The Black Butler revival will, of course, in this day and age, be the complete embodiment of pro-ship vs. anti-ship discourse, given the subject matter.

But for those of you who are watching this for the first time in 2024 (which includes myself!), there are certain things about the show you simply must understand, for the sake of media literacy.

The first is that Black Butler is supernatural gothic romanticism at its core. This genre alone should tell you that the relationships integral to the plot will be complex, messy, and toxic, by default. That is not only a huge part of this genre’s appeal, but very much the point of the story.

The themes are dark, the terrible things that happen to the main characters are dark, and therefore the relationships at the forefront (and in the background) will reflect that.

The gothic genre has been alluringly popular for over a century (longer, if you know your history) because audiences are entranced by the macabre, the tainted antiheroes, the monsters who live inside us all. It’s popular for a reason.

That being said, understand that whether you, the viewer, ship Sebastian and Ciel or not is irrelevant. Their bond doesn’t need to be understood as romantic or sexual, but it sure as hell isn’t normal. It isn’t healthy. And the audience knows that. That’s the draw. It’s what makes them compelling to watch.

Ciel and Sebastian’s relationship mirrors many gothic novels, poems, and penny dreadfuls written in the Victorian Era (the very same time period in which Kuroshitsuji takes place). The Victorian folks who read these tales for the first time ate that shit up, because it was tantalizing. It was shocking. It was inappropriate, and monstrous, and violent, and erotic, and went against societal norms. But that was the point.

A huge part of gothic romanticism is the blatant sexualization of the relationship between the “monstrous” characters and their human counterparts in the story. Sex itself doesn’t need to take place for their bond to be sexually charged. The forbidden nature of their relationship—which typically involves layers of social taboos, moral ambiguity, or simple infatuation—is what makes their interactions erotic. Sexual contact rarely ever actually happens in these stories. It’s the taboo nature of their bond that creates the tension.

One of the many reasons audiences love this genre is the constant question of morality in its themes. Who, between them, is the real monster? Could the human character have ever been saved? This genre is often associated with tragedy, because the bond forged between the characters in these stories are destined to end in death and destruction. The reader knows it can’t end any other way. How can it?

But an integral element of these gothic tales is the catharsis that comes with this tragedy. The corrupted human often gets what they want in the end, even if it’s at the cost of their own life. Whether they regret their choice to foster this monstrous relationship varies on the story, but it doesn’t change the trajectory of their descent.

Sebastian and Ciel’s relationship is the whole plot of Black Butler. Their closeness bears a grotesque ick factor, but it is deliberate. It is a constant reminder of how unnatrual their bond truly is. Rationalizing or watering down how abnormal they are about each other misses the point entirely. They will never have a normal, healthy relationship, and that’s what moves the plot forward.

That’s why you’re watching it.

based on sth i saw on twitter :)

since the light novels confirm that deku lovesss to overshare esp when it's bakugo's business, i think 15yo deku shares this tidbit about how he and bakugo used to play house as two dads together and bakugo is ready to jump deku in the dining hall

two of a kind🥂

#is this flirting #this feels like flirting #aint there a whole other person there

I can't help but laugh every time I see an anti say that shippers are "disrespecting" the twins' trauma by shipping Sebaciel as if Sebastian (who is entirely wrapped around Ciel's little finger) is not the safest way to re-explore sexuality and become comfortable with intimacy again. He is not fucking harming him, he's the therapy session.

some new police officer: detective nakajima! be careful, there is a murderer near you, please remain calm and make your way over here

akutagawa, pissed, summoning rashomon: where? who dares threaten jinko???

atsushi, awkwardly trying to calm the situation: he's talking about you, dumbass

akutagawa:

akutagawa: oh

-𝔑𝔢𝔴 𝔜𝔢𝔞𝔯 𝔑𝔢𝔴 ℜ𝔢𝔞𝔡-

Black Butler Volume 3: Chapter 11

pt. 8

Sebastian and Grelle continue to paraphrase Shakespeare with this 'swearing upon the moon', though again, Sebastian vows not that he will swear for Grelle, but that he has already done so for the loyalty to his master.

