#magic induced disability

[cripplecharacters]

got a char w generational geokinesis. he’s disabled his brother is not. mixed magical/medieval/steampunk environment. he walks w canadian crutches (4 point gait) but uses his powers to create flat surfaces to walk on or skip inclines (ie creates a path of crystal over sand, or a rising platform of stone to get over a hill). he never stops using his crutches, just creates accessibility. is that erasure or?

Hello,

No, that's not erasure, this is actually what I recommend people do when they're accidentally doing something that's erasure. When someone gives their disabled character a magical fix that negates their disability, this is the kind of alternative we look for. Instead of moving the iron in the blood of his legs to walk (which is bad,) he's creating accessibility for himself and just going about his disabled way.

Erasure would be giving him a power that lets him walk around normally, like a character with telekinesis using it to move their paralyzed legs to walk. This isn't doing that, he's just got a good way of adapting to inaccessible locations and terrains.

Mod Aaron

[uncanny-tranny]

Something interesting I've noticed about people is whether they view a diagnosis as prescriptivist or descriptivist.

Somebody who views a disability or illness as a matter of prescriptivism will often only believe somebody has a condition if they can prove it by way of a diagnosis. They will view a diagnosis almost as though it is given to you by a doctor or psychiatrist, that they are the people who can truly prove you are right or wrong, that they know best.

Somebody who views a disability or illness as descriptivist will see a diagnosis as, essentially, an official observation into behaviours or states of being that the person in question is experiencing. The descriptivist route entails the idea that somebody who will eventually be given a diagnosis is already experiencing something wrong, and that medical professionals ought to be working to observe all the symptoms the patient is experiencing and line them up with other observations (diagnoses) we have already observed in others.

I think it's important to recognize these two general attitudes about diagnosis. If you want to ally yourself with disabled people, it helps to learn how to view diagnosis as more in line with the descriptivist mindset, I think.

[cactusringed]

Idk btw why my post about applying my medical knowledge and special interest to fics resonated so much with people lol. I shld elaborate on some of my thoughts...

[anistarrose]

After rewatching the Thanks For Watching trilogy, I actually have to double down on my controversial opinion: Hunter never having to directly face off against Belos again after Thanks to Them is actually super satisfying and cathartic in an understated, underrated way. He said everything he needed to say after the worst thing that Belos ever did to him, and from then on, he didn't know it yet but he was free. I'm so happy for him.

[aroyams]

twst au where people know what the fuck narcolepsy is and so stop giving silver such a hard time for being DISABLED

[impending-day]

i feel like im one of the only people to have headcanons that are super far from canon and actually. like. enjoy them.

i always see people saying "if the headcanon is that far away from the canon ur better off making a new character lol" like No thats Not The Point

maybe its just me projecting. maybe its the Weird Noggin being weird. but i genuinely love headcanons that are kinda Out There

im just gonna throw some examples out there that i really like

disability headcanons - especially cause a lot of media Does Not Get Them Right. i love seeing people represent themselves thru headcanons, making sure the characters get all the pros and cons and hardships and joys. extra points if they get super stigmatized disabilities that are finally shown in a non-demonizing light

gender / sexuality headcanons - some of the most common, and i love them. people say "oohhh but those terms dont exist in that universe!!1!" as if that makes the feelings attached to them not exist either. give the mf xenogenders idgaf. turn them all into lesbians. unless they got a canon queer identity go ham

random shit GO headcanons - sometimes theres just like. a random Fact that appears in ur head and i respect and love u for that

i cant talk much about race or religion headcanons cause im whiter than an unbaked saltine cracker and not religious at All, but as long as it isnt whitewashing and everything is respectful im all for it. if u cant find good representation in media, simply headcanon it into existence

i only really dont like headcanons if they entirely mischaracterize the guy theyre about [like if someone said riddle rosehearts has never had an anger issue ever or some shit], or if theyre the really gross ones [the p*do ones, stuff like those]. other than that? be free. be cringe. disrespect canon all you want, it probably has a whole heap of issues a group of homosexual teenagers could fix in a night

