Predominantly a Natza shipping blog, aggregating as much context, hints, and parallels as possible in support of it. What else to expect: disgustingly objective FT analysis and sardonic humor. Look around and take notes so I can be cool & popular.
How do you feel about the anime staff "dumbing down" the Natza moment in th the most recent episode, 283, after Natsu defeated Ikatsunagi?
How do I feel? Hmm… In all honesty, predominantly nonchalant if not a little amused. Amused insofar that this contextual tailoring is so predictably transparent that my aversion to the anime continues to be justified. I’ve made this point before, but I’ll reiterate it: The Fairy Tail manga abounds with unwarranted superfluous fan-service, contrived plot scenarios, and poor writing to sate couple preferences. I have no interest in that. Consequently, why would I want to waste my time on something that magnifies that all the while mitigating that which is incongruous with the anime’s relationship depictions? Concordantly, my interest in the plot extends insofar that it functions as a medium through which the greater facets of the narrative can be expressed. Themes, characterization, relationship development, influences, the author’s idiosyncrasies, etc. these are the aspects of the narrative that fall into the ‘effortful’ half of the manga; its lackluster counterpart, typically manifests as the questionable facets of the plot, in and of itself. In this way, you’re presented with a dichotomous author; one that is ‘All or Nothing.’ Criticizing something that principally functions as a backdrop with its substandard happenings is nothing more than grasping at low hanging fruit. There’s nothing remotely intellectual nor novel in pointing out the obvious flaws for an echo chamber that desires another rewording of their biases. Personally, I don’t see the purpose in focusing on the ‘Nothing’ aside for the gratification of acknowledgment (i.e. likes). In the end, to each their own. These greater facets are what drive my academic interest in the manga. Ultimately, my argument is that when the import of the narrative is heavily contingent upon the inherent facets of the medium that is lost, overlooked, or undervalued in translation, so too are the author’s intentions. When the author’s intentions are nuanced and in the elements inherent to the medium and these elements are either altered or absent how true to the author is the anime’s translation? There are multiple series that are entertaining, if entertainment was what I valued about this series then naturally I’d be invested in it. The farcical doctoring of the anime for fiscal gain is both funny and pathetic. I solely care for the ‘All’ of Mashima’s writing; nothing more, nothing less. I do, however, have to thank the anime for the dissonance it left me with when initially transitioning to the manga. If not for the tonal disconnect between mediums that the following image presented I most likely would’ve never been interested in Fairy Tail analysis.
I'm hesitant to dub this intentional parallelism, given the questionably of the degree of Mashima's influence with respect to individual panels. That being said there is notable similarity in contextual flow between FT Chapter 243 and FT 100yr Chapter 10. Natsu attempts to land a hit on their opponent (unsuccessfully), he gets caught by their enemy, Erza cuts him free, and, finally, Gray contributes with his ice make magic. As this is the first contestable example of parallelism between the series', further substantive examples of parallelism will be necessary to validate any contention of implicative intentionality. In time, we’ll see if a pattern presents itself...
What is your response to the people who say, "NatZa is Platonic" and, "Erza clearly likes Jellal?"
In all honesty, I have no time nor care for people’s subjective opinions and/or impressions. By nature of its definition, subjectivity lacks universality and thus lacks value for those unconcerned with the individual. Unless you or your sentiment(s) are popular there’s no value in them unless they speak as objective truths. That’s where I find myself as an analyst for FT. As aforementioned in my previous ask, and by virtue of the sheer length of this blog, there’s a striking preponderance of material indicative of intentionality and effortful execution in connecting Natsu & Erza as well as developing their relationship beyond mere platonic suggestion. Any assertion has only as much validity as the evidence and logic backing it. In regards to Natsu and Erza’s relationship, people can believe whatever they want. In a fandom that thrives in an echo chamber of insecurity, “where ignorance is bliss, ‘tis folly to be wise.” I didn’t make this blog to assuage the concerns of a minor ship; the function of this blog is to, impartially, accrue evidence, discern the nuances of the author, and determine if the summation of these factors is concordant with the notion of romantic progression. Natsu is a static character, who, as Mashima puts it, “conveys his thoughts through his actions.” Thus, given such information, contextual analysis is required to descry the exceptional nature through which he views Erza. Through analysis, we find that Natsu is physically attracted to Erza, he’s most protective of her, and she’s his sole motivational exception beyond his personification of the guild’s ethos and themes of the manga. Naturally, Natsu isn’t the conventional romantic type, however, these three facets alone serve to differentiate and elevate Natsu’s perception of Erza beyond that of Lucy and Lisanna. While Natsu’s feelings for Erza are static, Erza’s feelings for Natsu are dynamic. The narrative, therefore, serves as a medium through which Erza’s feelings for Natsu develop to an extent comparable to Lucy and Lisanna’s. Unfortunately, with respect to Erza and Jellal, the true nature of their relationship will be the subject of my next analysis…
What do you think makes Natza a possible romance? Someone had something to say on Natza: "Natza would be a better pairing if it had actual moments. The moments they have are more for a glorified sibling relationship than romance. Plus her relationship with Gray balances her relationship with Natsu out considering Erza had more romance with Gray. I'd rather not ship them because of one moment long ago. I want a pairing that has actual moments, and a pairing that's recent and not what? Arcs ago."
Hahaha, not gonna lie, I got a kick out of reading that quote. So, I’ll tackle that first. Now with all due respect to that person, this comment is one of the most asinine and ignorantly derived assertions I’ve seen in a while (barring that person’s preferential subjectivity). Granted, I’ve made it a point to avoid the genius contingent of this fandom. Nevertheless, through one vector or another, I’m subjected to this virulent stupidity… Anyway, let’s deconstruct this thing.
“Natza would be a better pairing if it had actual moments.”
Numerically, within the context of the manga, Natsu has more “moments” with Erza that can be construed as suggestive or are indicative of development than Erza and Gray. In the past, I had made a list of the most overt moments that was by no means comprehensive apropos of singular moments, parallelism, etc. (https://richtits0fshipping.tumblr.com/post/164385328647/list-of-natza-moments ) In this list, there are roughly 40 notes that would, typically, constitute “moments.” But I’ll play the devil’s advocate here, let’s cut that number to 25 and ignore every other viable instance of relationship progression, subtext, etc… (I.e. everything else in my archive) Even with such a handicap, contextually, the amount of source-material catering to Natsu & Erza’s relationship vastly outnumbers that of her’s with Gray; you’d be hard-pressed to find at least 15 nods to the latter.
“Her relationship with Gray balances her relationship with Natsu out considering Erza had more romance with Gray.”
Without looking at the narrative, I’ll surmise that the intended notion is that while Natza = Grayza in relationship depth, the nature of Gray and Erza’s relationship is more romantic. That being said, I feel like I’m doing the legwork for the semantic coherence here. Up your game. Now, what exactly constitutes romance between Erza & Gray? Because, while I “hate” being the bearer of bad news, the potential for romantic progression was derailed in the very arc it was introduced—The Tower of Heaven. Prior to the ToH, you have one moment that literally spells out Gray’s attraction to Erza (the pitfall). If he didn’t voice the fact that he found her reaction, “cute” would he be in the same boat as Natsu, who conveys the same reaction, albeit without verbal input? Hahaha, does spelling it out make Gray exempt from “sibling status?” If you need overt exposition for people’s feelings, I weep for your interpersonal relationships…That being said, I completely understand the comfort that overt confirmation offers, believe me. It certainly spares you an analysis that bloviates ad nauseam about the contextual nuances that underlie the nature of a relationship between two characters *cough cough*. But I’ve digressed. Back on the topic of the Galuna Island arc, these same “FT literalists” somehow manage to construe the argument between Gray and Erza as an instance of hostile chemistry while their motivations are as far removed from the person in opposition as possible. For Gray, his desire to confront Lyon is predicated on his guilt and bears the intention of resolution to the tragedy of his past. Erza, on the other hand, operates on the basis of authoritarian duty; Natsu, Gray, and Lucy broke the guild’s rules and must be reprimanded, accordingly. A conflict between personal history and law hardly corroborates any contention of a “lovers’ quarrel.” If that’s indicative of attraction and yet Natsu’s aforementioned reaction isn’t, I’m truly beating a dead horse. I’d sooner say Jellal and Erza’s confrontation (in chapter 23) has the undertones of “hostile chemistry,” albeit unilaterally. Intimidation, condescension, flirtation, these elements are all conveyed in that interaction. You have a clear difference in power (which is exampled through Jellal’s authority). Intimidation is brought through Jellal holding her friends hostage. Finally, condescension and flirtation are portrayed by the close proximity between the two with Jellal cupping Erza’s chin. Not only does this scene portray Jellal as the archetypal “bad boy,” but also hints at there being mutual history between the two. For Rave fans, this scene exists as a parallel to Lucia pulling Elie in for a kiss, by her chin (https://richtits0fshipping.tumblr.com/post/165502918582/unwanted-intimacy-erza-elie). In such a manner, that unidirectional flirtation is paralleled through both stories. Gray and Erza’s interaction conveys none of that; it’s merely a conflict of interests. Aforementioned, the arc that yielded the most promise for romantic development between Gray and Erza was the ToH. Through Gray’s flashback, exposition is provided that elucidates Gray’s attraction to Erza and provides a premise through which a romantic narrative could be constructed. To the chagrin of Grayza shippers, that basis is readily derailed as Gray’s involvement amounts to disposing of fodder. If anything, that flashback is the kingpin to any argument for romantic progression and, ironically, to borrow some words, “I’d rather not ship them because of one moment long ago. I want a pairing that has actual moments and a pairing that’s recent and not what arcs ago?” As the ToH arc progresses the import of Gray’s flashback falls to that of exposition and derailed potential. This begs the question: why portray Gray with this crush on her? Unfortunately, while that’s a theory for another post, Gray’s crush on Erza serves as a medium through which a referential idea is expressed; nothing more, nothing less. The next time Gray and Erza have any meaningful interaction is the Oración Seis arc where Gray stops Lyon from severing Erza’s poisoned arm. Again, however, this moment is undermined later in the arc with Jellal’s capture. While Gray’s reasoning for intervention is predicated on Jellal’s assistance, Natsu not only initiates the “riot” but directly voices his impetus for action lying in Erza’s wellbeing. The next notable moment between Erza and Gray is presented in the Tenrou arc where Erza is seen supporting a weakened Gray. Their dialogue is brief and contains nothing of suggestive import as Gray laments his weakness. Erza acknowledges the sentiment, herself, as does Natsu soon after. And that’s it. During the GMG arc, Erza and Gray have a private discussion as Gray notices Erza in rumination. Erza diverts the conversation and instead mentions Juvia’s affections for Gray. Pray tell, how does Erza’s preoccupation with Milliana’s animosity towards Jellal and driving the conversation towards another girl’s feelings for Gray romantic? If you wanted to capitalize on some suggestive Grayza undertones you’d have Gray respond, “I’m actually interested in someone else.” As the conversation continues, Gray asks what’s on Erza’s mind, to which she brushes him off and goes her own way. That’s romance all right. The following “alleged” Grayza moment occurs in chapter 355 within the hot springs. Apparently, when the girls are finally cognizant of the men already present in the springs, according to this one Grayza post, Erza is looking at Gray and Lucy is looking at Natsu (there are arrows indicating their respective line of sight). Either: 1. We can draw arrows that support our biases or 2. We can acknowledge that both girls are most likely looking in the general vicinity of both Natsu & Gray. While I’ll opt for the more probable of the two options, the latter, let’s humor the former. If Erza is, in fact, selectively, looking at Gray, why does she go out of her way to specifically bathe with Natsu? Relative to Natsu’s position, Erza has to take a roundabout path to approach him exclusively from his right. Long story short, Erza’s “checking out” Gray that’s why she foregoes any interaction with him and immediately latches onto Natsu… With over a 100 people supporting the affirmation of that post, it’s no wonder a series heavily catered to its fans panned out the way it did. I’m sorry, but drawing arbitrary arrows, without any contextual basis, to sate your romantic predilections is an idiotic endeavor. But hey, this series has sold over 60 million copies with thousands upon thousands comprising the fanbase, so, statistically, I can’t say anything really surprises me. It’s a function of the numbers. Mid-transition into the Alvarez arc, the next Grayza nod serves as a parallel to Wakaba’s sentiment in Gray’s flashback. For those who aren’t cognizant of Gray’s previously established crush on Erza, this is a more contrived reminder. I won’t re-address the “Grayza Moment” in chapter 463 as I’ve said all that I need to (https://richtits0fshipping.tumblr.com/post/165679838457/grayza-moment-in-ch-463); ignoring the content of the conversation and focusing on the mere “hostility” reeks of stupidity and desperation. The penultimate Grayza moment is a role reversal of Gray supporting Erza, mirroring Erza’s support of Gray in the Tenrou arc (this moment is similarly brief and self-explanatory). Finally, chapter 507 presents the last meaningful interaction between Gray and Erza (and Natsu) as she brings the feud between the two to a halt. During this time, she pulls the two into a hug, causing Natsu and Gray to blush. Following this embrace, both Natsu and Gray’s reactions are brought into focus, and, fun fact, only Natsu’s blush persists.
