilling to lose MC again.

It’s important to note that, within the course of a few hours:

Nadia went with MC to confront Lucio in the in-between realms, only to watch (helplessly! a thing she detests!) as Lucio stole MC’s body. (The Devil)

Nadia woke up without MC beside her in her Contemplation Tower, not knowing what Lucio had done or what had happened to MC until she went to the ballroom. (The Devil / The Tower).

Nadia had to send MC to the magical realms for their own protection, alone, where she could not protect them or ensure their welfare (The Tower).

Nadia watched MC struggle to unbind Vlastomil, suffering in the process. MC passes out, and reversed Nadia states that MC “almost died” unbinding Vlastomil (The Moon).

That is four experiences of Nadia being unwillingly parted from MC, either through separation or through a near death experience. That is why she refused to let MC go through the maze alone in The Star. That is why she is so set on not risking MC once again with the plan to bind the Devil. The scene continues:

THE HIGH PRIESTESS: “In a thousand years there will be another like you to step up again. Why must you do everything yourself? Why must you alone fight this threat?”

NADIA: “Because I am the only one I can trust.”

Nadia turns away, anger flashing in her eyes.

NADIA: “You have wasted your time in coming here, High Priestess.”

me 24 hours ago, blissfully unaware of this conversation: mc has spent 20 chapters reinforcing that nadia is the only one nadia can trust me now: wow i hate being right :(

An essential component of the Tragic Hero’s cycle is the hero’s isolation: disgusted by or despairing of the hero’s choices, their family, friends, and allies abandon them, or the hero themself abandons their family, friends, and allies to self-isolate. In Nadia’s case, it is both. She rejects the High Priestess’s wisdom, confident in her own choices (or, at least, unwilling to show the High Priestess that she is anything but 100% confident). In doing so, she pushes the High Priestess away.

And then there’s Chandra, who lands on Nadia’s shoulder and “nips at her ear sadly.” (The tragic piano is still going strong in the background!) The High Priestess, seeing this, says that Chandra “mourns [Nadia’s] loss already.” MC notes that Nadia “swallows hard, stroking Chandra’s neck gently,” and then the following exchange happens:

NADIA: “Must I lose you too, Chandra?”

The owl chirps and flies off her shoulder, going to land next to the High Priestess instead.

NADIA: “... I see. You will come around in time. You will see how necessary this is. Until then... goodbye, my friends.”

Like the dogs, I’m inclined to believe that Chandra is a metaphor, and not the actual owl. Chandra has been with Nadia since her childhood; she is the only thing Nadia took with her, from Prakra to Vesuvia. Chandra abandoning her is another metaphor for how far Nadia has fallen: she is utterly separated from who she once was. She is now, completely, a new person, unrecognizable to her closest and longest friend.

NADIA: “I know I’m right. I know this is the only path to victory... So why won’t anyone listen to me? It feels like I’m speaking to a wall. Do they think me foolish? I’ve considered every possibility. I’ve examined every other avenue. This is the only course of action left. They think I cannot do this. They think me incompetent.”

This is after Nadia leaves the High Priestess, and before the Hierophant informs them that Valdemar and Vulgora are attacking the palace. Note the progression of her thoughts: frustration and certainty in her own decision; questioning why other people think her choice is the wrong one; re-affirming her certainty; assuming that people who do not support her plan are like that not because of any concern for her welfare, but because they doubt her capabilities. I know I am right, but no one listens to me; thus, they are not truly concerned for me — they only think I cannot do this. 

Implicitly, her thoughts that follow: Well, I am going to prove them wrong.

MC can either tell Nadia that they listen to her (to which Nadia praises MC, once again: You are special; you have always been by my side; I know I can trust you, unlike everyone else in the world), or that people who don’t listen are foolish. If the latter, Nadia agrees, saying that people who don’t listen to her end up not doing well, and cites Lucio as an example.

In either case, the exchange reinforces Nadia’s mindset, which has been shown through Nadia’s small vent: She feels as if no one is listening to her, and she is stubbornly convinced that her choice is the best one. She is frustrated that her friends and allies have turned against her, and she does not understand why, because clearly Her Choice Is Best. 

If MC says they are listening, it reinforces that MC is the only one Nadia can keep close (as close as she can allow; trust no one but yourself, after all, is her modus operandi). If MC says the others are the foolish ones, it reinforces that Nadia is Always Right, because when people don’t listen to Nadia, they end up going astray or being worse-off, which just feeds into the cycle of Nadia is Right >> People Who Don’t Listen To Her Are Wrong >> Those People Suffer or Fail >> Thus Proving Nadia Right.