In terms of the Japanese origin of the series, the choice to jump forward in the text to the vow of the moon is quite interesting. In Shinto mythology, the moon deity Tsukuyomi is said to have been born of the right eye of Izanagi, the creator deity. With this in mind, Sebastian places his vow not only in the moon, but in the symbolic Right Eye - the eye of Ciel's covenant.

Grelle sets her performance aside for the moment, offering us a glimpse of what a Devil is - or, at the very least, what a Reaper thinks that a Devil is - posing Sebastian's kind as the corruptive nature that pervades the purity of mankind, absolving all contracted humans of any guilt for their own desires.

The nature of demons as tarnished and 'loveless', and humans as innocent and loving, gives the idea of 'love' as making all actions excuseable - despire the reader having jist glimpsed Madam Red's Cinematic Record, in which 'love' was the main driving force, bringing with it jealousy, rage and death; and all without the external influence of devils. It was not one of Sebastian's kind that influenced Angelina, whispering in her ear to reinforce that she was right for how she felt. It was a Reaper.

The hypocritical nature of the statement continues as Grelle becomes giddy at the idea of being 'corrupted' by Sebastian's touch herself, despite his utter abhorrence of the act -

- alluding to the biased nature of Reaper's beliefs. It is only natural that they - who themselves once used to be human - would seek to prove their own nature as 'good' versus the devils being 'bad'.

We are treated to further play recital by Grelle, this time from Act 3 Scene 2:

Grelle could have recited the entire quote and it would have fit Sebastian perfectly.

Yana said that she'd been reading English stories and poems in the 'Downstairs with Black Butler' last volume, and it certainly shows in this chapter.

While not a direct quote from the play, Grelles wish for the morning to never come calls to mind the theme of another scene - Act 3 Scene 5, in which Romeo must leave Juliet before morning, but she is reluctant for him to go just yet.

Sebastian is - all things considered - holding up rather well in their fight, even still having no weapons of his own and only one useable arm. Not only has he so far avoided Grelle's attacks, but has also been able to effectively pin the Reaper's own weapon.

However, he is still not entirely up to form. Be it from the pain of his healing wounds, blind rage and disgust, or simply the distraction of Grelle's play recital, he is able to be caught off guard by her and staggered.

Grelle must have a very solid skull. Or maybe it really is just that he's weakened from the effort of healing that right shoulder.

And just for that extra punch:

-𝔑𝔢𝔴 𝔜𝔢𝔞𝔯 𝔑𝔢𝔴 ℜ𝔢𝔞𝔡-

Black Butler Volume 3

pt. 7

I believe this may be the first mention of what a devil actually does with the soul that they receive in payment? Up until now, it has been said that Sebastian would be 'taking' that soul, but this is I think the first time that 'devouring' is specified.

I'd say this is another big hint at Grelle's old career, given that she is familiar with not only the name and theme of the play, but also the costumes and enough of an in-depth knowledge of the lines to give her own customised recital of them.

I love the difference in her fantasy interpretation to the reality. Sebastian's attitude and expression are especially different.

It's quite a subtle sign, but along with his wide eyes he also has a noticeably out-of-place strand of loose hair sticking near vertically upwards to show his shock and - dare I say it - embarrassment. Yana often uses the same singular hair strand on her exasperated background chibis - usually with Ciel.

And just to drive the point home, he receives a follow-up panel of pure disgust.

Ciel, meanwhile, is also feeling off-put by the display - but has no idea what Grelle is referencing.

There has been some past discussion on Ciel's lack of knowledge on Shakespeare. Ciel is far more interested in the writings of his own time than those of the past - or perhaps just has a preference for novels over plays - while Sebastian is far more nostalgic for the classics. This works in line with each of their own natures - Ciel, the ephemeral human, striving to push forward towards the 'new' rather than having to dwell on looking back, and Sebastian, the timeless demon, eternal and unchanging.

