darlingmalkuth

[darlingmalkuth]

billyeoon goyangi (meow)

[darlingmalkuth]

increasingly worse memes from university subreddits that my bestie found for me on discord

(made for a university asiyahs au i have)

[darlingmalkuth]

angel yuri pics from may

1: strawpage req from my twt requesting "angelica teasing and booping angela" Very cute. i love these girls

2: aseul lesbianing out inspired me i dedicate my first pmtwt banger to those girls

[darlingmalkuth]

malkuths from the past month

[darlingmalkuth]

man I love Hod she's so much more deeply fucked up and unbearable than I thought

also sorry for discord screenshots but here are my thoughts immediately after reading all of Hod's announcer lines

man. explodes

[darlingmalkuth]

sephirah in casual uniform

[darlingmalkuth]

[darlingmalkuth]

Some notes for Canto VII because I know some people are still finishing it. It’s mostly a funny observation on how we escalated canto-wise, yet on how Project Moon still manages to deliver a poignant story in spite (or precisely because) of the setup.

Yi Sang’s Canto: People will eventually leave from your life, sometimes because of circumstances you can’t truly control. Some people chose to forget the past and move on, some people remained trapped within it still.

But that doesn’t mean it’s not possible to find companionship once more, and learn from the past instead of forgetting it. Together, you can find joy again in life along with the companions you made along the way, no matter how you met them in the first place. Together, you’ll be able to confront the uncertain future with close companions by your side who’s willing to support and care for you.

Don Quitoxe’s Canto: You need to beat up starving vampire Jesus (as well as his family who got put on the worst 200+ year diet for a bloodfiend) and convince him that despite the harsh realities of life, it’s the striving for the dream that matters most and that the journey in itself is what makes life worth living for. The sweet, childish joys of life is what makes an absurd, cruel life more tolerable and no matter how unjust the world may be, justice is still worth seeking for despite all that.

I kneel, Project Moon. If you told me they can tell a beautiful story about vampire Don Quitoxe and her vampire family before Canto VII dropped, I would have not believed you.

[darlingmalkuth]

[darlingmalkuth]

Rodya Linguistic Analysis

Do not mention any events after Canto 2 in the notes or tags of this post, thank you.

Rodya’s most noticeable feature about her language is her switches between a casual, almost theatrical register when she’s “playing a part” (always) and a more restrained, terse style when she’s upset.

Rodya’s sentences are mostly mid-length, often using ellipses and dropping subjects or auxiliary verbs. These omissions help create a conversational tone that feels intimate and offhand, as though she is speaking to people with whom she has established a rapport with no matter who the subject is.

Her speech is casual and free-flowing, more like natural conversation than structured prose. There’s a rhythm to it—almost musical, with interjections and rhetorical flourishes. Her loose, easygoing sentence structure makes her approachable. It reinforces her need to be liked, to feel included.

However, when the conversation starts creeping toward something painful, she breaks it up with childish phrasing, either steering things away before they can get too heavy or trying to dismiss the importance of her very own emotional involvement by dumbing herself down as she frequently does with Sonya. Note her inability to let the conversation end on a sincere note, diminishing both herself and him, and both the ideals that drove them apart in the same way.

[His idealistic self-important role (dweeb’s leadership) vs her impulsive hands-on-involvement (being a rowdy rascal).]

It’s the verbal equivalent of leaving home to avoid facing what she’s done—avoidance is second nature to her.

She doesn’t speak in clear-cut subject-verb-object constructions when dealing with difficult emotions. Instead, she hedges, leans on metaphors, and sidesteps direct statements or explicit emotional qualifiers such as “I feel”, “I’m upset”. Even when she tries to be honest, she can’t quite say it outright. By the end of her canto, die to her distress, this becomes heavily exaggerated.

Rodya frequently uses rhetorical compliment-fishing questions as a way to signal emotional distress without directly expressing vulnerability. These questions aren’t meant to solicit an answer but rather to create a sense of distance from the topic at hand and a sense among her peers that she thinks highly of herself. It’s a way for her to challenge the situation indirectly while avoiding exposing any deeper emotional reactions.

Similarly, Rodya often holds back information until she’s ready to release it, framing her omissions as strategic rather than due to a lack of trust. Her phrasing creates an illusion that her withholding of the truth is somehow rooted in a sisterly sort of “looking out”, rather than her over reliance on herself. (This cynical nature being what makes her “take things into her own hands” in District 25.)

Rodya uses diminutives for both people and objects as a form of pragmatic softening, disarming, and maintaining social dominance rather than a more straightforward, simple affection. This faux-friendless allows her to control interactions and maintain friendless while keeping others at a comfortable emotional distance. In this case, she switches to a dismissive “sweetie” rather than her usual “babe”. Both show camaraderie, but her true intentions for the nicknames aren’t related to that rather than letting her have a sense of it is without actually putting in the work of forming an open connection with someone.

She’s actually the harshest toward the people she cares about the most. Dante and Gregor, both of whom she has clear affection for (and in Dante’s case, respect), are the ones she dehumanizes the most in a light hearted, almost casually cruel offhanded way— exclusively when it comes to their deformities. But that disgust is performative. When she truly dislikes someone, her insults are ironic, distant, and impersonal— just as when she dislikes something, she avoids it.

This tracks with how she handles difficult topics. When forced to confront something serious, her tone shifts—she drops the embellishments, speaks in a more neutral, detached way, and keeps things short and to the point. Even when she uses metaphorical abstractions, it’s to create distance between herself and her emotions, not to add a flourish to her words like she usually does. Though her speech is still littered with contractions, it’s more of a street-wise woman than the immaturity she fakes.

The substance of her speech is secondary to the performance itself. She's not necessarily interested in whether what she says is deeply impactful, but rather in conveying an image of confidence, independence, and self-sufficiency. This reflects a deeper insecurity, a need to assert control over how she is perceived (as she feels Sonya has so deeply misunderstood her) without directly confronting her own vulnerabilities.

In conclusion: Rodya’s seemingly childish language is a deliberate choice, each word selected with care. Her True Tone is cold, and every sentence is purposeful—used to deflect, protect, or control. By minimizing her intellect or trivializing serious matters, she’s able to shield herself.

[darlingmalkuth]

...hey question why the Fuck does Dad Quixote look like Alucard Castlevania?

[darlingmalkuth]

"it's been 4 days" i don't care.

malcute

[darlingmalkuth]

flomf

[darlingmalkuth]

malcute

[darlingmalkuth]

[darlingmalkuth]

sleepy zwei fixer

[darlingmalkuth]

(wip) dr malkuth and nurse netzach. neither are qualified for their jobs. the library offers no phds

inspired by this mv