So, where again did, “Erza have more romance with Gray?” All in all, you have very little relationship development to begin with. Aside from two altercations, Gray and Erza are on good, close, and relatively undeviating terms; there’s no context suggesting notable growth through which one could make an argument for underlying affection. Again, the Galuna Island arc presented the notion of Gray having a crush on Erza. The ToH reaffirmed Grays feelings yet most importantly provided a basis where IFF capitalized upon could’ve been the start of romantic progression. If Gray had defeated the man responsible for Erza’s tears, then the flashback would serve more than an expository function. Given the direction of the narrative, either the flashback’s exposition and Gray’s crush are superfluous outlets for shippers, or they serve to convey something different. In general, it’s foolish to assume the presence of a unidirectional crush warrants fulfillment; a crush is the bare bones of romantic progression. What’s necessary is the follow-through. Without contextual development, Loki x Lucy, Ichiya x Erza, Lyon x Merudy, etc. should all be equally possible under the conception that a relationship is predicated upon solely unilateral attraction. Development where there wasn’t any, canonically, is the job of FF writers. Although questionably executed, Gray x Juvia had that; there was, notable, attraction from Juvia’s side, contextual development, and, in time, reciprocated affection that (like it or not) followed. It truly is that simple.
“The moments [Natsu & Erza] have are more of a glorified sibling relationship than romance.”
Now, personally, I have mixed feelings about this view of their relationship. From one perspective, there’s mocking contempt for either the lengths people go to assuage their insecurities or assumptive stupidity (typically there’s some harmony between the two). The other is, ironically, gratitude, as it’s most likely under this assumptive guise of siblinghood that Mashima’s been able to get away with as much as he has. Realistically speaking, there’s no pairing whose realization undermines as many others as Natza. Nalu, Nali, Jerza, Grayza— these ships sink if that boat floats. Honestly, what kind of troll monster would champion such a pairing?… I’m not going to lie, convincing obstinate and idiotic people with logic that they pay no mind to is a tiresome endeavor. To mitigate the effort involved in argumentation, I made a post using the context of the manga and sheer reason to illustrate the inanity in claiming sibling-hood, given Erza and Natsu’s history.(https://richtits0fshipping.tumblr.com/post/165378457967/natsu-erza-are-siblings) Thus far, that post has been logically incontestable and sufficient at silencing people, but I’ll go the extra mile here. If Mashima truly percieves Natsu & Erza as siblings, why’d he make an AU where Erza is left in a deep flush and rumination after being flashed by Natsu? With the characterizations consistent, that final panel of Erza in such a state is not only dubious (through a purported lens of siblinghood) but also unnecessary (if not to function informatively). Funny enough, Mashima has no problem overtly confirming certain relationships as sibling-like in the manga (ex: Wendy & Kagura view Natsu & Erza as an older sibling, respectively, and Erza views Wendy as a younger sister) and yet won’t do so for Natsu and Erza. Instead, he teases the fact that he won’t do so at every opportune moment to do so. Some examples include Chapter 47 “What kind of relationship do you have?!” Chapter 355 “Like we said, that’s not normal!” And, arguably, the most suitable opportunity, Chapter 507. In 507, while Erza reminds the two of the mutual history they all share growing up in the guild she sets up the perfect avenue for regarding the two as siblings. Despite that, she doesn’t. (Don’t lose hope, in the anime she might). Why not? What was stopping Mashima from clarifying the nature of their relationship, as he’s done before with others? Clearly, it’s the “30 people” who have a preference for the pairing; he didn’t want to start a riot by quelling the vast majority who prefer Natsu and Erza with others, via confirmation. Logically, nothing was stopping the man, aside from himself. From a fiscal perspective, what was stopping him from making Jerza canon? Nothing. Sating the majority at the loss of a marginal minority, economically, is common sense in business. It’s for that reason that the anime will most likely assuage ship insecurity, pander, and alter the context of the source material. It’s a no-brainer if all you’re trying to do is make money. Back on topic, if Natsu and Erza’s relationship is clearly and indisputably familial in nature, why the (emotionally charged) general outcry? It’s as if people are trying to convince themselves due to the absence of confirmation and evidence suggesting otherwise. Logically, they’re not siblings and, contextually, there’s no evidential indication of them viewing each other as such. Again, it truly is that simple.
TL;DR
1. Numerically, more context is dedicated to Natsu and Erza’s relationship.
2. A basis for romantic development between Gray an Erza is both introduced and subsequently subverted in the ToH arc. Apart from subjectively construed romance, there is none. (Nor is there notable relationship development).
3. Logically and evidentially Natsu and Erza aren’t siblings nor view each other as such. While everyone’s entitled to their own subjective opinions, to make an objective claim of sibling-hood is moronic.
Now that that “intellectual excerpt” has been thoroughly dealt with, I can begin to tackle your question:
“What do you think makes Natza a possible romance?”
Understanding Mashima: the manga is more honest than he is.
Before delving into the context of the manga, it’s of paramount importance to understand the nature of someone who speaks on behalf of it, publicly. Like it or not, Fairy Tail is not a self-contained work, the instant any author speaks for their story, they invoke the almighty authority bias. This bias capitalizes on the individual’s laziness, deference, and insecurity when dealing with complex matters. It assumes that the authoritative figure, in question, is consistent, truthful, and has better insight than others; their word is law. Who better understands Fairy Tail than its creator? It’s a fair question and the start of the following logical argument through which this authority bias can be expressed.
1. Hiro Mashima knows everything there is to know about Fairy Tail (ex: relationships, inspirations, influences, intentions, etc.).
2. Hiro Mashima has no reason to lie and always responds truthfully when asked to clarify information on topics aforementioned in 1.