[burningvelvet]

when mr. rochester dressed in drag as an old fortune teller and elaborately pranked an entire party partly to get jane’s attention… when mr. rochester wrote, composed, and performed an entire song for jane eyre on the spot… when mr. rochester took in his former sugar baby’s bastard child despite her presence being a painful reminder to him of her mother, and then claimed not to love the child despite spoiling her with gifts… when mr. rochester sacrificed his life trying to save his wife even though she tried to kill him multiple times and he still refused to put her in ferndean manor because he didn’t think it was good enough for her (making it meaningful that he ends up living there himself when he’s disabled, showing he prized himself less than her)… when mr. rochester took jane out for an extravagant all-day shopping trip and was way more enthusiastic about it than her… when mr. rochester shared a god-given telepathic connection with jane which induced them to reunite… when mr. rochester decided to wear the pearl necklace he originally bought for jane for forever… when mr. rochester made up a story for little adèle about jane being an elf magically sent to him from the moon… when mr. rochester pulled jane onto his horse… when mr. rochester…

[nellasbookplanet]

Book recs: cosmic horror that would appal H.P. Lovecraft, part 1

From the vast void of space and other dimensions to the suffocating pressure of the deep ocean and subterranean caves; aliens and fish people and eldritch gods; madness and seeking to make the unknowable known: lovecraftian and cosmic horror comes in many shapes.

If you're anything like me, you go wild for this shit, but also think the genre's namesake can go fuck himself. Thankfully, many writers have embraced the genre over the years, and a great deal of them have eschewed Lovecraft's bigoted ideas. Here is a selection of cosmic horror that would've appalled Lovecraft and delights me. These are books about and by queer people, women, disabled and neurodivergent people, and people of color; books that ask you to sympathize with (and perhaps even romance) the monster; books that re-imagine Lovecraft's own myhtos into something less hateful yet still genuinely scary. Enjoy!

For details on the books, continue under the readmore. Titles marked with * are my personal favorites. If you want more book recs, check out my masterpost of rec lists!

Winter Tide by Ruthanna Emryss*

Aphra and her brother are the only survivors after the government raided their home, Innsmouth. Their only living family are the amphibian people of the deep, whom they will one day join, but until then they are bound to land where they struggle to build new lives for themselves after the great loss of their home and loved ones. Then rumors start to spread of a russian agent seeking dangerous and ancient magic, forcing Aphra to involve herself as they try to stop it. Does contain horror elements but is generally a much more optimistic look on cosmic horror than most lovecraftian stories, told from the perspective of one of his monsters. Lots of focus on found family and rebuilding of community and fairly light on plot, but also unflinching in its portrayal of real as well as cosmic horrors.

Providence Girls by Morgan Dante*

Sapphic horror re-imagining of several of H.P. Lovecraft's works from the point of view of the women sidelined as victims in the originals. Forced to abandon her not-quite-human children to escape a cult seeking to sacrifice her, Lavinia nearly dies from exposure in the woods. She's saved by the prickly Asenath. The two women find themselves growing close as Lavinia regains her strength. But Asenath's own dark past is catching up, as she too begins to transform into something not entirely human. Beautiful and unsettling with heavy body horror as well as more human horrors such as emotional and sexual abuse.

The Shape of Water by Daniel Kraus & Guillermo Del Toro*

In 1960s America, Elisa works as a cleaner in a government facility when a strange fish man is brought in to be studied. An immediate connection sparks between the two, but his time is running short as plans are to vivisect him. Alongside her colleague and her reluctant neighbour, Elisa must find a way to save him before he's laid under the knife. Less horror than most books on this list, The Shape of Water is nonetheless a beautiful romance about embracing (and being) the other in a world that wants you gone. If you like the movie, you likely also enjoy the book.

Otherside Picnic by Iori Miyazawa

Sapphic, surreal and episodic horror vibe. Following the directions of an urban legend, university student Sorawo finds her way to a reality populated by horrifying creatures from ghost stories and modern urban legends which induce fear and madness in those who interact with them (of which I’m sure you’ll recognize many). Here she teams up with fellow explorer Toriko, both to find out more about this strange world and to help Toriko find a missing loved one. Also available as a manga and (one season of) a pretty middling anime.

Meddling Kids by Edgar Cantero

Sapphic, horror with adult and genuinely scary scooby gang vibes. Once, Andy, Kerri, Nate, Peter and their faithful dog were known as the Blyton Summer Detective Club, until they hit their fateful final case in 1977. Now, the year is 1990, and the group hasn’t gathered in years. Tomboy Andy is wanted in at least two states; Kerri, former kid genius, is tending bar; and horror nerd Nate is in a mental institution in Arkham. At least he still has the company of jock-turned-movie star Peter - except Peter has been dead for years. Now they must all come together to find out the truth of what happened all those years ago.

