This post is a scary and spooky one for sure! I wrote this post specifically to appear right before Halloween on October 31st, and the beginning of the Mexican holiday, Day of the Dead (Dia de Los Muertos), which is celebrated between November 1st and 2nd. Today’s post examines Eztli, the skeleton librarian in the Victor and Valentino episode “An Evening with Mic and Hun“, and is likely voiced by accomplished actress of Cuban descent, Jenny Lorenzo.
Let’s start with what she is wearing: she has a black dress with a white collar, a medallion around her neck, and horn-rimmed glasses. This seriously invokes the spinster librarian stereotype, as she has her hair tied up in a bun, even though that seems somewhat unnecessary. Her first contact with Victor and Valentino, the two protagonists, is to shush them with her extended skeleton arm. Val, often the rule follower, accepts this, saying “she’s a librarian, she wants us to be quiet.” Victor rejects this and she then scares them away by doing something that is the equivalent to yelling.
After they run away, she starts putting books on a cart with the extra skeleton arm, and is sitting at the information desk, with a stack of card catalogs behind her. I loved the part when she stamped on the book “Past Due Fee: One Soul.” That made me laugh a little. Val comes up with a plan, distracting the librarian by ringing a bell, annoying her. That is until a huge orb, looking a planet, falls down on the librarian and scatters her bones. Val is annoyed at Vic, as that wasn’t the plan, as he was supposed to swing down and grab the arm. Funny enough, Vic shushes Vic with the arm, they subdue one of the other people trying to get the arm of Hun, and flee the library.
While the scene in the library is only a little more than a minute long, there is a lot going on here. More than anything, the library and librarian can be portrayed with vintage looks because there is “something nostalgic about reading books” and possibly even gives the implication that the librarian career is outdated.  The latter seems to be somewhat true in this episode, as there are card catalogs behind Eztli at the information desk and a bell to ring sitting on the same desk. What Eztli is wearing seems more sinister, evil, and mysterious than classy, distinguished, slimming, elegant, sexy, or chic like the outfits that Amity Blight in The Owl House or Kaisa in Hilda, which are either partly or fully black in their color. I’ll focus on that topic in my post next month, “Beauty, dress codes, and fashion: Examining twenty fictional White female librarians,” so look forward to that!
Eztli is not the only skeleton librarian out there. Mumm-Ra in the Fudêncio e Seus Amigos episode “Biblioteca Maldita” is a librarian/priest and an evil figure. He considered the librarian his own private domain, claiming that time means nothing to him. But, he can be tricked, as the characters fool him into thinking that he has the real eye of Thundera after they destroy the actual one. Then there’s the librarian in an issue of the 1992 Detective Comics who is the enemy of Batman as he has a library of souls or the soul records in the webcomic 180 Angel. Beyond this, in the webcomic, Guillotine Public Library, a librarian named Skeezix a.k.a. Jonathan von Abendroth finds out that a patron, Lavii, is a skeleton/reaper, causing him to freak out. It turns out that this librarian is Lavii’s mentor, causing her some shock, and he tells her that if she tells anyone about him then she will lose her powers! They later catch-up and he gets her a library card. 
In Mexican culture, skulls represent death and rebirth, as a skull represents life and afterlife, while skeletons, in Mesoamerican cultures were considered a symbol of fertility, good luck, and the “dicotomy of life.” On top of this, there are decorative skulls known as calaveras which are often created with cane sugar put on altars (known as ofrendas) for Día de Muertos, with José Guadalupe Posada creating skeleton imagery like La Catrina beginning in 1910, with its influence still felt today. Skulls and skeletons in Mexican folk art also reflect a dualism of balancing forces, like life and death, and without that duality in all parts of life, then ‘the universe loses its equilibrium.” At the same time, Indigenous Mexican art is said to celebrate the skeleton, using it as a “regular motif,” with the festival of the Day of the Dead along with its iconography of skeletons and skulls becoming part of works by those like Diego Rivera and becoming a “celebration of uniquely Mexican identity.” Such art of skeletons and skulls is also meant mock death in a powerful way. This is relevant to Eztli as Victor and Valentino puts a spotlight on mythologies and folklore from Mesoamerican cultures like the Maya, Olmec, Aztec, and other indigenous peoples. 
In Victor and Valentino more broadly, some of the episodes completely or partially are from the underworld (also called The Realm of the Dead or The Land of the Dead), as a Latin American folk-themed show, and various characters like Mic, Hun, El Toro, Elefante, Moreno, and Alfonso all live there. There’s even a sarcastic dog named Achi who occasionally joins or pushes Victor and Valentino in their adventures on the surface or in the underworld. The show itself premiered two days before a local Day of the Dead ceremony. Victor is voiced by the show’s creator, Diego Molano, a former writer for The Powerpuff Girls and background designer for OK K.O.!: Let’s Be Heroes, among many other series, while he hoped that the show would be a “good lesson for kids,” making Victor a bit of a self-insert. The show itself was even described as a “richly designed homage to the folk art and traditional storytelling of Mesoamerica” and said to creating “digestible content” which is rated for kids. 