∴ since Mashima knows the truth regarding FT and always speaks truthfully about it everything he says to others is factual…
Hopefully, when spelled out, the assumptive nature of an authority bias and it’s erroneous basis is self-evident. In statement 2. logically, there are two claims that can be called into question. “There’s no reason for Mashima to lie.” Is lying always preceded by reason? If so, for someone in Mashima’s position are there advantageous reasons (fiscal or otherwise) to lie over telling the truth? On what topics is someone more apt to lie? “Mashima always tells the truth.” While the first point doesn’t dismiss the possibility of relaying the truth, it doesn’t answer the question of frequency nor consistency. Out of 5 claims, you can lie up to 4 times while still a possible source of truth. You can also make two statements that are contra to one another and provide more claims that back the false proposition. Thus, self-consistency is also not an indication of truth. Consistency is supplementary; it can bolster both true and false propositions. It can either reaffirm a truth or further propagate a false notion. To illustrate this point, let’s look at a couple of statements from Mashima. “I had no intention whatsoever of writing a romantic aspect of Natsu and Lucy, but starting with this story, I conversely ended up making readers anticipate it… Putting aside if I’ll write the romantic aspect, I am currently writing them with a sense of more than friends, less than lovers. I might like that relationship.” (Statement 1) “Lisanna and Natsu: “I was very interested in their relationship, and I imagined a triangular relationship with Lucy, but … I thought,” whatever I do, fans will not be happy. “So I decided that nothing concrete will happen between them.” (Statement 2) “The fans were so excited over the coupling controversy that it surprised me. However, I had decided not to take fan opinions on this matter. I’m sorry about that, but I had already decided everything myself and finished drawing the manga in the manner that I had decided.” (Statement 3) Statements 1 and 2 acknowledge the influence of fans on the narrative as well as the possibility of romantic development while statement 3 disregards such influences and instead supposes a predetermined notion of how these relationships would pan out, ultimately. Statements 1 and 2 are conditionally consistent IFF statement 1 precedes statement 2 temporally AND the possibility of romantic development exists (for either pair). Simply put, these two sentiments are only congruous if there’s no “cap” to how far these relationships can progress imposed by Mashima. Following this line of reasoning, we find that statements 1 and 3 are consistent if a presupposed “cap” DOES exist. In this case, leeway is granted thereby allowing for Natsu and Lucy’s relationship to develop up to a certain point (more than friends, less than lovers) but nothing further. In examining the consistency of statements 2 and 3 with respect to statement 1, we find that the conditions for consistency between 1 & 2 and 1 & 3 are in opposition; for 1 & 2 to be consistent there can’t be a developmental boundary, whereas for 1 & 3 a presupposed boundary must exist. The root of this exclusivity stems from the incompatibility of statements 2 & 3. If Mashima had already decided on the outcome of these pairings and didn’t yield to fan pressure, as statement 3 suggests, then aside from putting on a superficial “show” of hollow substance one or neither pairing ever had a shot at realization, to begin with. If both pairings were equally viable and canonicity is influenced by the fans then both claims made in statement 3 are false. Further complicating things, relaying Mashima’s thoughts on Natsu and Lucy’s relationship, Lucy’s VA acknowledges that mashima has no intention on having the two kiss(Statement 4). Under the requisite “cap” aforementioned we see that statements 1, 3, and 4 are consistent. Adding to this set of consistent statements, in Mashima Interview 3 Mashima states, “I’ve reached the point where I would think of wanting to please the readers before my editor said anything…[However] I have never drawn any manga where I thought, “I’ll kill my ideas in order to draw something the readers would like to see.”(Statement 5). At this point, we have a congruent narrative from statements 1,3,4 and 5: While Mashima aims to please his fans, there exists a developmental cap in Natsu’s relationship with Lucy where Mashima’s integrity as an author bars him from relinquishing full control of his intentions/ideas. Left with statement 2 and it’s suggestion of a possible love triangle, we come to the lesson of this marathon in logic. What’s important isn’t that these statements solely create a consistent whole but that they are validated within the context of the manga. That’s to say that we can see this narrative these statements create articulated in the manga itself. In fairy tail, there’s no indication of the presupposed “triangular relationship” in the works. Without proper substantiation from the manga’s context, statement 2 is little more than hearsay. Aside from quelling disgruntled Nali shippers, there’s no contextual proof of any interest in developing Natsu and lisanna’s relationship beyond what was depicted. If Mashima had such interest, surely there’d be more indication beyond Nali serving as a light hearted parallel to jerza’s relationship pre-264. The paucity of such evidence belies any serious intention of development between Natsu and lisanna, beyond what was depicted. Put simply, unless Mashima’s claims can be substantiated through this work there’s no way of assessing their validity. Solely taking the word of an individual who presents as frivolous and duplicitous (especially in precarious matters) is moronic. The source material has all the information necessary for analysis. If anything, Mashima’s statements should be seen as supplemental IFF they’re congruent with the manga. Statements 1,3,4, and 5 are reliable because they create a consistent whole and (most importantly) their implications can be evidentially substantiated within the context of the manga. While this has been a long, tedious, and soporific exercise in logic and analytical thought, I can’t stress the import of letting the manga speak for itself enough. Everything’s there regardless of whether or you see it or not.
Evidential & Contextual Basis
Not gonna lie giving sufficient exposition that is thoroughly persuasive is a cumbersome endeavor. To this end, I’ll start with the most concise and substantiated points to the more abstract.
The only two women Natsu has shown genuine physical attraction is Erza and Lisanna ( https://richtits0fshipping.tumblr.com/post/165355393647/attraction-nalu-vs-natza-anti-nalu )
Despite having numerous opportunities to do so Mashima NEVER defined Natsu and Erza’s relationship as one of siblings
Out of every member of fairy tail there is no one given more contextual evidence for Natsu’s protectiveness than Erza. (https://richtits0fshipping.tumblr.com/post/165327787097/understanding-natsu-protecting-erza-natza )
Following the release of FT chapter 400, Mashima released a one shot, Starbiter Satsuki, whose protagonist and story are derived from both Natsu and Erza’s characteristics as well as their moments (https://richtits0fshipping.tumblr.com/post/164809078727/natsu-erza-starbiter-satsuki )
No two characters have more parallelism (imitational (as individuals and other couples (Gruvia)) , developmental, illustrative, referential (Rave), and out of context material (omake, cover art, twitter (ex: Halloween)) dedicated to them than Natsu and Erza. Consequently, the length of this blog is an result of that.
Next, we move onto Mashima as an author. Now, it’s my contention that if you can’t understand the nuances and identifying characteristics of an author’s writing, you certainly can’t understand their intentions. Hopefully, for anyone reading, this point is self-evident. Throughout Fairy Tail there are 3 voices whose intentions drive the progression of the narrative:
•The Fans- in Mashima’s endeavors to please his fans, the most readily apparent influence is external. Noted in various interviews and posts, Mashima has stressed the fans influence in coercing romantic developments as well as reproaching others. As a result, the narrative is imbued with needless fan-service between favored pairings that present as low-effort, lowbrow, contrived, perverse, and gratuitous. In an effort to sate the desires of his investors, this concession of “artistic direction” typically manifests as lackluster writing, disenchanting those detached from shipping agendas.
•Mashima- when left to his own devices, Mashima’s writing abounds with nuance, referential derivation, developmental parallelism, thematic implementation, and characterization. For those who are cognizant of Mashima’s talent as a mangaka (by virtue of his previous work RM) it’s confounding to see such an apparent disparity in quality between FT and RM. For those who read his interviews, the reason for such a difference is readily apparent. That being said, drawing Mashima’s voice/intentions from the manga requires a scrupulous refining process. Synonymous from refining precious metals from sediment, effort and reasoning is required to distill away the muck. In a manga that’s a conflation of various influences, “handouts” are few and far between; things aren’t spelled out for the reader. The solution: form a hypothesis, find evidence within the context that supports and challenges your supposition, state your conclusion. Through this process, reminiscent of the scientific method, you’ll find these greater facets of Mashima’s writing as well as his intentions. Thus far, speaking from experience, it’s not only worked out quite well but it’s also a humbling endeavor. The insight I’ll offer is this: while Mashima concedes the degree to which his intentions are expressed, they are purposely constructed and inexorably true to form. Both the relationships and characters in this manga aren’t only developmentally consistent but also serve a functional role within the narrative.
•Dissonance- this “voice” in the manga is the conflict of intentions between the former two voices. Simply put, it’s the middle ground of concession between Mashima’s vision as an author and the fans’ desires. This voice is typically depicted as the more ambiguous, unresolved, and questionable elements in the manga. A few readily apparent examples include Jellal’s brainwashing and responsibility as well as the avoidance of Jellal/Natsu interactions following the return of Jellal’s memory. Ultimately, the unresolved nature of this passive voice keeps the door open for the ideas of both Mashima and his fans.
Keeping in mind the totality of everything aforementioned, we finally turn to the manga itself. So, what makes Natza a viably cannon relationship? The broadest form of substantiation lies in the following quote from Ian Fleming’s, Goldfinger:
“Once is happenstance. Twice is coincidence. Three times is enemy action.”
This quote articulates the notion that it’s the summation of evidence through which someone’s intentions gain traction; it’s the emergence of a pattern that begs the question, “If this pattern is derived from intention, what is the motive?”
At the risk of presenting a superfluous and redundant analysis, I’ll address the lesser acknowledged details in the story.
Chapter 11: Natsu agrees to help Erza under the condition that she accepts his challenge. His statement serves the following functions
Differentiates his relationship to Erza from Gray and the remainder of the guild.
Barring Mashima’s idea of having Natsu afraid of Erza (for comic relief), in actuality, he views her as someone to prove his worth to. (His desire to best Erza, in particular, is reaffirmed in the omake, Welcome to Natsu’s House with the presence of two Erza “targets”)
Chapter 17: Natsu saves Kageyama after defeating him.
A whole panel allocated to solely erza’s blushing reaction (a questionably excessive depiction for a relatively new character)
Chapter 22 Cover: Natsu vs Erza
Twenty-two chapters into the manga and the reader is presented with a cover image of Natsu sleeping on Erza’s lap as she plays with his hair while smiling affectionately. The significance of this image is that it hints at there being an inherent level of intimacy between the two that, beyond speculation, hasn’t be substantiated thus far. Moreover, coupled with the exclusivity of the characters involved, this image begs questions of relationship nature, possible development, and the intent behind this illustration.
Chapter 23: Natsu breaks into the magic council to rescue Erza.
Introduces the relationship between Erza and Jellal. Natsu’s intervention serves to deepen his relationship with Erza and foreshadow his fight with Jellal over Erza in the ToH arc.
Sets a precedent of rescuing the jailed “damsel in distress.” Natsu attempts to rescue a jailed Lucy in the GMG arc. Natsu is jailed along with Lisanna in Tartaros. Notable differences: Natsu is able to escape the guild when trying to rescue Erza, while he is tied up by the guild when trying to save Lucy. While Natsu was jailed with Lisanna, his original intention was to rescue Erza & Mirajane.
The Phantom Lord Arc:
When first reading this arc, there are three notable pieces of contextual evidence supporting an exceptional relationship between Natsu and Erza.
Natsu’s frantic reaction to Erza taking the brunt of the Jupiter canon. (Contrasted to Natsu’s reaction to Gray attempts at self-sacrifice during Galuna)
Erza’s pep-speech to Natsu and acknowledgement of his strength to dark guild master. This is indicative of the importance and pervasiveness of the concept of Natsu surpassing Erza. Out of every character Erza will serve as the benchmark for acknowledgement.
Following erza’s “pep-speech,” Happy agrees with Lucy that he’s never seen Natsu so riled up.
Upon retrospection, however, it becomes clear that this arc serves as a juxtaposition to the events of the Tower of Heaven. Some general contextual similarities include:
Attempting The use of Abyss Break
Lucy/Erza are captured at the behest of Mr. Heartfilia/Jellal and ultimately bound
Both arcs are predicated on Lucy/Erza’s past relationships and finding resolution.
Both girls cry at the end of the arc in the company of their friends following a reinforcement of the familial nature and themes of the manga.
Further consolidating this notion of juxtapositional function, multiple examples of pictorial parallelism to the ToH arc are presented within the Phantom Lord arc. What’s particularly notable about these parallels is their focus on the archetypal “fight for the princess.”