Where Black Stars Rise by Nadia Shammas & Marie Enger

Graphic novel, inspired by The King in Yellow. Dr. Amal Robardin, Lebanese immigrant and a therapist in training, finds herself in over her head when assigned her first client. Yasmin is a schizophrenic suffering from nightly terrors that seem all too real, and when Amal fails to give her the support and answers she needs, she disappears. Desperate to fix things, Amal goes racing after her - and ends up in a world of eldritch nightmares, more real than she ever imagined.

In the Shadow of Spindrift House by Mira Grant

Novella. After Harlowe's parents were killed by a cult, she was sent to be raised by her grandparents. There she ended up becoming part of a group of teen detectives. As the group grows up and starts splintering into adulthood, Harlowe decides to find them one last mystery to solve: the secret of Spindrift House, a manor of murky origin, surrounded by dark mystery. Entering the manor, the group is eager to solve its secrets - but Spindrift House isn't one to give them up easily.

The Ballad of Black Tom by Victor LaValle

Novella. Re-imagining of one of Lovecraft's stories. Tommy is a hustler struggling to get by; when the elderly Robert Suydam hires him to play guitar at a party, Tommy is quick to agree. But Suydam is seeking something vast and Outside our reality, inviting Tommy to take part. Meanwhile, private detective Malone repeatedly harasses Tommy and his family in his hunt for proof against Suydam's activities. A bleak look that puts the apathy of eldritch gods against the closer-to-earth evil of human bigotry.

Sawkill Girls by Clair Legrand*

Young adult. The isolated island of Sawkill Rock has secrets. It hosts the legend of a local monster, and the very stark reality of decades of girls going missing, never to be found again. Now, three girls stand at the center of the horrific mystery. If only they can come together, perhaps they can save future generations of girls from a monster that may very well be real. Asexual and sapphic main characters, including a sapphic romance. Not as heavy on the cosmic horror as other titles on this list, but the monster certainly leans hard into it.

Blindsight by Peter Watts*

Vampires, post-humans, aliens, and questions on the nature of consciousnesses, oh my! A ship is sent to investigate the sudden appearance of an alien vessel at the edge of the solar system, but the crew isn’t prepared for the horrors awaiting them. Because the aliens are intelligent, but they are nothing like us - to them, we may be nothing but a mistake to be wiped out. No, seriously, this book will fuck you up, highly recommend if you’re okay with a lot of techno babble and existential horror.

The Scourge Between the Stars by Ness Brown

Novella. After having failed at establishing a new colony, starship Calypso fights to make it back to Earth. Acting captain Jacklyn Albright is already struggling against the threats of interstellar space and impending starvation when she´s thrown a new danger: something is hiding on the ship, picking off her crew one by one in bloody, gruesome ways. A quick, excellent read if you want some good Alien vibes.

The Outside by Ada Hoffmann*

AKA the book the put me in an existential crisis. Souls are real, and they are used to feed AI gods in this lovecraftian inspired sci-fi where reality is warped and artificial gods stand against real, unfathomable ones. Autistic scientist Yasira is accused of heresy and, to save her eternal soul, is recruited by cybernetic ‘angels’ to help hunt down her own former mentor, who is threatening to tear reality itself apart. Sapphic main character.

Shards of Earth by Adrian Tchaikovsky

Not too long ago, Earth was destroyed by the Architects, alien beings of massive proportions who seemed hardly aware of humanity's presence as they reshaped our entire planet into a twisted work of art. In their defense, humanity created super soldiers able to communicate with the enemy where no one else could. At once, the Architects disappeared without a trace. Fifty years has since passed, and Idris, one of the soldiers, has neither aged nor slept since, working on a freelance salvage vessel. But when he and his crew stumble on a sign that the Architects may be returning, they must embark on a race to find out the truth.