Keeping this in mind, Molono, through Vic, is saying he won’t be stopped or silenced on his path forward. Eztli may represent those forces which are trying to hold people back and need to be resisted. Perhaps this is reading too much into it, but it would not be too far-fetched considering that Molono voices Vic. The episode writer David Teas, storyboarder Kayla Carlisle, and story writer, Julie Whitesell, may be able to shed more light on the themes in this episode. Teas previously has worked on shows like The Casagrandes and The Loud House, while Carlisle previously storyboarded for The Adventures of Puss in Boots and Whitesell for many comedy and drama sketch shows since 2010, almost exclusively live-action.
There’s another aspect which I noticed when re-watching this episode for the purpose of this post: the religious imagery and intellectualism exuded by this library. You can’t say that Eztli is a priest, but the library itself, which is hidden away in the underworld house of Mic and Hun, is a bit of a sacred space. Librarian Fobazi Ettarh has argued that the physical spaces of libraries have often been seen as sacred spaces, treated as sanctuaries by keeping people and sacred things, serving as a refuge or shelter. This idea, she argues, is based in the fact that original libraries were monasteries, with buildings meant to “inspire awe or grandeur.” This still holds true today as libraries continue to “operate as sanctuaries in the extended definition as a place of safety,” centering themselves as “safe spaces.”  This isn’t the case for this library, however, as it isn’t really a place safe for anyone, but more of somewhere that is hidden away, almost the private domain of Eztli which needs to be quiet (and orderly) no matter what.
This is in contrast to libraries that are safe spaces, like the public library shown in the independent film by Emilio Estevez, The Public. It is one of the first films I reviewed on this blog back in 2020, and which I am thinking of revisiting sometime in the future, even though that library does not inspire “awe or grandeur.”At the same time, libraries in shown in the series Ascendance of a Bookworm, What If…?, and She-Ra and the Princesses of Power, are all sacred in their own ways. Specifically, the library in the latter animated series is a refuge (and home) for the two dads of one of the show’s protagonists. This is also the case for the magical secret library known as Stanza in Welcome to the Wayne and the huge library at the center of Yamibou, which allows people to access worlds. I have further explained on this blog how libraries are shown as a “place of refuge” in the animated series RWBY, with one character hiding in the library to escape her controlling father.
Many libraries which I have mentioned on this blog in the past are grand, like those in Classroom of the Elite, Macross Frontier, Adventure Time, Revolutionary Girl Utena, RWBY, El-Hazard, Steven Universe, Equestria Girls, Sofia the First, Elena of Avalor, and Simoun, to name a few. One series which somewhat counters this is Hilda, which has a relatively ordinary library on the outside but has a grand inner chamber called “Witches Tower” which is under the library itself. This means that most ordinary patrons would never be in “awe” of the library.
Getting back to Ettarh, she says that if libraries are sacred spaces, then the workers would be priests, noting that the earliest librarians were priests, noting that the service orientation of the profession motivates many to become librarians. This means that librarians are seen as “nobly impoverished,” working selflessly for the community and “God’s sake,” having a calling, with “spiritual absolution through doing good works for communities and society.” She continues the librarians-as-priests comparison to argue that the primary job duty of librarians is then to “to educate and to save,” with the idea of creating an “educated, enlightened populace, which in turn brings about a better society,” meaning that librarians who do this “good work” are the ones who “provide culture and enlightenment to their communities.” This carries with it the expectation that “fulfillment of job duties requires sacrifice…and only through such dramatic sacrifice can librarians accomplish something ‘bigger than themselves.'” 
In the case of Eztli, she is less of a priest than characters like Iku Kasahara, Asako Shibasaki, and many others on the Library Protection Force in Library War. They are a manifestation of librarians as those who sacrifice, fighting those who try and censor books, although this is always with the idea that the library is neutral and that the books will enlighten society. The same can be said about Aruto, Iina, and Kokoro in Kokoro Toshokan a.k.a. Kokoro Library who live in a rural library and get very few visitors, or Isomura in Let’s Make a Mug Too episode (“The Garden of Sky and Wind”), to give two examples. Perhaps the same could be said about Hisami Hishishii in R.O.D. the TV, Himeko Agari in Komi Can’t Communicate, Fumio Murakumi in Girl Friend Beta, and many other librarians out there in fiction. 
The library that Eztli presides over may have a tenor of sacredness, but she is no priest. She is more akin to the spinster librarians of other series, in that she shushes the two protagonists and wants the library to remain quiet. This library is no temple either. It may be dated in what it has, but perhaps this isn’t a surprise as I don’t even think that the series itself is set in the present-day, although I can’t be totally sure about that. She has to deal with disruptive, problem patrons, who don’t follow the library’s rules, and crush her body into many pieces. How is she supposed to do her library work if her information desk is smashed and her body is in pieces? We never get the answer to that, because Victor and Valentino go to the next room, leaving as quickly as they came in, on their quest to find the rest of Hun’s body before is too late, and beat any of the other skeletons trying to get the body first.