Lucy and Erza’s reaction to Natsu’s arrival
Natsu fights Gajeel/Jellal to rescue Lucy/Erza driving his opponents through their respective towers.
Both Lucy and Erza admire Natsu following his victory, further deepening their relationship with him.
Ultimately, the overt parallelism serves to draw connections to the two arcs and thus highlight the romantic undertones solely presented in the ToH arc.
The Tower of Heaven Arc:
For the time being *this analysis* is more than sufficient in presenting the gravity of the ToH as it pertains to Natsu & Erza. That being said, within that analysis, I’ve scratched roughly 40% of that arc’s complexity and import; it truly was masterfully conceived. Within the scope of Natsu & Erza’s relationship, essentially, this arc serves to consolidate Erza’s faith in Natsu and further the progression and magnitude of Erza’s feelings towards him.
The Battle of Fairy Tail Arc:
In this arc, the most overt moment between Natsu and Erza is this reciprocity of trust between the two. Following the previous arc, Erza’s trust in Natsu’s fighting prowess is absolute. Natsu, on the other hand, after seeing how willing Erza was to sacrifice herself, voices his concern, eliciting a blush from her.
This next piece of context is often overlooked due to its implicative nuance and visual obscurity.
With the totality of the scene hidden from view, Gajeel impresses the notion of Natsu groping Erza in her petrified state. The superfluidity of this comment and ambiguity serves two functions: 1. It imparts the idea of physical attraction without presenting as fan-service 2. It reaffirms the precedent of nuance in descrying the nature of Natsu and Erza’s relationship; very little will be overt.
Oracion Seis Arc:
**See the aforementioned analysis
Prior to the climactic battle of this arc, Erza openly advocates her trust in Natsu’s strength, reaffirming the progression of that aspect of their relationship.
In the midst of Natsu’s battle with Zero, Erza vocalizes Natsu’s name twice. Once pensively and again with conviction.
Edolas Arc:
This arc features one parallel to the Battle of Fairy Tail arc. Serving as a call back to Natsu’s concern for Erza’s wellbeing, this parallel depicts the development of an implicit trust between the two. This notion is contextually juxtaposed through Lucy and Happy’s concern, compared to the lack of exchange between Natsu and Erza referencing The Battle of Fairy Tail Arc through Erza’s nod.
The GMG follows this trend of development conveyed through parallelism. Unlike the Edolas arc, the GMG features two developmental parallels whose pictorial and contextual similarity are readily apparent.
With these parallels separated by roughly 6 years in time the supposition of intent in Mashima’s work (articulated in Fleming’s quote) continues to gain traction. Concordantly, nuance continues to be the means through which development is made manifest in Natsu and Erza’s relationship. While the presence of two instances of developmental parallelism may seem inconsequential compared to overt contextual progression, its significance in authenticating development makes it a powerful tool in proving and portraying trends. The beauty of developmental parallelism is that its trends can be expressed graphically and extrapolated. There’s no variability in the characters involved and the context is sufficiently equivalent such that what one’s comparing is apples to apples rather than apples to oranges. With the individual moments of their respective parallel coupling signifying points on a graph, the x-axis represents, the independent variable, manga progress, while the y-axis represents, the dependent variable, Erza’s attraction to Natsu. Thus, in gauging the relative value of the more recent event with respect to the initial event it parallels, one must examine these subtle contextual differences indicative of the y-value (attraction). E.g. a blush present where there wasn’t one prior, Illustrates this notion of attraction such that (y2 > y1). By virtue of the label, “Developmental Parallelism” the influence of time’s involvement in change is implicit. Ultimately, the interplay between these variables breeds a positive correlation between the manga’s progression and Erza’s attraction to Natsu further vindicating any other evidential, speculative, and or intuitive knowledge of this trend, external to what can be extrapolated from these developmental parallels alone. The summation of consistent evidence backing this trend therefore bolsters the validity of the theory of romantic development as the manga progresses.
Sun Village Arc:
There is, perhaps, no better chapter than 355 which in and of itself reaffirms the notions of intention, nuance, and duplicity in Mashima’s work. To many, chapter 355 overtly presents as a fan-service. The problem is, visually , it very much is, thereby appearing solely as such to the passive reader. Therein lies Mashima’s duplicitous nature made manifest. To anyone with half a mind, the contention of mere fan-service holds minimal credibility at best as it’s rather excessive for such a provocative pairing within the fandom. Naturally, with the release of this alleged “fan-service” an outcry was incited. As aforementioned, any material catering to Natza undermines various other fan preferred pairings. For two of which, constituting the fandom’s “big four,” Natsu and Erza’s relationship is in direct opposition. Thus with a modicum of rational, one can suppose that, for Mashima, there exists intentionality whereby expressing his ideas outweigh the expected backlash. Through this line of reasoning, the guise of mere fan-service becomes apparent. In reality, chapter 355 abounds with, developmental parallelism, referential parallelism, and evidence reinforcing Natsu’s attraction to Erza. In the vein of attraction, following the introduction of the girls in the spring and Erza’s desire to wash Natsu’s back, Natsu’s blush dissipates for the first time. This absence remains only until Erza asks to have Natsu reciprocate, to which he meekly agrees, blushingly. The pictorial import here is the clarification the renewed blush gives. While both Natsu and Gray initially blush upon discovery of the girls’ presence, their collective presence confounds any individual causal relationship. Thus, through this means, Natsu’s physical attraction to Erza is reaffirmed, belying any purported notion of sibling-hood. Addressed in the link for evidential attraction, coupled with having Erza state that she used to bathe with Natsu & Gray and the constant utterance of the lack of normalcy in it, It’s fascinating that Natsu addresses the absence of novelty to Lucy’s nudity juxtaposed to the flashback of Natsu blushing when bathing with Erza in chapter 507.
In addition to the exposition of the developmental parallelism provided, the blatant contextual and illustrative similarities throughout chapters 71, 261, and 355 sufficiently substantiate the notion of parallelism. As an analyst, the explicitness is more than welcome as it mitigates the necessity to articulate what connections (referential, contextual, illustrative) are implicitly grasped to the reader. E.g. pictorially- between 71 & 261 Erza’s depiction is nigh exact, while contextually- between 261 & 355 Carla explains the springs beautification properties. While there are far more details that can be equated between these chapters, these examples illustrate that the more readily apparent connections are the greater the likelihood that the claim of parallelism is universally accepted. The beauty of this developmental facet of parallelism is that it perfectly exemplifies the notion of intentionality expressed in fleming’s quote. Mashima doesn’t stop there. Another developmental layer is depicted between 355 & 47 with other contextual similarities such as Erza mentioning their history bathing together and Lucy addressing the lack of normalcy in their relationship.
As if this degree of complexity isn’t sufficient enough, Mashima continues his efforts. Adding another layer of parallelism, Mashima draws reference to Fairy Tail’s predecessor, “Fairy Tale.” Serving as the progenitor to the popular series, various elements of this one-shot are carried over to its successor. Some examples include: Natsu’s design was derived from his previous incarnation Silver, Erza’s name was inspired by her previous incarnation Elle, Silver & Elle’s parent are King and Queen of their respective kingdoms mirroring that of Igneel & Irene, the design of Erza’s flame hakama was based on Silver’s jacket, the theme of family serves as the focal point for both stories, etc. etc. cognizant of the ties tethering these works together, the referential parallelism in chapter 355 becomes apparent. From illustrative similarities to those predicated on context, Mashima draws clear connections between these two works and the previous iterations of Natsu and Erza.
Ultimately, Chapter 355 unequivocally manifests the notions of intention, nuance, and duplicity in Mashima’s work. With respect to duplicity, this chapter ostensibly presents as gratuitous fanservice. Upon further inspection and rationale, a scrupulous reader is able to recognize this guise which belies nuance and intention apparent through keen eyes. (Sorry, I was feeling poetic). Through nuance, Mashima further substantiates Natsu’s physical attraction to Erza using the dissipation and reemergence of Natsu blushing, thereby undermining any contention of sibling-hood. Illustrating substantial intent, Mashima integrates multiple layers of parallelism. Two interwoven layers of development parallelism demonstrate the progression of Erza’s initiative in bathing with Natsu and the exclusivity of her interest. The third layer pays homage to Natsu and Erza’s predecessors, further connecting these two characters. Undoubtedly, through these several layers of parallelism, a great deal of effort is exhibited in the execution of Mashima’s intentions. The contention posited earlier rationalized that for Mashima the execution of his intentions outweighs the negative reception that ensues. At this point, his intent should be well understood. From a perspective of the narrative, the hotspring setting was superfluous. In the end, Chapter 355’s context is vindicated only through the function of manifesting Mashima’s intention to depict the developmental progress, relationship nature, and referential connection between Natsu and Erza.
Tartaros Arc:
In truth, there is a paucity of material catering to Natsu and Erza’s relationship in the Tartaros Arc. Instead, the import of this arc as it pertains to the two is actually centered around Natsu and Lisanna. Despite, Natsu’s efforts to rescue Erza and Mirajane, he himself is ultimately captured along with them. With his capture, Natsu finds himself and Lisanna jailed and unclothed. Sound familiar? It should as this Nali moment is actually a conflation of Natsu’s “skinship” with Erza in Chapter 355 and Natsu and Erza being jailed together in Chapter 23.
Further substantiating this notion, with respect to chapter 355 one illustrative parallel exists where there are notable illustrative similarities (particularly between Erza and Lisanna).
Now comparing Natsu and Lisanna’s situation to chapter 23, there are multiple examples of illustrative parallels backed by contextual similarities:
Natsu expresses surprise at the situation he finds himself in.
Natsu, Erza, and Lisanna lament their capture
From attempting to rescue Erza to palliating Lisanna’s concern, Natsu’s efforts cause Erza and Lisanna to blush.
For better or worse, respectively, Jellal and Silver acknowledge Natsu’s presence.
The function of the Tartaros arc as it pertains to Natsu and Erza is that it articulates the notion that sizable implicative moments for NaLi and Nalu are often either derived from moments between Natsu and Erza or superseded by more implicative versions involving the two. While the Phantom Lord arc broadly depicts the latter, this portion of the Tartaros arc presents the former. What can be said then, generally, is that the mental focal point lies on Natsu and Erza’s relationship. “How can I alter this moment between Natsu and Lucy for Natsu and Erza? Which moment between Natsu and Erza should I base this off of?“ The Tartaros arc supports this idea as the thought process for the apex implicative moment between Natsu and Lisanna yields a mere amalgam of two moments between Natsu and Erza.