The Stars are Legion by Kameron Hurley

Zan wakes without memory, a passenger aboard one of the living world-ships of Legion, a fleet of decaying generations ships. Told she’s the salvation meant to free them from the fleet, Zan is flung head first into a brutal and bloody conflict. This book fucked me up when I read it. It’s weird, it’s gross, there’s So Much Viscera, there are literally no men, it has living spaceships and biotech but in the most horrific way imaginable, where humans are nothing but part of an ecosystem that cares little for their well-being. Had I to categorize it I would call it grimdark military sf. It’s an experience but not necessarily a pleasant one.

Empress of Forever by Max Gladstone

Sapphic. Vivian Liao is a highly successful innovator, but she may have bitten off more than she can chew and fears the government may be coming for her. As she goes into hiding, she attempts to pull off one last stunt that could fix everything - but something goes wrong, and suddenly Vivian finds herself waking up in the far future, under attack by an army of robots in space. Hoping to find her way back home, Vivian must assemble a crew of dangerous outlaws to help her hunt down the Empress of Forever, the all-powerful entity who pulled her into the future. While overall a space opera in genre, Empress of Forever also features a cosmic horror threatening the entire universe.

Solaris by Stanislaw Lem

1960s Polish classic, more existential and philosophical than horror, with an exploration of how we may never understand the nature and motives of a truly alien mind. Arriving on a station orbiting the planet Solaris, Kris Kelvin is meant to study the strange, possibly sentient ocean that covers its entire surface. But the effects of the ocean are far reaching - Kelvin finds the crew of the station secretive and unstable, and is shocked to wake one day to the embodiment of a long dead lover. Was it created by the brain-like ocean, and if so, why?

The Luminous Dead by Caitlin Starling*

Possibly one of the most unsettling and claustrophobic books I’ve ever read. Gyre, a caver on an alien planet, ventures into the dark and dangerous underground, guided only by her handler, a woman who has no compunctions on using and manipulating Gyre as she sees fit to obtain her own secretive goals down in the caves. Alone iton the dark, Gyre must struggle to keep hold of her sanity. Sapphic in the messiest of ways.

Levithan Wakes by James S.A. Corey

Jim Holden and his crew are ice runners in a system on the brink of war, tension rising between the inner planets and the inhabitants of the belt. When the crew comes across an abandoned ship, they come into possession of a secret that may light the spark of war. Crossing their path is detective Miller, searching for a missing girl tied to the mysterious ship. More dangerous than even impending war is the truth behind the girl's disappearance, leading to a secret billions of years in the making. It has slept for longer than humanity has been aware, but now, it is waking up. It has a job to do, humanity be damned.

Annihilation by Jeff VanderMeer

For decades, Area X has been completely cut off from humanity. The only ones to enter are small organized expeditions, many of which never return, or return… wrong. We follow the latest expedition, its participants known only as the anthropologist, the psychologist, the surveyor, and our narrator, the biologist. As they enter into Area X to try to find out its secrets, only one thing is for sure: they will never be the same again.

Out Wives Under the Sea by Julia Armifield

Miri thought she lost her wife Leah when her deep-sea mission ended in a catastrophe. But Leah was miraculously returned to her - or so it seems. Because something happened down there, deep in the ocean, and whatever it was, Leah has brought it back with her. Surreal and strange, Our Wives Under the Sea will not answer all your questions, but it will give you a unique experience.

The City We Became by N.K. Jemisin

Five New Yorkers find themselves experiencing strangeness as the city itself begins to wake up. They are its soul, its avatars and its protectors, and now they must keep it safe as it wakes and something alien and eldritch attempts to kill it before it’s even fully born. Mix of sci-fi, supernatural, and lovecraftian horror. Multiple pov characters of varying queer identities. Tries to bite off a bit more than it can chew but is also very inventive and unique.

The Gilded Abyss by Rebecca Thorne

Sapphic. Nix Marr is a soldier and damned good at it, but that doesn’t prepare her for her next mission: bodyguard for Subarch Kessandra, beloved royal and Nix’s bitter ex, as she ventures into the underwater city of Fall to seek the cause of a bloody murder spree and a possible deadly contagion of madness. But Kessandra has enemies, the answers she seeks marking her as a possible threat for the nation’s rulers. On their way in an isolated and enclosed underwater ship, the contagion catches up, and Nix will have to put her hurt feelings aside if the two are to arrive alive. Not quite as scary as it could be, but with some very fascinating lore and world-building.