Part 3: Her Sisters

For me, this was easily the most heartbreaking aspect of the book. Nadia leaves the High Priestess angry, and she and MC arrive in a vision of Lucio’s wing. Nadia remains unswayed, telling MC they must keep going (if she looks back, if she falters, she is lost!), but MC, if selecting “I think this is real,” convinces Nadia to go to the ballroom, because Nadia wonders about why her sisters and guards are not stopping the chaos. (Implied in this statement: Why are they incompetent? Why are they useless? Why does everything fall apart without me?) The music is played sped up and backwards, symbolic of how wrong things are without Nadia’s presence.

In the ballroom, MC and Nadia find Natiqa, Nasmira, and Nahara attempting to get the crowds to safety, but the crowd isn’t listening to the Satrinavas. Then Nafizah sees MC and Nadia, and the following absolutely gut-wrenching exchange occurs:

Suddenly Nafizah, who is standing off to the side of her sisters, turns her head and looks straight at us.

NAFIZAH: “Like looking through a mirror into the fog... Why are you so far from us, sister mine?”

NADIA: “You can see us? Of course you can. Why should I be surprised?”

NAFIZAH: “The others need you here. They flounder without your guidance.”

NADIA: “Need me? NEED ME?”

Nadia’s sprite when she says “Need me? NEED ME?” is not an angry sprite. It’s her laughing sprite. You can just hear the angry disbelief. NEED ME? What are you talking about? Immediately with her next line, her sprite transitions into anger.

NADIA: “Since when have any of you needed me for anything? Perfect Nafizah, always looking down your nose at me. All of you did!”

NAFIZAH: “We have only ever loved you, Nadia. As much as you have allowed. The people are in a panic. They will not listen to us. They do not respect us. You must return.”

NADIA: “I will not! All my life, none of you have ever listened to me! You always thought you knew best! I’m doing what has to be done. If I returned, it would give the true villain time to escape. I’m striking now. You will see. And don’t you dare die before I’ve proven myself.”

And don’t you dare die before I’ve proven myself. Holy shit. Cold, but understandable, when taken into the context surrounding Nadia’s relationship with her sisters.

The youngest of seven, Nadia has always felt inadequate to the rest of her sisters. That is clear even in the early route, when she worries that Nasmira will take MC away from her. She is obsessed with proving herself to her sisters. It’s why she married Lucio, to prove to her sisters that she could pull Vesuvia up by its bootstraps. Reversed, that obsession is maintained, and she has no reason to change because MC does not challenge her. 

When asking for her sisters for help in Book XIII Death, she blames the servants for the Masquerade troubles: “I have everything under control, of course. But the servants, they’ve made a mess of things.” It is not her fault that the Masquerade is not ready, it is the servants’; she has everything under control, she is perfectly adequate at hosting a party on such a grand scale. Do not blame me for these failures, sisters, blame others, it is they who are incompetent and untrustworthy, not me.

Now we have even more context for Nadia’s choice to replace the Devil. Not only does Nadia feel the need to achieve her impossible feat — defeating the Devil — for the sake of saving the world and her lover, but as the ultimate way to prove herself to her sisters. They can never consider her a vulnerable baby sister to be coddled and over-protected if she literally defeats the actual Devil.

In her Reversed route, she is still pressured to show both her sisters and herself that she is not the “baby” of the family, which she resents (see the bonus scene about Nadia’s birthday). Considering Nadia is the oldest of the cast, this is obviously a deep, deep wound that stretches back decades, if not her entire life. And MC’s choices did nothing to heal that wound, only keep it open.

Part 4: Wrap Up

Nadia in her Reversed route is a textbook tragic hero. She is a character of royalty (fulfilling antiquity’s requirement that tragic heroes be noble of some sort, because nobility’s fall is always more tragic than a commoner’s); she seeks to accomplish an impossible feat; she isolates herself from her allies, friends, and family; she has a fatal flaw, which is her hubris, aka her conviction that she is in the right no matter what. We have had 20 books of buildup leading to this: the climax of her negative character development. All that remains is the denouement (aka, defeating and replacing the Devil.)

I have every expectation that she will succeed in her impossible feat, but the consequences will be catastrophic. Perhaps she will have to (however unwillingly) isolate herself from MC forever. MC might even become the Fool Arcana to join her, but that is no guarantee that they could actually be together. The Arcana are meant to stay in their separate realms, after all.

The devs promised a bittersweet ending, or a tragic romance. Nadia’s route fulfills both, because the ending is focused on MC and their relationship to their LI, not necessarily the reader’s favorite character, which may hypothetically be a relatively minor antagonist relative to the rest of the route.

Part 5: Last Thoughts

thanks for coming to my ted talk

#nadia satrinava #the arcana #my meta #the arcana spoilers #if u liked this pls reblog i worked v hard umu