AVATAR & ALVAREZ:
Absence makes the heart grow fonder?
TBA…
What makes Natza a possible romance is the presence and summation of considerable evidence connecting Natsu and Erza and suggesting relationship development. The totality of such evidence conveys both intent and effort manifesting it. It’s important to note that while intent precedes execution, intention alone doesn’t will itself into actualization.Thus, one can reasonably conclude that the significance of Natsu and Erza’s relationship was to a degree that warranted the effort necessary for its multiple and various forms of expression. Moreover, the greater the size of content catering to their relationship the greater the effort involved in depicting it. Ian Fleming’s quote presents the notion that as content, sharing a common theme, increases as does the likelihood of intention underlying it.
In the end, the reader must consider that given such a notion predicated on probability, and the plethora of effortful material presented, how certain then is coincidence and superficiality?
Was it truly necessary for Natsu to remain the same in order for him to be the 'living embodiment of the Fairy Tail ethos', or could he not have done so and still grown and matured as an individual?
Stated in a previous analysis, Fairy Tail’s ethos details the “greater” facet of his characterization. In a character whose thoughts are made manifest via action, Natsu extensively advocates and exemplifies the FT philosophy. Putting things into perspective, this would be someone who devoutly lives by their beliefs. Synonymously, while the guild’s thematic import serves as an overarching facet of his characterization, it isn’t all-encompassing, where the possibility of character maturation is lost. It’s of paramount importance to understand that his personification of the guild is, principally, predicated on his conveyance of the manga’s values. While there exists a correlation of stasis between Natsu’s characterization and the guild’s ethos, the guild’s ethos doesn’t sum up the totality of Natsu’s character. Through this distinction, we can segment and evaluate Natsu’s characterization as it pertains to character development. As aforementioned in past analyses, Natsu’s characterization exists as a conflation of the manga’s themes and the traits inherent to the archetypal shōnen protagonist. This iconic archetype by its very conception is inherently static. While there may exist nuanced maturation in the characterization, the character is still irrevocably true to form (ex: Luffy from One Piece). Here’s ultimately the “issue”: there exists a concordant reciprocity through which the FT guild ethos supplements Natsu’s archetypal Shōnen MC characterization (immature facets of Natsu’s characterization). The stasis of his characterization thereby further consolidates the extent to which he personifies/parallels the undeviating guild (giving the false impression of indistinguishability).
Guild supplementing the self-indulgent nature of the Shōnen MC archetype:
Simply put, the guild’s ethos is perfectly tailored to supplement the archetypal Shōnen qualities inherent in Natsu’s personality (and vice versa). His personification of the guild doesn’t help any argument for development. While nonconflicting development wouldn’t detract from his thematic personification, lack thereof further consolidates the degree to which his characterization is entangled to the guild. Apart from the readers’ subjective desire for progress, humanization, etc., what would be the purpose of overt maturation? How would it supplement his function in the narrative? And, finally, what would be the impetus for this change? With Igneel’s death the theme of Looking toward the future is reaffirmed:
With Natsu and Gildarts’ conversation solely illustrated, in chapter 417, the reader is left to interpret the severity and nature of their conversation. Iff it pertained to Natsu’s feelings on losing Igneel, what resolution was made (if any)? We know Natsu learned of fear from his confrontation with Gildarts during the tenrou arc, and his loss of Igneel mirrored that helplessness. Both instances have reinforced his desire to get stronger and have arguably curtailed his boastful egotism. Another issues lies in the exceptional circumstances during the Alvarez arc that make it difficult to discern the nature of Natsu’s growth relative to the norm (ex: Natsu “reckless” intervention to save the boy mirrors the loss of his own father. Despite being the one to advocate disregarding external affairs, Erza and the others also end up following suit). Iff Natsu has grown, this maturation is most likely in the extent to which his archetypically derived personality traits are curtailed.
From Mashima Hiro long interview translation (part 1):
Natsu had a prominent presence.
He’s a simple and straightforward protagonist, and there’s no need to make him like a character in an adult-like manga. Natsu was Natsu from the start till the end.
But he grew.
Of course. However, he never changed when it comes to things that are “Natsu-like”. To me, that might be what makes it “shonen manga-ish”.
Through this interview, Mashima reinforces Natsu’s position as a static character. As he’s stated, there’s no reason for his character to undergo drastic development. With respect to the narrative, his personification of the guild’s ethos, and the Shōnen genre’s influence, there’s a concordant relationship in which the summation of these factors result in Natsu’s static characterization. The “burden of proof” lies to those pushing for overt development as, logically, the “need” is nonexistent. Apart from his personality, his humanization lies in his relationships with others. With Erza, for example, his exceptional view of her (protectiveness, impetus for action, etc.) is made more apparent when contrasted to the dehumanized norm presented through the FT and Shōnen facets of his characterization. In the end, unfortunately, these interviews are far from sating for the inquisitive fan. Thus, in a manga predicated on bonds, there should be questions like: how have certain relationships affected Natsu’s character and growth? Which ones? Etc etc etc. Anyway, solid question and I hope this clarified things.
While your analyses have given me a new perspective on Fairy Tail, I've noticed in your writing that you're very "detached." How do you view unhealthy relationships and bad characters in Mashima's manga?
Prior to delving into this ask, be cognizant that I’m principally an analyst, not a fan-fiction writer, personal-commentator, etc. So I’m speaking solely as such; this isn’t a commentary for someone who is predominately “other” but dabbles in writing analyses. When it comes to analysis, it’s my contention that, to make any “universally” applicable point, you remove any personal element to your logic (realistically as much as you can). That’s not to say that you can’t add your own thoughts that parallel your reasoning, but your subjective feelings shouldn’t be a means to an end; they shouldn’t supplement your argument; they should “humanize” your analysis if anything. My “detachment” lies in a desire to be as unbiased and objective as possible and thus remove any questionability of intent. So when making an argument regarding relationship “health,” in regards to a fictional work you’re inexorably evoking a personal and, with respect to a Japanese work, often ethnocentrically inclined perspective. For example, outside of the context of literature, let’s look at relationships as they pertain to mathematics. Take Y = -X, objectively, this relationship is defined as being directly proportional. In this function, as the value of Y increases, X decreases by a proportional amount. That’s all there is to this relationship; there’s no “baggage,” connotation, or anything subjectively construed. That being said, this model can serve as the foundation of any material, causal, etc. relationship by attaching “labels” to these variables. Personally, I have no intention of adding “labels” to these variables. In my analytical endeavors, I’m just trying to discern the connection between these characters; I have no other agenda. In other words: how do these relationships function, change, serve the narrative at large? In analyzing these relationships, I compartmentalize my personal feelings, intuition, etc. and ultimately, if not in opposition, at best they serve as a corollary of what I’ve come to find. Just because I can appreciate how a relationship functions in the narrative doesn’t necessitate that I like it, personally. For Gray and Juvia, I appreciate the thematic aspect (which I won’t get into), but otherwise, I’m wholly indifferent to their relationship. An analysis should serve to educate; it’s not a therapy session for your personal feelings nor an affirmation for others’ confirmation bias. That’s in part why I make analyses. I don’t care if you think Y = -X is an “unhealthy” relationship because as Y continues to “lose value” X continues to gain it and so you label the variables to fit your perspective. If your perspective, by happenstance, is in accordance with this mathematical model, so be it. However, it’s not because of your feelings that this relationship is defined as such, the relationship exists independent of your subjective perspective and “baggage.” That’s why you won’t find me on psychology-today or w/e to vindicate or tarnish a literary relationship in its own universe with its own principles. FT first and foremost is an artistic work meant to convey and reference various themes. While certain relationships may be correlative to reality, some are predicated on serving a purpose and thus are, ultimately, differentiated by the judiciousness of the reader. Take Natsu, for example, with respect to functionality, at this point I’m nigh sick of asserting this, but again he’s predominantly a static character meant to personify the FT guild and themes of the manga. (1, 2) Do the core qualities of the manga or the guild change? Of course not, and as such while the “lesser” facets of his characterization pertaining to the archetypal shōnen MC are arguably curtailed as the manga progresses, they’re irrevocably true to form. Natsu’s not supposed to be a dynamic character as the very notion undermines the totality of what he’s meant to convey. The assertion that character growth = character quality is a subjective and asinine argument as there are various literary works backed by, notable, static characters (ex. Sherlock Holmes and Hannibal Lector). That’s not to argue whether or not Natsu’s execution is notable, comparatively, but rather exemplifies that static characters aren’t inherently a bad thing. Natsu’s characterization is, therefore, a prime example of “form following function.” All of this stems from an understanding that Fairy Tail is a manga predicated and driven by relationships and, as such, the plot serves as a medium through which these relationships change, grow, end, etc.; the plot is subservient to these interpersonal narratives. In the end, various characters and their relationships, by and large, serve to supplement this overarching story of bonds. That is especially true for understanding the nature of these relationships; alas, not every relationship serves romantic intent (or does so solely). The “difficulty” lies in the readers’ ability to discover and make this distinction in nature and function between relationships (and characters). Anyway, I’m glad you gained something from reading my analyses and I appreciate the personal ask, you scrub :)
In Chapter 71 Natsu and the gang spend the night at an Inn in Balsam Village. When left to their own devices, both Erza and Lucy bathe in the hot springs without the mention of Natsu and Gray. Chapter 261 follows as the second time the women enjoy the springs. With the mention of the men possibly trying to peek, Erza now suggests inviting Natsu and the rest to join them. Finally in the same bath, Chapter 355 not only parallels but furthers Erza’s initiative as she heads toward Natsu and Gray, noting their history bathing together. Relative to her initial position in the spring, of her own volition and interest, Erza goes out of her way to personally bathe with Natsu, latching onto him. With respect to development, this moment in Chapter 355 overtly parallels Chapter 47 where the present exclusivity and desire are juxtaposed with a past of equal embrace and compromise.
In chapter 23 Natsu dresses up as Erza in order to cover for her in court. The gravity of his reckless actions heavily embarrass Erza, causing her to blush and sigh in mortification. It isn’t until both Natsu and Erza are locked up that Erza blushingly admits that the gesture made her happy. Unlike chapter 23, chapter 338 is a prime example of Natsu’s mischievous and self-indulgent nature. Dressed up and adorning the king’s stolen crown, Natsu professes his kingship and, relative to breaking into the court, commits a far worse offense. This time around, Erza smiles blushingly and sighs, now amused with Natsu’s actions.
