Much as I loved Gunnerkrigg Court, I could not understand why Antimony wouldn't accept help from the adult staff at the Court, and why she went about trying to solve mysteries all by her lonesome. I didn't like it, but I accepted that it was necessary to keep the entire story from being resolved in two chapters. Then, about the time that Ch 14 was going up, I realized that Annie's independent nature was a result of her unusual childhood—her years at Good Hope Hospital had taught her to solve her own (and other people's) problems all by herself. But what really made me admire the comic was the realization that because she doesn't seek help from the adults who actually know what's going on, Annie's solo snooping and problem-solving actually make things worse: she nearly gets killed a few times, and then she almost triggers a diplomatic incident between the Court and the Woods. In other words, the "kids are smart and Adults Are Useless" setup that I disliked was actually being deconstructed by the comic. (It also helps that in later chapters, Annie seems to be maturing and learning to accept help and advice from other.) — Meta Four
Very early on it is a established that adults are not useless, even before Annie makes any major mistakes. It just isn't very apparent until the adults become more important. — Gallows
It seems rather uncanny how spot-on Reynardine's snap judgements of Jeanne and Diego turn out to be, considering he only had their portraits to go by. And it had to be only by their portraits, since as we know Rey cannot lie to Annie. But look closely- At no point during that scene does Rey claim to have no prior knowledge of Jeanne and Diego! Dun Dun DUNNN!.
Renard is actually quite wrong. He sees Jeanne uneasy in her finery and calls her a soldier, when she's actually a forest sympathiser. He says Diego loved her from afar and built it to hide his grief, when actually he killed her and built it out of (maybe) remorse. All in all, a beautiful Aversion of the Sherlock Scan.
Well, "The Coward Heart" seems to confirm she was a soldier, despite being a forest sympathizer, if her training sequences are any idicator. (Also, remember how she obeyed the Court's instructions to go to the Annan Waters).
I never really got the inclusion of Brinnie and the Valkyries in Gunnerkrigg Court. It seemed out of place to just randomly add those elements of Norse Mythology where there had so far only been Native American mythology, European folklore and Psychopomps. Then one day it hit me: the Valkyries take the souls of warriors to Valhalla; they are Psychopomps!
This assumption has been Jossed by word of Tom. To paraphrase (since I can't remember the exact wording), "The Valkyries are not psychopomps; their jobs are different." The Valkyries' importance will surely be revealed later in the comic though.
Doesn't seem all that strange to me to have a Valkyrie in among the rest, seeing as there's already some mixing of mythologies going on. If a minotaur can fit in with all that's going on (albeit briefly), then Valkeries aren't a big stretch, either.
Something I only caught due to a conversation on the official forum: From scenes in the ether, it's apparent that a person's appearance in the ether is in some way connected to their nature or character. In particular, their hair: Annie's hair seems to be infinitely long, while Anja's and Parley's hair in the ether is longer than their physical hair, but not infinitely so. Also, the separation between the physical world and the ether is weaker in Gillitie Wood, particularly for creatures of the etherium, like Suicide Fairies. In light of that, the freakout over Red's hair in Ch 15 ("Your hair! It goes up again!") takes on a completely different meaning: Blue wasn't pushing Red away (solely) because she's shallow. Blue was pushing Red away because she came from a world where personal appearance is inextricably linked to character and personality, and she failed to realize that this was not true in the human world. — Meta Four
Also relating to the Suicide Fairies: after Red gets her hair cut, she calls her friend "wassername". This isn't actually (possibly) an insult : she really doesn't have a name at that time. — Tropers/Maniette
Something that I have only noticed recently is how vital Shadow 2 was for creating the story of Gunnerkrigg Court itself. See, if Annie was not inclined to confront him that night in the hallway, we would have never figured out that he needed to get across the bridge. And if we never figured that out, Annie would have never built a robot for him to ride across. If Robot had never gone across the bridge in the first place, he wouldn't have come back across in chapter seven. Annie would have never fallen off the bridge, making it so Coyote and Ysengrin never organized a meeting, and Coyote would have not invited her to the forest to expand her knowledge of her etheric powers. Along with that, Annie would have not discovered Jeanne, or have a reason to create a new body for Robot, and Kat and Annie would have never located Jeanne's shrine or learned about the story of Diego. And now my brain is yelling at itself. — Pax Repaki
This is probably really obvious, but anyway. When Robot and the others see Kat taking care of Jeanne's shrine, they interpret her as an angel. Because she's beautiful, sure, but in religious texts, there are three ranks of angels that serve to guard and protect God. To them, Diego is a father, but Jeanne is a friggin deity. And if Diego built them to love her just as he does...well...
The robots said that "the court grew from the seed Bismuth." Bismuth is a metal that chemically resembles antimony.
In "Give and Take" the resurrected robot describes the robots we've seen in the series as "elegant designs", as well as other superlative adjectives. This seems almost funny at first to the reader, as the resurrected robot (who belongs to the robots created by Diego himself) looks impressive and majestic while the modern robots look like cubes at worst and pragmatic at best, in the case of S-13. The thing is, the robot has different criteria than the human one, for him a good design is one that works best in its own movement and its functions, and the modern ones are probably this. He looks better on a human aesthetic, which would be superfluous on the eyes of a robot. So, indeed, modern robots have a more wonderful design.
This troper has been thinking about Chapter 13 lately, and thinks they've figured something out. Consider the storyline: Kat meets a boy, develops affection for him (whether it be a crush or "real" love, it still affects her quite a bit), but eventually has to let him go due to circumstances beyond her control. In comparison, consider Diego's story: he meets Jeanne, develops affection for her, but eventually realizes that she will never return the affection. And finally, think of the difference between their reactions: Kat accepts the loss with surprising equilibrium whereas Diego basically ruins everything for Jeanne as well as for himself. It seems that Chapter 13 is a way of comparing/contrasting Kat's personality with Diego's, especially given how both of them are heavily involved with the robots.
Reynardine stated that everyone knew that having Antimony would kill Surma. Including, in his words, "[Annie's] damned father! Especially him!" Especially? Does this mean he always knew having a kid with Surma would kill her, and simply didn't care?
Even married people have unplanned pregnancies. He would have wanted to put pregnancy off a lot longer, and may have recommended abortion (if possible), but if Surma has a race/species, then she may have never seriously considered termination.
There's also the implication that as of a man of science, he thought he could defeat the process, allowing Surma to live with Annie normally. He failed, which would be part of the reason he abandoned his daughter (she's a very strong reminder of that failure, not to mention his dead wife).
Not to mention the implication that the pregnancy was almost certainly Surma's decision in the end; she was far less distraught about the situation than Anthony.
That said, it's funny that they chose to name her Antimony, which is a highly toxic chemical element. Could have a nasty undertone when you realise Annie's existence caused her mother's death.
Surma's own name is kind of unfortunate, as well. In Finnish it means "unnatural death".
As disturbing as the scene where Coyote eats Ysengrin's memory of when he attacked Annie is, pay close attention: the hand being used to remove the memory is from Ysengrin's tree-armor.
The hand Coyote used is actually his own. He has wooden-paws and wooden-legs, after all.
Coyote's Establishing Character Moment in The Fangs of Summertime is when he bursts out laughing after hearing that Antimony is Surma's daughter, cracking a joke about Mr. Eglamore being her father. Once you get to The Reveal, however, this makes that scene much more disturbing, as it means Coyote just learned that Surma was either dead or dying, and he doesn't care at ALL. Even without the scene mentioned above where he removes Ysengrin's memory, it's still quite obvious that Coyote is much more evil than he initially appears to be.