It's probable that Ciel will have at least heard of the bard's name before, but he doesn't seem to know much of the plays for which he is responsible. I'm sure Sebastian would be bristling at that, too, regardless of Grelle.

To continue with Grelle's dramatic expertise:

As you can see, Grelle is reciting her own ammended rendition of Act 2 Scene 2 - the famous balcony scene. She has substituted names and swapped 'father' for 'master', but the first part of her speech is otherwise taken straight from Juliet's lines 33 and 34. The second part would seem to be loosely translated from lines 48 and 49 - "And for thy name, which is no part of thee, take all myself."

Sebastian, too, shows off his own knowledge of the play, beginning first with a smirk of recognition at the origin of the lines:

He, too, provides a modified recital of Romeo's lines, spoken in direct response to Juliet:

Though in his case, his version inverts the meaning. Whereas the original words convey a desire to be stripped of the offensive identity, Sebastian uses his line to speak of how he received his. Effectively, he has placed Ciel into the role of his Romeo's Juliet, renewing his sense of self so as to be as his master desires.

With the subject of the same play resurfacing later on in the manga as well, it would be very interesting to see it appear for a third time.

Perhaps, the tragic ending of the play may become a reality for our protagonists. We may see Sebastian - our Romeo - believing that Ciel - our Juliet - has died, allowing for his own 'life' to be ended, only for Ciel's apparent 'death' to have been a ruse, and for him to awaken to find that he has lost his demon, and to bring about his own true death as a result.

Conversely, we may also perhaps see the roles reversed, with Sebastian being seemingly ended by a Reaper's scythe, causing Ciel to falter in his cause and allow himself to also be killed, only for Sebastian to revive himself too late to save him, ending in his own desire for 'death' at the unbinding of the contract.

Interactions and interconnections between Ciel and Sebastian become truly fascinating when one analyzes these two as eternally connected in an everlasting cycle of effect they have on one another. It becomes increasingly obvious how they are meant to be the focal points of each other's lives because of the growth each go through while being affected by one another. It's incomparable to any other case of character development within the manga.

Ciel begins as someone nearly predisposed to evil, as per Yana's commentary about his father being the reason Ciel is such an "evil" child. He grows even more corrupted within that evilness once he is exposed to Sebastian, a creature of the dark who resolves matters through violence and knows no compassion to human lives.

Sebastian begins as someone who treats mortals around him with a lot of distaste as he is convinced humans are selfish, greedy beings that would step over each other to get what they want. Although, he is not unaware of the metamorphosis that he is about to go through after meeting his peculiar Master.

Having been betrayed by other humans in a multitude of ways, Ciel does not possess the best view on humanity. Sebastian, too, has witnessed the greed and neediness of mortals who he worked with, and thus now finds most humans despicable. Throughout the story, these views are challenged, starting with Ciel's.

Ciel, initially established as withdrawn and apathetic, changes with every new person he meets. His breakdown in the end of the Circus Arc exposes Sebastian to the degree of his trauma, showing him that Ciel believes it's better to be dead than to lead the life he had to endure. His treatment of Sieglinde, who is as much a helpless victim of circumstance as Ciel was, shows a very complicated idea of care that Ciel possesses: he threatens Sieglinde's life and offers her to pick between death and escape, so she can make a good choice and avoid his fate. Ciel is not yet capable of true, vulnerable, open care for others, but he's slowly melting his ice walls away.

Soma and Agni seem to display genuine care for Ciel's wellbeing despite not being obligated to show said care in any way, to which Ciel reacts with avoidance and further establishment of very strict boundaries. Often, we see him being rude to his newly found friends, without a particular reasoning to be so. When Agni dies, what seems to be true intentions of Ciel's avoidant personality seem to come forth: he pushed them away before they could get entangled within his business and, like many others in his life, pay for it. Ciel's care seems a tad more prominent within his treatment of the servants: the story slowly uncovers that he offers them gifts and assistance through Sebastian, such as allowing them to learn how to read or buying them clothes. One could say that Finnian's repeatedly changing clothing is for the convenience of the artist, but it's fair to propose that it was drawn on purpose, too.