Erza’s Capture & Natsu’s Rage (Tartaros vs Tower of Heaven)
In the previous analysis, demonstrating the exceptional nature of Natsu’s protectiveness of Erza, several abstract parallels were drawn to Erza’s capture and Natsu’s rage when attempting to rescue her. Although Mirajane was also captured, several parallels in various arcs relative to Tartaros serve to consolidate the Erza-centric drive behind Natsu's actions. The parallels that follow exists to connect the Tartaros and ToH arcs. These parallels function to connect moments between the two arcs, not equate their import. To this end, while similar parallels to Natsu’s actions exist, they are lackluster in comparison to the panels referenced in the ToH (this is apparent, based on the degree of illustrated similarity). In substantiating this notion, two Rave Master parallels are made whose either similarity or dissimilarity to the cited FT parallels demonstrate this inequality of value; thus, while the connective nature of these parallels is established, the value of the more significant moments in the ToH isn't subverted.
Throughout Fairy Tail, Natsu’s character can be understood, in part, as a personification of the Fairy Tail Guild and as a mouthpiece through which the themes of the manga are conveyed. To this end, with the inclusion of traits inherent to the archetypal shōnen protagonist, Natsu’s characterization exists as a tailored amalgam of various facets where his thematic embodiment takes hierarchical precedence. While more abstract thematic components to his characterization instill “purpose” to his being, other facets such as his personality serve to humanize him beyond a role as the author’s medium. In generating a logically coherent and holistic character, it’s imperative that these “lesser” facets are, at the very least, noncontradictory to the themes the character personifies. Through this notion, certain character facets, such as their personality, will often supplement the overarching themes they’re meant to illustrate. Occasionally, however, there will be something that even surmounts this thematic personification, taking precedence over the character’s role. Depending on the execution and nature of this “something,” this can give the reader insight into an enigmatic character’s feelings/thoughts. If poorly executed, where a “lesser” facet of their characterization derails their thematic influence, this incongruity conveys hypocrisy―a dire issue for the main character meant to project the manga’s values. If properly executed, this “show-not-tell” method, poignantly, exemplifies that this “something” is of paramount importance to the character and, in a sense, serves as a triumph over the character’s purpose, further humanizing them. Put simply: for what/who would you forsake your values? That’s what this supersession of characterization asks. For example, when this “something” is an obvious and “lesser” facet of characterization, such as obstinance, what’s conveyed, to the reader, is that obstinance is of greater import than the character’s values and thematic personification. In examining Natsu’s characterization, throughout the context of the manga, Natsu’s essential “confrontational involvement” is predominantly tied to and often predicated on his personification of the guild and the overarching themes of the manga. Through examining various affairs Natsu’s been involved in, we’ll determine the credibility of this notion.
Lullaby Arc
In the first arc of the manga, Natsu and Gray are asked by Erza to help her in defeating a dark guild. While stuck on the train, Natsu encounter’s Kageyama who mercilessly insults and beats him while he’s affected by his motion sickness. Only when Kageyama insults Fairy Tail does Natsu retaliate and swear vengeance.
As the arc progresses, Erza entrusts Natsu & Gray to chase after Eligor, together. At this Natsu and Gray bicker back and forth until they come to an understanding. Natsu explains that beyond the task at hand, Eligor has to pay for picking a fight with Fairy Tail.
Eventually, Natsu has his rematch with Kageyama and emerges victorious. As Erza pressures Kageyama for details, regarding Eligor’s whereabouts, a fellow member of the dark guild tries to silence Kageyama. With his grievous injuries and the possibility of death, Natsu “tends” to Kageyama expressing his concern and more importantly, for the reader, his ability to move on. Despite Kageyama’s transgressions against him and Fairy Tail, after settling the score, Natsu bears no grudge against him. This is important in setting a precedent for Natsu’s characterization; he’s someone who personifies the notion of looking forward to the future. If he were to harbor a grudge against Kageyama that would illustrate a fixation on the past, thereby running contra to his character.
Nearing the end of the arc, Natsu confronts Eligor who’s on his way to the guild masters’ meeting to assassinate them. After defeating Eligor, Natsu announces his victory.
Galuna Island Arc
The Galuna Island arc follows as Natsu takes an S-class request to “Destroy the Moon.” As Gray and Lucy express doubt in undertaking such a task, Natsu explains the disgrace that would bring Fairy Tail, should they not succeed.
Further on in the arc, Lyon orders his followers, Yuka, Toby, and Sherry to attack the village while he faces Gray. With Gray’s loss to Lyon, Natsu recovers gray and tells him not to give up as they make their trek back to the village. The village is then attacked by Lyon’s gang, shortly following Natsu and Gray’s return. At this, Natsu confronts Yuka and Toby. During their confrontation, Natsu explains that by attacking their client, they’ve made enemies of Fairy Tail. With this notion backing his actions, Natsu soundly defeats the two
With the Galuna Island arc drawing to a close, Lyon explains his doubts about the moon drip’s effect on humans. Natsu, who perceives this as Lyon’s means of derailing responsibility for the damage done to the village, begins to accost Lyon. Following their final return to the village, Natsu notices the village’s restoration and recognizes Ultear’s handiwork and, with that matter settled, lets bygones be bygones.
Phantom Lord Arc
With the Phantom Lord arc centered around Fairy Tail’s war with the dark guild, Phantom Lord, Natsu and Gajeel’s battle takes center stage. As Natsu faces off with Gajeel, their battle reaches its climax following the guild’s destruction. Overwhelming Gajeel, Natsu recalls all the harm Gajeel’s done to his nakama and Fairy Tail. Before Natsu lands his final attack, he promises to return the favor in full.
Following Gajeels defeat, the two engage in brief discourse related to their dragon slayer roots. As their conversation draws to an end, Gajeel threatens to kill Natsu upon their next encounter. Natsu, on the other hand, relates a degree of disappointment as he believes the two to be even now that everything’s said and done. For the reader, this is arguably the most overt example of the fact that Natsu leaves settled matters in the past, despite the gravity of others’ transgressions.
Battle of Fairy Tail Arc
In the Battle of Fairy Tail arc, Natsu and Gajeel work together to face off against Laxus. Sick of the reputation the guild’s received after facing off against Phantom Lord, Laxus sets up a timed competition between himself and the Raijinshū vs. Fairy Tail. Through this competition, Laxus wishes to reform the guild and step out of his grandfather’s shadow. As the battle between the three dragon slayers progresses, Natsu explains that he’ll never hand over Fairy Tail to someone who tries to, forcibly, seize their home.
After the dust settles and Laxus returns to check up on his grandfather, Natsu, battered and bandaged, demands a rematch from Laxus. Seeing that he hasn’t had a legitimate one-on-one fight against him, this “victory” feels hollow for both he and Gajeel. As Laxus walks past Natsu, he acknowledges Natsu’s request, raising his hand in confirmation.
Grand Magic Games Arc
Out of every arc, Natsu’s motivations in the GMG are easily the most superficially viewed and misconstrued. The first misconception lies behind Natsu’s raid on Sabertooth. After having lost to Kagura, during their match, Yukino is shamed and kicked out of her guild. After hearing of Sabertooth’s mistreatment of her, Natsu raids Sabertooth’s lodging and threatens their master. The misconception here is that Natsu’s actions are for Yukino’s sake. In actuality, this is another example where Natsu’s actions are derived from his characterization, personifying the FT guild. Upon every instance that a guild takes its nakama for granted, Natsu’s rage peaks as if personally insulted. Some examples include:
The Lullaby Arc
The Tenrou Island Arc
The GMG Arc
Thus, Yukino’s case isn’t anything out of the ordinary for Natsu. Recall the first chapter of Fairy Tail where Natsu “rescues” Lucy. In Mashima Hiro long interview translation (part 1), Mashima and his previous editor converse about the impetus behind Natsu’s actions in Chapter 1. Mashima explains that Natsu was mad that Bora lied that he was from Fairy Tail. However, in the process of confronting Bora, he ended up saving Lucy when he fought him. His previous editor, Hashimoto, explains, “[Natsu] isn’t the type of protagonist who helps others just because they are in need. You showed what was important to him in your own way, even though he appeared to help Lucy because she was in trouble.” At this explanation, Mashima agrees, stating that’s all he meant to convey.
The second misconception lies in Natsu’s battle with Future Rogue. As Natsu and the gang encounter Future Rogue, he explains that he’s come from the future to stop the person responsible for closing the time gate. After exclaiming that this person is Lucy, Future Lucy sacrifices herself, taking the lethal blow. As she lay dying, she entrusts the rest of the gang to protect the future. With feelings of rage and anguish, Natsu engages in combat with F!Rogue exclaiming what will serve as the overall theme for this part of the arc―hope for the future.
As opposed to an intimately charged exclamation, following F!Lucy’s death, Natsu’s words are, in a sense, impersonal and entangled in the overarching theme of looking toward the future. A more intimately involved exclamation would read, “I won’t let anyone take away Lucy’s future!” Through this example, Natsu directly forges a connection between himself and Lucy, illustrating that he will secure her future from anyone that may try to rob her of it. Thus, despite the gravity of F!Rogue’s actions, not even Lucy is exempt from the thematic lens through which Natsu perceives this transgression, including how it drives his actions.
After this exclamation, and in combat, Natsu makes, solely, one personal remark to F!Rogue regarding the gravity of his actions in killing F!Lucy. Following this remark, Natsu’s thoughts, immediately, refocus to the theme of hope, subverting the degree to which her loss bears heavy on him. For the remainder of the conflict between Natsu and F!Rogue, instead of F!Lucy’s death, most of Natsu’s banter is predicated on Natsu’s personification of hope and its relevance to the arc at large.
Despite the havoc, he’s caused and his murder of F!Lucy, before F!Rouge disappears from the current timeline, he converses with Natsu. Through their conversation, Natsu doesn’t bear him any, overt, grudge and is willing to hear the cause of his downfall. In the end, Natsu’s willing to uphold F!Rogue’s request to protect Frosch.
Tower of Heaven Arc
The Tower of Heaven arc follows Erza’s backstory and relationship with Jellal. With Erza abducted, to be used as a medium to Zeref’s resurrection, the gang heads to retrieve both her and Happy. After arriving at the tower and seeing Erza safe, Natsu heads off to recover Happy and to defeat Wally, as letting him go would be a disgrace to Fairy Tail.