Although I could be hoping too much, I think it would be interesting if she returns in a later episode, maybe even as a ghost who haunts them. Who knows. There’s a lot of interesting storylines with her that could be done. In any case, she is unlike any librarian I have seen since, and I hope to see more skeleton librarians, whether her or someone else, in animated series in the future. Criticisms and commentary on this post are welcome in the comments below this post, which I vet to make sure that I can make sure comments from spammers aren’t published and to publish those comments which are genuine instead.
© 2022 Burkely Hermann. All rights reserved.
 Brytani, “A Study of Librarian Fashion,” The Intrepid Nerd, Oct. 6, 2011.
 See episodes 1, 2, and 3, named “Skeleton in the Library“, “Chance Reunion“, and “Catching up” respectfully. There’s also skeletons in the world of Hilda as an elderly patron, Matilda “Tildy” Pilqvist, checks out a book entitled “The Skeleton Whisperer”
 “what do skeletons represent in mexican culture,” lisbdnet, Dec. 20, 2021; Tom Swanson & Marianne Menditto, “So What’s With the Skeletons in Mexican Folk Art?,” PVAngels, Apr. 15, 2013; Gayle Trim, “Day of the Dead Sweets and Treats,” History.com, Nov. 2, 2012; “What’s Up with All of Skeletons in Mexican Art?,” Galeria de Ida Victoria, Oct. 26, 2017; “Why Are There So Many Skulls In Mexico ?,” Inspired Nomad Adventures, Oct. 8, 2017; Mary Jane Gagnier Mendoza, “Dia de los Muertos: the dead come to life in Mexican folk art,” MexConnect, 2003; ““La Catrina:” Mexican representation of Death,” The Yucatan Times, Dec. 8, 2017; Jonathan Jones, “Skull art is not a new idea,” The Guardian, May 2, 2008; David Agren, “Mexico’s Day of the Dead festival rises from the graveyard and into pop culture,” The Guardian, Oct. 27, 2019; Tracy Novinger, ““Catrinas” and Skeletons: Mocking Death in Mexican Culture,” Patzcuareando: Peripatetic in Patzcuaro, Oct. 28, 2007; Tracy Brown, “Spooky new cartoon ‘Victor and Valentino’ channels Mesoamerican folklore,” Los Angeles Times, Mar. 30, 2019; “Animated People: Diego Molano, Creator of Cartoon Network’s ‘Victor and Valentino’,” Animation Magazine, Apr. 25, 2019.
 Jenny Lorenzo, AKA Abuela, Lends Her Voice to Latino Series Victor & Valentino,” Miami New Times, Mar. 29, 2019; “Cómica y sobrenatural: habla el director de la nueva serie de Cartoon Network” [translated title: Comic and supernatural: the director of the new Cartoon Network series speaks], Culto, Apr. 20, 2019; Dylan Hysen, ““Victor and Valentino” is off to a Fun, Adventurous Start,” Overly Animated, Oct. 29, 2016; Brown, “Spooky new cartoon ‘Victor and Valentino’ channels Mesoamerican folklore,” Mar. 30, 2019; Michael Betancourt, “Diego Molano Aims to Teach Mesoamerican Mythology to Latino Kids With Animated Adventure Series ‘Victor and Valentino’,” Remezcla, Mar. 30, 2019; , “‘Victor & Valentino’ Art Directors On Designing Cartoon Network’s Mesoamerica-Set Show,” Cartoon Brew, Apr. 25, 2019; “Animated People,” Apr. 25, 2019., “
 Fobazi Ettarh, “Vocational Awe and Librarianship: The Lies We Tell Ourselves,” In the Library with the Lead Pipe, Jan. 20, 2018.
 She also says that considering the conjoined history of librarianship and faith, it is “not surprising that a lot of the discourse surrounding librarians and their job duties carries a lot of religious undertones. Through the language of vocational awe, libraries have been placed as a higher authority and the work in service of libraries as a sacred duty. Vocational awe has developed along with librarianship from Saint Lawrence to Chera Kowalski,” and says this idea has become so “saturated within librarianship” that Nancy Kalikow Maxwell can write Sacred Stacks: The Higher Purpose of Libraries and Librarianship which details the connections between faith and librarianship while advising libraries to nurture the “religious image conferred upon them.”
 This includes Hamyuts Meseta, Mirepoc Finedel, Noloty Malche, and Ireia Kitty in Tatakau Shisho: The Book of Bantorra, along with unnamed librarians in Cardcaptor Sakura episode (“Sakura and Her Summer Holiday Homework”), librarian in Little Witch Academia episode (“Night Fall”), Yamada in B Gata H Kei, Azusa Aoi in Whispered Words, Fumi Manjōme in Aoi Hana / Sweet Blue Flowers, Chiyo Tsukudate in Strawberry Panic!, Anne in Manaria Friends, Grea in Manaria Friends, Hasegawa Sumika in Bernard-jou Iwaku a.k.a. Miss Bernard said, Sophie Twilight in Ms. Vampire who lives in my neighborhood.