Ciel's silent care for the wellbeing of others, especially those in similar circumstances to him and overall disadvantaged children, goes hand in hand with his ingrained violence and harshness. It is possible that it is a traumatic response after everything he has been through. However, we know from Yana's own words that Ciel's upbringing by Sebastian made him a more sadistic individual. What is most fascinating about this is that Sebastian seemed to have gone through an opposite transformation.

Sebastian's gradual exposure to human emotion is undeniable in the manga. As a protagonist of the series who starts off unconvinced that humanity can be good, he encounters consistent examples of the opposite. Agni becomes the most influential person in his life: he gains Sebastian's respect, shows him an example of selfless behavior unseen in mortals the demon interacted with, and proceeds to show him kindness through calling him a friend. After such a formative companionship, Sebastian, now with the weight of new experience, watches Ciel deny incoming human care, having learned from the cruel, heartless butler of his.

Throughout the story, Sebastian witnesses many people that challenge his view on humanity: he encounters mortals that are not the selfish, greedy creatures he is used to. Then, he slowly starts to see Ciel through a caring lens, too. He will never be his father, nor treat him as one, but he discovers empathy within himself that slowly makes its way into his treatment of his Lord. Offering more physical contact outside of necessary, having unnecessarily high concern for Ciel's wellbeing over minor injuries, and Sebastian's growing protectiveness all show that he views him with increased sympathy, as a traumatized boy rather than just a contractee. It is worth mentioning that Ciel, while cared for, does not stop being Sebastian's meal - it is possible that the more Sebastian cares for him, the more prominent the predator-prey nature of their relationship becomes. A caring beast and an adored victim are such an utterly unique combination of character types.

To draw this to a conclusion, Ciel and Sebastian develop in ways that neither seem to be initially ready for: Ciel obtains care for others whereas Sebastian gains care for Ciel. At the same time, Ciel becomes further corrupted by Sebastian and grows deeper into his maladaptive ways of handling his trauma; the latter playing only a partial role in his gradual increase of sadistic tendencies. Sebastian, in his turn, has his worldview challenged because he discovers he cares for his food, for once. He also irreversibly affects Ciel's perception of reality as he practically raised him without being paternal to him. He was the closest to a social example for the young Lord. Now, Sebastian has acquired emotions but hasn't lost the desire to ultimately consume Ciel; he affected Ciel through the formative years of their relationship, but now came to a point where he actually cares about his food, much unlike his initial demeanor displayed. Ciel, in his turn, has grown to care for those close to him, yet he lacks the social skills and emotional intelligence needed to handle such intricate emotions, which only furthers the damage done by his trauma - all because he was raised by a now slightly empathetic demon.

We are yet to see how the two are to handle the newly blooming emotions they discovered. It's undeniable that Ciel grew to care about Sebastian, too. And with that, it would be fair to state, lastly, that their intricate mutual effect on each other is fascinating to witness.

no dazai. they know.

black butler truly plays out like softcore porn sometimes because it’s not necessary or “appropriate” (technically speaking) for Sebastian to dress Ciel, to brush his teeth, to bathe him, he’s old enough to do it himself.. those are just things Ciel wants him to do and they’ve got the glamour shots of Sebastian’s hands on Ciel’s chest, thighs and stomach to prove it.

...i just noticed the sunrise they make in the colors of Ociel's eyes in both scenarios

dear anti proshippers for SEBACIEL:

ahem...*taps mic*

.....

THE CORSET SCENE...

...

that is all.

“In the interludes between the night and day, the day and night, he draws the curtains, closes them, says good morning, good night.”

The quote’s from a chn sbcl fanfic; my poor translation…

I wanted to see the young master yawning🥺

Another sketch today because…it just happened😗and I really need some sleep…

the victorian erotic symbolism will never fail because this is beautifully symbolic and amazingly horny.

lilies representing virginity and purity about to be cut. a red rose typically symbolises love but this one is wilting — that means death. Sebastian is both the one who will kill Ciel the same as he’s the one who will deflower him.