After defeating Milliana and Wally, Natsu explains that, since both Erza and Happy are safe, his score with them is settled. Thus, Natsu has no reason to continue their fight. In the midst of this arc, this serves as another example where Natsu displays his characterization, moving past resolved matters.
Later in the arc, after Natsu awakens, Simon explains to him that Erza and Jellal have a shared bond of “resentment,” spanning eight years. And in attempts to settle things once and for all, Erza is heading to Jellal, alone, set on dealing with him by her own hands. Through this brief recount of Erza’s history, Simon pleads with Natsu to save Erza. In response, Natsu says that this is Erza’s battle (not Fairy Tail’s) and as such he has no place in interfering.
Finally, in a last-ditch effort to convince Natsu, Simon explains the underlying circumstances through which Erza will be manipulated and ultimately sacrificed. Now cognizant of the factors at play, Natsu explodes, furiously demanding Erza’s location, and rushes after her. As Erza’s about to be completely absorbed into the lacrima, Natsu arrives just in time to pull her out of it.
Recall Natsu’s exclamation at the death of F!Lucy in the GMG arc, “Nobody is going to steal Lucy’s future from her!” Here, Natsu’s exclamation has a personal element to it “I’m not letting you have her!” While Natsu, superfluously, sets up the fact that Erza is a mage of Fairy Tail, he derails a perfect opportunity to follow up with “we,” as a guild, won’t hand her over (due to that fact). As if this subtle nod to Natsu’s personal feelings isn’t telling enough, after seeing Erza’s emotional torment, Natsu, explicitly, states that it’s for Erza’s sake that he’ll defeat Jellal.
Based on the examples provided, this battle is contextually exceptional insofar that it isn’t predicated on Natsu’s personification of the manga’s themes. Supplementing, this notion, these panels serve as a parallel, to Haru’s reaction, and impetus to fight when seeing the emotional harm Seighart’s done to Elie through his desire to sacrifice her (Rave Master’s Mystery of Elie arc). For Natsu, whose motivation to fight in pivotal confrontations is always tied to Fairy Tail, this battle serves as the only exception; in the ToH arc, Fairy Tail takes the backseat to Natsu’s personal feelings.
As Jellal overwhelms Natsu, with his Heavenly Body magic, he inadvertently damages the tower. Examining the magic leaking out, Jellal notes that further damage to the tower would be detrimental to his plan to resurrect Zeref. Currently outclassed, yet determined to save Erza, Natsu realizes another means of preventing Erza’s sacrifice—destroying the tower itself. With this Natsu makes his second and final mention of Fairy Tail, stating that its mages specialize in property damage. Like the initial mention of Erza as a fairy tail mage, this second reference to the FT guild is comparatively hollow and superfluous relative to other arcs in which the guild’s thematic import drives Natsu’s actions. This second example serves as a perfect example of the guild being an associated afterthought; Natsu sees the tower’s destruction as a means of saving Erza, and it so happens that this is a characteristic of the guild’s mages. In the end, both references to the guild function adjectively and, thus, can be removed without affecting the import of the arc.
Fed up with Natsu’s tenacity in destroying the tower, Jellal aims to kill him using Altairis. As the attack draws towards Natsu and Erza, Simon takes the attack head-on, sacrificing himself. Deeply pained with Simon’s death, Erza screams in agony, crying, at his loss. Upon witnessing the pinnacle of Erza’s suffering, Natsu immediately consumes the etherion infused lacrima, in attempts to gain power. Aside from being one of the most logically coherent “power-up” in the totality of Fairy Tail, symbolically, this is as far removed from as possible from any FT-esque message. Derived from the Latin word for tear, lacrima, and by extension the verb lacrimare (to cry/weep), lacrima is understood as a tear, typically from crying. In consuming the lacrima, symbolically, Natsu’s takes in Erza’s anguish: the emotion that forms her tears.
This notion of, symbolically, taking in Erza’s anguish is further substantiated by the excruciating pain (physical suffering) Natsu initially experiences upon consuming the lacrima. Looking forward in the manga, when consuming and integrating magic beyond their affinity, Natsu, Gajeel, and Sting don’t experience any pain. Further in the manga, when Gajeel consumes poisonous Magic Barrier Particles, to attain Dragon Force, the pain he experiences is drastically understated despite the inherently lethal nature in their consumption. Through the lens of the symbolic import behind Natsu’s consumption of lacrima, these other instances, which pale in comparison, lend further credence to the symbolism depicted.
In Fairy Tail, it’s a widely understood fact that emotion strengthens magic; the stronger the emotion one feels, the stronger their power becomes. As Erza’s suffering fuels Natsu’s rage, here is another potent example of Fairy Tail’s ideology serving as a stepping stone for Natsu’s desire to save Erza. In this harmony of symbolism and literalism, through Natsu’s consumption of the etherion infused lacrima, Natsu awakens Dragon Force.
Following Natsu’s “awakening,” the course of his battle with Jellal reverses as he now completely overpowers Jellal. As Natsu’s drives Jellal through the tower’s floors, he screams his rage at Jellal for being the one that makes Erza cry.
This exclamation not only serves to, explicitly, tie Natsu’s rage and transformation to Erza’s tears but referentially further consolidates her personal importance to him as his reasoning and Erza’s tears draw a parallel to Haru’s desire to fight Lucia in the Star Vestige arc. “That’s why I’m going to take you down!”
Beyond these significant parallels which serve to elucidate the enigmatic nature of Natsu’s view of Erza, throughout this battle Mashima draws copious parallels to Haru’s fight with Lucia in the Star Vestige arc. With Lucia mirroring Jellal in his responsibility for Elie’s tears and desire to take her away from Haru and the gang, the aggregation of these otherwise inconsequential parallels further equate the underlying romantic undertones the ToH arc conveys. In their most basic form, Natsu vs. Jellal, Haru vs. Sieg, and Haru vs. Lucia are all fights between two men over a woman.
Finally, as if further evidence is necessary, Mashima titles Chapter 95, where Natsu arrives to save Erza, 眠れる塔の女騎士 (the translated title being, “The Slumbering Princess in the Tower”). With the title referencing, “Sleeping Beauty” and the archetypal fairy tale premise where the princess held captive and rescued from captivity by the knight, Mashima puts a fascinating twist on this formula. Here, the knight, Erza, is the princess, Jellal is the allegorical dragon, and the knight is Natsu the, literal, Dragon Slayer. With Jellal’s defeat and the tower’s destruction, at the end of this fairy tale and the ToH arc that encompasses it, Natsu is depicted gallantly holding Erza in a Princess/Bridal Carry. From this action’s relevance to romantic finality in this encapsulated fairy tale and the overtly romantic symbolism inherent to the practice of carrying the bride across the threshold, this depiction of Natsu carrying Erza serves to cement the romantic undertones presented through his actions and ultimately bring their implications to an apogee.
In the end, with the impetus of Natsu’s confrontations inextricably tied to his personification of the FT guild, his confrontation with Jellal, in the ToH arc, exists as a striking exception in which Natsu’s feelings towards Erza supersede his typical motivations.
Erza’s a Special Exception
Inherent to Natsu’s characterization, while he’s typically intent on getting even, following each and every confrontation, Natsu leaves settled matters in the past. This part of his character serves to illustrate Fairy Tail’s theme of looking toward the future, rather than fixating on the past. Throughout the entirety of the manga, this facet of his characterization has been consistent. With Mystogan’s face unveiled in Chapter 120, the reader is presented with the first depiction, hinting at a possible exception to this facet of Natsu’s characterization.
Seeing that Mystogan’s face is identical to Jellal, Natsu conveys a look of surprise and anger. Shortly after this reveal, however, Mystogan takes his leave and the Battle of Fairy Tail, arc resumes unimpeded. To the discerning eye, this hint suggests that, perhaps, for Natsu, there exists “something” that takes precedence over this facet of his characterization.
In the Oración Seis arc, Wendy is taken hostage by Brain for the sake of reviving Jellal. With Jellal’s survival unbeknownst to Natsu, in his mission to recover Wendy, Natsu discovers that Jellal has been resuscitated. Shortly after encountering Jellal, Natsu’s rage mounts as he recalls the suffering Erza’s endured at Jellal’s hands. Completely inflamed, Natsu charges at Jellal only for their confrontation to be cut short. For the reader, this moment is pivotal insofar that it consolidates an exception, to his characterization, where even Natsu can fixate on the past.
With Wendy’s rescue successful, Natsu wakes and begs Wendy to save Erza as she’s been poisoned. Wendy complies and with Erza’s recovery Natsu happily thanks her, ultimately feeling personally indebted to her. Soon after healing Erza, the group (barring Natsu) explicitly resolve themselves to destroy Nirvana. Following their declaration of a counter-attack, Nirvana is unsealed, and a pillar of black light emerges. Noticing the emergence of this light, Natsu, aflame with rage, deduces Jellal’s location. With a one-track mind, Natsu rushes off to kill Jellal before he can cause Erza any more harm.
Despite Fairy Tail’s collaborative mission to defeat the Oración Seis, Natsu places priority on Erza’s wellbeing, divorcing his actions from any vestige of thematic impetus. En route to Jellal, subsidiary enemies attempt to confront Natsu. Perceiving them as nuisances in his path to Jellal, he effortlessly defeats them while still fixated on protecting Erza.
As Lucy, Hibiki, and co., chase after Natsu, Hibiki explains the nature shifting properties of Nirvana where those caught in the rift between light and darkness shift alignments to that of their norm. Recounting Natsu’s rage, Lucy worries about Nirvana’s effect on Natsu given the inherently negative nature of the emotion. Hibiki responds, implying that if Natsu’s rage was, solely, predicated on his own grudge against Jellal, there could be an issue. For the reader, who is cognizant of Natsu’s self-indulgent nature, Hibiki’s response serves to create a juxtaposition in Natsu’s and Sherry’s motivations. For Sherry, after witnessing Leon’s self-sacrifice, she seeks someone to blame for his apparent death. As such, in the presence of Nirvana, her selfish need for vengeance alters her nature to that of “darkness.” For Natsu, who voices both a willingness to kill Jellal and a desire to protect Erza, Nirvana’s inefficaciousness consolidates the predominantly selfless drive behind Natsu’s actions.