Beneath the Rising by Premee Mohamed

The only thing extraordinary about Nick Prasad is his best friend Joanna "Johnny" Chambers, genius child prodigy. But when Johnny invents a new, clean energy source, the two are dragged into a race to save the world. The invention has attracted the attention of something ancient and dark, searching for a way into our reality, hoping to rule over humanity. Only Nick and Johnny can stop them, but as rifts between them grow wider and old gods loom nearer, they may not manage it in time. More coming of age and adventure than horror, but does feature an interesting take on elder gods mythology.

Leech by Hiron Ennes*

Unbeknownst to humanity, a sentient hive mind has taken over the entire medical profession to ensure the health of their host species. One of their doctors is sent off to an isolated location where they’re cut off from the rest of the hive mind, only to realize they’re faced with a rivaling parasitic entity of unknown intentions. Leech hands you only just enough information to get by, and whether its historical fantasy, an alternate timeline, or futuristic post apocalypse is hard to determine. It’s spooky and a bit weird and wildly creative, and does some neat things with gender.

Family Business by Jonathan Sims

By the author behind the Magnus Archives. When Diya’s childhood best friend and roommate unexpectedly passes away, Diya falls apart and, among other things, loses her job. When she’s offered a position at Slough & Sons to clean up after the deceased, she sees no other recourse but to accept. Her new job is grisly but important, and Diya starts to get back on her feet - until strange visions of a terrifying man and the dead’s last moments start to haunt her. Slough & Sons are hiding something, and it’s up to Diya to find out the truth. No romance, bisexual main character and trans woman side character.

The Hollow Ones by T. Kingfisher*

After having divorced, Kara moves to stay with her uncle and help him run his museum of curiosities, until one day she discovers a hole in the wall of his house. The hole leads to a strange bunker, and beyond that, a dark and dangerous world beyond her understanding. In the company of a friend, she goes to explore this world, but quickly comes to regret her decision to do so. No romance, major gay character, at once funny and deeply creepy.

Malevolent by Harlan Guthrie*

Lovecraftian horror mystery. Private detective Arthur Lester wakes up in his office, his partner dead, memories fuzzy, vision gone, and the voice of a malevolent entity in his mind. Unable to see, Arthur is forced to rely on guidance from the entity as he attempts to solve the mystery of what it is and where it came from. Is this a book? No. But as someone who reads mostly audiobooks, the difference between a book and a fiction podcast is negligible, and also I love this story and its characters and want all of you to do so too.

[tryslora]

Disability in fiction

This was a tough post to write. 

I saw a post about disability rep, and I kept thinking about it, and wanted to share my own takes on the topic. 

I thought about it for days, trying to figure out how to word it. Then after drafting it, I stuck it in a file for a couple of weeks, trying to decide if I could even post it. This is not a topic that can be boiled down to a simple yes/no kind of answer.

Let’s start with two examples.

1 - I have a short story I started writing (it wants to grow up to be longer, so it’s waiting for time) where my original concept was to write about an older woman who is short and has major chronic pain, and I wanted to dig into fantasy reasons why this pain exists, but at the same time, have her be able to kick ass despite being exhausted and dealing with excruciatingly painful issues.

2 - I once drafted a portal fantasy storyline wherein a young man was transported into a fantasy world, and when he was given a horse to ride, he approached it very warily. He was encouraged to mount, did so, and sat there and exclaimed in shock, “My brain isn’t exploding with snot!” because his allergies hadn’t come with him into the body he had in the fantasy world.

Both stories were designed to be fun, a bit light, maybe even cozy.

So.

In one case, the disabled character remains disabled and kicks ass anyway. And in the other case, the character is magically “healed” and no longer has debilitating allergies that had wrecked his way of life.

This is the difficult part to express: I think both storylines are valid.

Bear with me while I dig into this.

First and foremost: I completely agree that we need more representation in all forms of fiction, especially when it comes to disabled people being able to live their lives. Characters with missing limbs, or non-neurotypical brains, or anxiety & depression, or hearing issues, or sight problems, or chronic pain, or… or… you get the idea. We need all of it, and we need it to not need to be magically healed in order for a story to be considered happy and cozy. Disabled people can be happy, too.

I’m all in for this, and I wouldn’t write the stories I do if I weren’t.

