Still Waters » Dive Deep » Valgaav & Filia

I was mused into drawing them in Americana 1950s fashion, and I wanted to keep with that theme. It was hard finding a song from the 50s, offhand, that would work for them. That era, for the most part, seems so innocent, which is probably why I can so easily visualize them there. In their own ways, they're both idealistical dreamers and they're both rebels. It's easy to see Filia's innocence under the 'good girl' appearance, but Valgaav's? It's still there, just hidden away under an attitude and a chip on his shoulder. After all, he still believed deep down inside things could all become okay again somehow, sort of a cosmic call for a "Do-Over!" Naive innocence mixed with passionate idealism and rebellion.

When you're passionate, your heart's on fire. And sometimes, you're blinded by your own ideals and passions, as were they both.

But anyway, enough of that. On to the actual topic...

...which I will get around to writing, I swear.

Essay topic: Is Valgaav's death one of the greatest tragedies in the history of romance, or was a love match between him and a Golden, possibly even the daughter of the man responsible for his race's slaughter, impossible from the start? I call tragedy.

Essay forthcoming.


Filia Ul Copt and The Slayers are the property of: Hajime Kanzaka; Rui Araizumi; Kadokawa Shoten; TV TOKYO; SOFTX; Marubeni. This is a fansite for personal entertainment. No money is made, and there is no affiliation -- either official or un -- with the creators.

Trivia - ironically, the song that hit #1 on the charts in 1958 which I felt at least had some lines that could apply to them in a certain context actually isn't from the 1950s at all, but from 1934 during the Great Depression, where it also hit #1 on the charts, as well as #3, 4, and 15 by three others that year.

Smoke Gets In Your Eyes as recorded by The Platters in 1958. Words by Otto Harbach and Music by Jerome Kern, from the 1933 musical "Roberta" starring Bob Hope. Also recorded by Paul Whiteman (1934), Leo Reisman (1934), Emil Coleman (1934), Ruth Etting (1934), and Artie Shaw (1941). Used without permission for personal entertainment, and no money or any benefits beyond my own glee are derived from their usage.

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