Natsu’s charge towards Jellal also drives a distinctive parallel to his, initial, charge towards the Oración Seis. The former exists as a prime example of the self-indulgent characteristic inherent to the archetypal shōnen mc. As a “lesser” facet in Natsu’s characterization, in various situations, Natsu displays a self-centered, tendency to do what he wants. With Natsu’s grudge against Jellal, this parallel possesses the elements necessary to be misconstrued as another self-sating endeavor. Fortunately, Chapter 138, overtly, clarifies Natsu’s priorities when presented with the options of vengeance or saving Erza. Thus, it can ultimately be concluded that, while Natsu personally harbors animosity towards Jellal, his predominant motivation in intercepting Jellal, lies in his selfless desire to protect Erza. His willingness to kill Jellal serves as a means to protecting Erza, not an end in itself. Thus, it’s only natural that he is unaffected by Nirvana. In the end, the message conveyed in Natsu’s actions is a prioritization of Erza’s well-being above all else.
In the final battle of the Oración Seis arc, Natsu faces off against Zero. Heavily injured and exhausted, Natsu finds difficulty gaining ground against Zero. In the midst of their battle, Jellal intervenes, “attacking” Natsu. Registering Jellal’s presence, Natsu ignores Zero and heads directly toward Jellal in an exclamation of rage.
As Jellal halts Natsu’s charge, he states that he has no memory of the events prior to his revival. At this, Natsu initially responds with a shocked look. Jellal continues explaining that, while he knows he was a villainous individual, he doesn’t remember the harm he’s caused Erza. Now, however, he wishes to help save Wendy’s guild and stop Nirvana. Aware that Jellal doesn’t remember Erza’s suffering, Natsu rushes towards him, ultimately striking Jellal in a fit of bellicose rage. After attacking Jellal, Natsu furiously berates him for having the audacity of wanting to help all the while ignorant of what he’s done to Erza.
In response, Jellal weakly tries to pull Natsu into the situation at hand. To no avail, Natsu completely ignores Jellal’s plea. Instead, the reader is presented with an explicit depiction of how deep Natsu’s resentment towards Jellal is for making Erza cry. Unlike, Gray, Lucy, and Juvia, Natsu has no idea of the eight-year burden, Jellal had Erza carry. Unlike Gray, Natsu has no idea of the tears Erza’s shed from this emotional burden nor its traumatic effect on her heart. Putting things into perspective, for Natsu, the totality of his deep-seated grudge toward Jellal is predicated on the two instances Jellal’s caused Erza emotional distress. Compare this motivation, to any other example presented, for Natsu to harbor an unprecedented enduring grudge, and it’s readily apparent that Natsu views Erza as more than just his fellow nakama.
Gripping Jellal by his jacket, Natsu’s condemnation surges with rage, erupting in the in the exclamation, “You made Erza cry!” Through this exclamation, the totality of Haru’s declaration, “He made Elie cry. That’s why I’m going to take him down.” has been completed nigh verbatim, bringing the romantic undertones paralleled from the Rave Master reference full circle.
Following Zero’s defeat, Natsu and Jellal are recovered by Richard, reuniting them with Erza and everyone else. Spotting Jellal, Gray inquires who he is with Lucy curious as well. Erza responds to their open inquiry, informing them that that’s Jellal. While both Gray and Lucy respond in shock, Natsu growls in displeasure, still antipathetic to Jellal. While not openly confrontational, in the presence of Erza and co., Natsu’s resentment towards Jellal remains, further illustrating Erza’s importance to him.
Soon after reuniting, Jellal and Erza discuss matters regarding Jellal’s memories. As their conversation progresses, they’re interrupted with the realization that everyone’s been trapped in a magic barrier. Clarifying the situation, Lahar of the Magic Counsel’s Custody Enforcement Unit introduces himself and ultimately states his purpose to arrest Jellal as well. Drawing a parallel to Wendy’s explanation to Gray, Wendy makes an emotionally charged plea to Lahar, voicing the situation of Jellal’s amnesia. Lahar meets Wendy’s plea with indifference as Jellal’s amnesia doesn’t detract from his crimes nor his responsibility for them. As Jellal is taken away, Natsu notices Erza’s saddened expression and focuses his attention solely on her.
Perceiving the inner turmoil Erza’s experiencing between wanting to “save” Jellal and following the law, Natsu attempts to act in her stead, charging into the rune knights to retrieve Jellal. Through his attempt, Natsu exclaims to Jellal that he has to stay by Erza’s side. The reasoning behind Natsu’s exclamation, actions, and apparent forgiveness of Jellal being ultimately one in the same—for Erza’s sake.
In the ToH arc, the climactic battle between Natsu and Jellal is unexampled in its foundation on Natsu’s personal feelings towards Erza. Seeing Erza’s broken state, Natsu makes an intimately charged contrast to her current self and, far removed from speculation, explicitly exclaims his motivation to fight for her sake. From drawing impassioned parallels to Mashima’s past work, poetic symbolism, and referencing the archetypal romantic fairy tale, Natsu and Jellal’s fight over Erza abound with nuanced material consolidating the implicative romantic undertones, innately suggested. Through these subtle methods, Mashima is able to convey and affirm Natsu’s suggestive feelings toward Erza while maintaining his overt personification of Fairy Tail’s foundation on friendship.
Following the events of the ToH arc, Natsu develops an unprecedented enduring grudge against Jellal because of the suffering he caused Erza. Dissimilar to the impetus driving Natsu’s fight with Jellal, the very act of harboring a deep-rooted grudge runs in stark contrast to his personification of the theme of “looking toward the future” (Lttf). For the reader, the question is: how’s this vindicated and in conformity with Natsu’s characterization? In deriving an answer, recall the initial question posed: for what/who would you forsake your values? In the end, the answer is simple, something/someone that you value more. While there exists a hierarchy to Natsu’s characterization, where thematic value takes prioritization over personality, there also exists an order to which these themes/values take precedence over one another. In examining the theme of Lttf, chapters 403 and 448 serve to provide clarity of where it stands comparatively.
Through Erza’s statement in chapter 403, it’s understood that the theme of Lttf is often predicated upon and supplemented by that of thematic friendship. Natsu’s proclamation in chapter 448 serves to add “purpose” towards this theme. Through Fairy Tail’s war with Alvarez, why is the future important? Because in protecting it, they can look towards more time together. In this cyclical manner, thematic friendship manifests in the determination and perseverance necessary in the theme of looking towards the future and the expression of friendship, once more. Chapter 325 bolsters this notion, as Natsu protests F!Rouge’s method to protect the future by robbing others of their ability to look towards it. Thus it’s apparent how hierarchical values exists and even outclass one another. Befitting a manga founded on thematic friendship, it’s only natural that friendship takes precedence over the theme of Lttf; Lttf exists as a corollary theme. The import of this conclusion, as it pertains to Natsu, is that, if these two themes of his character are at odds, a bond surmounting that of friendship will inherently supersede his personification of Lttf.
Another means of vindicating this conflict lies in the supplemental coherence from the “lesser” facets of Natsu’s characterization. Inherent to iconic shōnen protagonists is the quality of self-indulgence. Touched on previously, Natsu making a charge towards the Oración Seis is a perfect example of self-indulgence; defined by the tendency to do what one wants, this act lies in accordance with Natsu’s desire to fight strong opponents. When it comes to Erza, Fairy Tail, and his thematic personification, Natsu is “selflessly-indulgent”: he does what he wants for their sake. For Erza, he abandons the group’s mission, to hunt down Jellal and eventually attacks the rune knights to retrieve Jellal, explicitly, for her sake. Some examples for Fairy Tail include Natsu turning down their collective reward for not burning Daybreak in Chapter 9, as it would taint Fairy Tail’s name. Another less obvious and often misconstrued example occurs in the Avatar arc, where Natsu tries to bring back Fairy Tail. After finding Wendy at Lamia Scale and ultimately retrieving her, Natsu heads off with Lucy and Wendy in tow, eventually happening upon Juvia, alone in a village. Juvia, feverish and heartbroken, explains Gray’s absence and the life they built together during that one year gap. Following Juvia’s recount, Natsu states that he’ll find Gray, explaining his motivation to revive Fairy Tail.
In the end, Juvia’s desire to see Gray is in accordance with Natsu’s efforts for Fairy Tail’s sake. If reviving Fairy Tail is Natsu’s goal, Gray is essential, regardless of Juvia’s input. En route to Sabertooth, Natsu explains to Lucy his need to, temporarily doubt Gray, but despite that he promises to bring him back nonetheless. After discerning Gray’s location from the request form to destroy Avatar, Natsu reaffirms this notion of Fairy Tail being the impetus behind his actions; to Natsu, it’s not Juvia nor Lucy that needs Gray, it’s Fairy Tail.
Lastly, with regard to his thematic personification, Natsu storming Sabertooth’s lodging, during the GMG, is a perfect example where Natsu disregards all else to articulate the import of nakama in a guild. Thus we see how along with matters concerning the guild and his thematic personification, Erza’s an individual exception where Natsu displays “selfless-indulgence,” thereby equating her personal significance to Natsu to these “greater” facets of his characterization. In addition, overtly, Erza also possesses a nearly exclusive ability to restrain Natsu’s self-indulgent tendencies (often manifested in recklessness), consolidating her importance and influence on his nature.
Finally, and arguably, the most persuasive reason for justifying this contradiction of thematic import in Natsu’s characterization lies in the consistency of Natsu’s feelings toward Erza. Given the extent and depth through which the ToH arc conveys an underlying romantic narrative, what would it say for Natsu to forgive Jellal as he’s done in every other instance? Starting with the conclusion, it would debase, subvert, and derail the totality of the ToH arc as it functions to convey Natsu’s feelings towards Erza as well as her personal importance to him. The battle between Natsu and Jellal is a monumental conflict, far removed from typical thematic impetus; in essence, it’s literally a fight between two men over the fate of a woman. With Jellal’s reemergence in the manga, Mashima faces two options: have Natsu experience an enduring grudge, that’ll further supplement Erza’s importance to Natsu and the implicative consistency of the ToH arc or retcon everything for the sake of preserving this secondary theme of looking toward the future. Facing this conflict, the former is the most logical choice. Through this choice, it not only places Erza’s importance, to Natsu, in league with the thematic facets of his characterization but also defines her as an exception in respect to Natsu’s perception of his nakama.
In the end, through this “show-not-tell” method, Mashima presents Erza as someone whose intimate importance to Natsu surmounts even certain facets of his thematic personification.