However, there are also moments where I am so exhausted by my body and by everything I deal with inside of it where I do wish for that magical ability to forget that my pain exists. Or for the ability to actually process information in a straight line, or make decisions without writing a hundred lists and accomplishing nothing from them. Or to be able to lie down in a field of grass without regretting it for days while I drip snot and fight sinus-pain-induced migraines.

Sometimes I want to imagine that my life is different.

And that is one of the joys of writing. I can choose to write a story where people like me or the people I know are the heroes/heroines exactly as they are, different abilities and all. Or I can choose to write a story where the problems magically resolve.

Both can be cozy, sweet, and adorable. I can give the character with chronic pain the ability to kick ass, take names, and have a sweet reunion with her ex-girlfriend. I can show all the ways that my disabilities may define how I handle my life differently than someone else, but do not define what I can and cannot do.

But I can also daydream about a life where it’s different, the same way I can daydream about having wings, or being able to teleport. For me, imagining a day with no pain is the same as a day where I can walk through walls. It is absolutely a fantasy, and about as likely to happen.

Here’s the thing: It’s okay to be angry to see what looks like disability being erased. It’s okay to wonder why the author did that, why they magically healed someone instead of letting them be who they were. But at the same time, maybe ask why, and what point of view it’s coming from. Or look a little deeper into the story and how the resolution occurs, and the effect it does have on the character (I suspect that were I to suddenly have a day of no pain, I’d be intensely reckless, given what an idiot I am while IN pain, y’know? And WOW would I regret that later…).

And for authors, think about what you’re writing. WHY is this particular event (keeping disability, erasing it, whichever or both) happening, because the reader will take note of it. They may see things that weren’t intended, but are there as unintentional biases.

Make conscious decisions for why things happen.

Someday I want to get back to both of those examples from the start of this post; I still like both concepts. But I’ll be writing them for very different reasons, and both will be healing my soul in different ways. Different kinds of daydreams. And again, I think that’s valid, too.

[olderthannetfic]

Tagging question! In canon, a character has a magic-induced health problem. Basically, every so often, he has days moving his back in any way causes staggering amounts of pain and he has severe fatigue. He can't get upright under his own power during severe episodes. Painkillers do not work. The frequency of episodes starts off once every few months but by this point in canon has become a once or twice a week problem. It can hit right out of nowhere even if he was fine all day today or he can wake up with it.

Fandom wank being what it is, people keep insisting to me that this is not a disability. I tagged the fic with Disabled Character because since he's the main character of the fic and this... look, I'm not disabled? I could be wrong. But to me this feels like a disability. If I met someone with this IRL with a non-magical cause I would go, "I 100% believe this qualifies as a disability" without question. But oh, wow. The fandom does NOT agree with me on this. I've gotten several annoyed remarks by people informing me that this is belittling the pain actual disabled people have because disabilities, unlike curses, can't be lifted. And I can see that there's a difference. Thing is, he can't canonically afford to pay to have the curse lifted. He's stuck with it.

Because every single person in this conversation is abled, though, I feel like they're not who I should be listening to. OTNF, I know your readership includes disabled people. Do you/they have any suggestions? Does he qualify as disabled, or am I too attached to my headcanon-y idea of him as being a metaphor for disability?

--

I don't think that's a metaphor. I think that's a canonically (magically) disabled character.

What say you, readers?

[cripplecharacters]

Hi, I have a quick question regarding your ask about people becoming disabled from using magic.

I promise this isn't some sort of "gotcha" I just have autism and sometimes I don't understand things.

If using magic and becoming disabled from it counts as the "disability as punishment" trope, why is it okay to have people become disabled from doing other dangerous things?

(Obviously this doesn't apply if the lore is literally something like "The Gods don't want you to use magic so they made you get disabilities from it to punish you for doing it.")

I'm just confused I guess because it really didn't sound like that anon was using disabilities as a punishment (like my above lore example), just as a consequence for doing something dangerous.

Where are we supposed to draw the line between something being a punishment VS someones actions having consequences?

Hello,

Really, it depends on how it's framed.

Magic causing a disability is a bit dodgy but can be done correctly, but when it's because of a curse or because they've done something wrong, or "the price to pay," those start framing disability as a negative thing. Whenever something is the price that needs to be paid for anything, it qualifies to me as a punishment with cool framing. And because that thing is so often disability, it plays into a real-life misconception that disabled people are the way that we are because we've done something wrong or we did something to deserve this.

