Izetta returns with a typically tragic episode that seems to foreshadow the show’s march to its big finale.
The episode revolves around a very simple structure: Ricelt arrives to Elystadt, experiences the kindness of the people, stays at Lotte’s family inn where he bonds with Bianca… until the latter has to kill him.
As with much of the show, the White Witch’s fairytale is central. The official version is that the prince died in battle, but the Witch continued protecting the country out of love – it’s a classic, tragic but heartwarming story of star-crossed lovers. But Berckmann retrieved a much darker alternative from Otto’s workshop, one that explains the Witch’s room in the old castle. The prince already had a wife; but after his death, his love for the witch was found out by the princess who revengefully sealed the witch’ss power and sold her to an enemy country where she was tortured and then burnt at the stake. Eventually the princess died and the witch’s admirers and fearers put her secret in the basement.
Hearing this story, Bianca is furious; as Lotte explains, she’s a maiden who can’t stand to have a beautiful fairytale ruined in such a cruel manner. Ricelt doesn’t understand at first; but eventually, when he reaches the secret room and is kept from walking away with photos of the ley line map by the same Bianca he had come to like, he finally comprehends. Their guns pointed at one another, he realizes that people cannot avoid tragedies so long as they live; fairytale provide a needed escape to this merciless reality. They allow people to see the good endings they so deeply wish they could have.
He dies, and Laurence is sniped; however, what no one knew is that the inconspicuous Bonham too is from Germania, and retrieves the camera as well as a mysterious red rock in time. We thought Ricelt and Laurence had entered the castle by hiding beneath his car without him knowing; it turns out he was cooperating in all of this.
The progression is typically tragic; amid candid days of simple happiness, no one suspects each other, and when the time comes for the true natures to reveal themselves, nobody can avoid the bloody consequences.
Ficelt’s story is obviously tragic, but there is another similar development going on back at the capital. It’s a festive day where everyone dances in celebration of Redford’s birthday; but Berckmann is here with an eerie vampire-like girl to retrieve the witch blood Ricelt needs for his infiltration, and although the secret political meeting gives Elystadt a huge boost when Atlanta announce they will send Finé troops, the ending reveals the flip side to this. While the United States are indeed ready to take Germania down now the war seems winnable… they are also fearful of the Witch’s power, and intend to take Elystadt down while they’re at it.
And thus begins the great, unavoidable tragedy, one characterized by the “tragic flaw” of obliviousness. Before they know it, they’ll all be pointing guns at one another.
So is the nature of Izetta’s constant contrast between candor and cynicism: tragedy. Slowly but surely, it raised a flew death flags, countering every Elystadt win with discreet but important Germania progresses. And now we know the truth behind the fairytale, we also become aware of how truly unavoidable the brutal ending to Izetta and Finé’s idyll will be. Granted, their story doesn’t align with the fairytale perfectly; yet the lesson remains the same. This is life; there won’t be any happy ending to toast over. Ultimately, one may feel Izetta’s great fault lies in how long it took to get there. The final episodes are full of promises: all-out warring, a possible victory over Germania in sight (though Otto surely has a trick or two up his sleeve), and yet unavoidable dread afterwards. But how many sighs were let out over the show’s propensity to waste time over pies? There is a nice story hidden behind this; but at this point, one must question whether it has afforded itself the time to realize its full potential.
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