It's framing disability as a negative thing, really. Yes, you can have magic causing a disability and it can be fine or even really good, but when it's a negative thing, that plays into negative stereotypes, like the stereotype in some religious settings that people are disabled because we've done something to offend the god(s) of a denomination when we're just disabled because we exist. So, it's kind of a semantics issue. How it's framed. Framing it as a neutral thing vs framing it as a negative thing. That's the line.

Mod Aaron

-

Hi lovely asker!

So I personally don't mind the trope of Magic induced Disability so to say. But I think the main part is the autonomy of the character.

If we have the character that uses their magic of their own will with knowledge of what will happen, I don't see this as a punishment or anything bad. The character has autonomy and is doing something willing that they know will lead to something else.

Then we have the character that is already disabled and uses magic that exacerbates their disabilities. This again like the one above is good, it shows the characters autonomy that they know doing so will lead to making whatever symptoms of their disability worse.

Then we have an outside force/other being that gives the character magic and gives them the knowledge that using the magic will disabled them. This one walks a fine line just because usually it depends on the fine details and how the author writes each characters interactions.

So wether this outside force/being gives the character a choice is where it makes the breaks the story. If they give them the choice of "you can walk away just as you walked in here or you can take the magic but know this will happen" it can be good, especially because you can show that the character doesn't find being disabled as something "bad". Now if they don't give the character a choice or give them an ultimatum that's when it gets bad and begins to fall into that trope.

Another example is exactly how you explained it that another being/outside force doesn't want the character doing something so they use disability as a punishment. This one is just not good, and is exactly the prime definition of Disability as Punishment, that should not be done.

My point is that the Magic Induced Disabilities or magic that exacerbates disabilities is a perfect allegory of an everyday disabled person. We all do things of our own will that we know will make symptoms worse (eat foods, drink alcohol, not wear braces etc) or that will disabled us in some other way. But the whole point is autonomy, we have autonomy. We're allowed to do things, dangerous things even, even if it means making things worse for ourselves.

~ Mod Virus 🌸

[myokk]

fast sketch of ominis & fast intro to the ominis longfic I'm working on!! This is going to be the most self-indulgent pride and prejudice ripoff that ever existed, 100% based on the ominis of my oneshot💘

I am just OBSESSED with exploring the idea that he’s a natural legilimens & OBSESSED with the thought that he thinks too much for his own good🫶🫶🫶

Ominis Gaunt has always suspected he is cold-blooded.

It makes sense, really.

He always seems to be cold: frigid, long fingers that are often stiff and difficult to move; goosebumps raising the skin of his arms and the back of his neck any time he walks through the drafty halls of the dungeons; even his eyes, he has been told, are reminiscent of ice. They are apparently quite unsettling. The only time he feels comfortable in his body is when he basks in the heat of the sun.

His earliest memory is of the cold. It went like this: he was four years old: his older brother, Marvolo, had led him outside as a joke, he swore up and down that it was just a small joke, and how was he supposed to know that poor, blind Ominis would not be able to find his way back home? When his parents had finally found him, his frail mother sobbing and holding his tiny, blue, hypothermic body to her chest, Ominis remembers feeling quite perturbed at the disturbance. Couldn’t he just be left alone, in the silent soft snow?

He does not know if he has ever felt warm since.

As he strides through the dungeons, the copious amount of warming charms he casts on himself do not seem to be enough, but he keeps casting them anyways and also: wrapping his wool scarf more tightly around his neck, quickening his pace in the hopes that blood flows more easily through his limbs, wishing that he had remembered his gloves. Winter is always a terrible time of year (this winter more terrible than usual), and every breath of warm air leaves his lips reluctantly. How he wishes that he could just hold on to it a bit longer and yet the warmth leaves him precisely fifteen traitorous times a minute, the frigid air gleefully entering and burning its way down his throat in response. Maybe it’s a punishment of some sort.

His whole life has been defined by punishments and sometimes he preoccupies himself with the thought that it is the only way he can view the world. Most of the punishments are manifested in curses inherited from his family. (His parents and Marvolo insist that they are gifts, but Ominis begs to differ.)

First, his blindness: the only true punishment-curse that even his family rejects: caused by inbreeding, no doubt. He did not cry after his birth and his mother cradled his tiny body in silent arms, lovingly whispering nonsense-evil-Parseltongue to him but when he opened his eyes and she saw a brilliant celestine blue with no iris, she screamed in horror and shattered the frigid peace of the room. His parents tried everything to fix him, make him whole, throwing money at various possible solutions to no avail. Magically induced disabilities are not, apparently, curable by magic.

Ominis is not sure that he hates being blind, although he suspects everyone thinks that he should. It is as much a part of him as his fifteen-breaths-per-minute, and he thinks that vision is not all it’s cracked up to be. He is always terrified at the thought that his tenuous hold on sanity is only due to the fact that he cannot see, until he realizes he shouldn’t be terrified of hypothetical situations that cannot come to pass. He consoles himself with the thought that maybe, if he has had to give up his vision for his sanity, it is a small price to pay. Although, he also thinks sometimes that it would be nice to live a life without any morality holding him back.

He is entirely too introspective, after all.

It is precisely this introspection that is his downfall in this moment (and his cold blood). Ominis is so busy casting warming charms on himself and thinking in circles that he cannot use his wand to help him sense his environment and so he should not be surprised when he crashes into her.

And yet he is. Terribly surprised.

Maybe if he were not so caught up in his own thoughts he could have paid more attention to his surroundings. Instead, he spent too much time ruminating on his reptilian heritage and has now barreled head first into his arch-nemesis.

Rosalie Harris.

The girl who has stolen his oldest friend from him.

The girl who is currently making angry noises as she clambers to her feet and is picking up the things that he has crashed everywhere. Even if he could see, Ominis is not sure he would help her. Helping her would be akin to betraying himself, after all.

“Hey! Watch where you’re - oh, hello, Ominis.”

“Rosalie,” he says shortly, nodding his head where he thinks she might be standing and stepping to the side. He tightens his grip around his wand, feeling the texture of the wood change from rough to smooth as he runs his thumb down it. Smooth where he always seems to worry it, rough where the wood refuses to yield to the brushes of his thumb.

He surreptitiously casts the spell - he has at least done it so many times he no longer needs to say it out loud - and his surroundings light up. Or, he supposes that is the most apt description, considering he cannot actually differentiate between light and dark. He senses Rosalie’s silhouette to his left - she is standing with her arms crossed and her foot taps impatiently as she waits for him.

Waiting for what? he thinks, slightly irritated. She never seems to leave him alone and he wracks his brain trying to think of something, anything he can say to get rid of her.

Maybe if he speaks in Parseltongue, she would finally be scared away for good. He does not really want that second reminder of his family’s curse, though.

His family preferred speaking in Parseltongue with each other, believing the ability made them morally superior to everyone else and Ominis had not even realized until he had arrived at Hogwarts that no, it was not normal. When his name had been called at the Sorting, furious whispers had erupted amongst all the students, and his every step (terrified, confused, unsure - he had still been getting used to using his wand to navigate his surroundings) to the stool at the front of the Great Hall was plagued with a susurration reminiscent of snakes. Except these whispers, sneaking their way into his mind, had been unkind and overwhelming.

(He had not realized in that moment that he was also hearing their thoughts.)

Maybe now, with Rosalie standing in front of him and just annoyingly waiting for Merlin-knows-what, Ominis should use his Legilimency to find out what Rosalie wants. (He hates it, though.) It would not be difficult. (The thought makes him shiver in horror because he doesn’t want to abuse the ability.) He can feel the edges of her mind, her magic, and all he has to do is reach out - she is right there, and -

“Ominis?”

Her arms are crossed, he hears an impatient huff.

Why hasn’t she left him alone yet?

Hadn’t the Hogwarts Express already left the station, bringing all of the students home for the winter holiday? Ominis had thought he would be one of the only students left in the castle, and if he is being honest with himself, he had been looking quite forward to having the place to himself.

Ominis’s winter has just gotten infinitely worse.

Going to Gaunt Manor for the holidays is out of the question (he will not think about the nightmares that have been plaguing him ever since he received the owl demanding he go home), and Ominis does not want to be more of a burden to the Sallows. They already do enough for him over the summer, and Sebastian and Anne have convinced him to go to Hogsmeade with them at least twice over the next two weeks. Besides, with Anne’s curse progressing, Ominis does not want to be in the way.

“Why are you still here?” Ominis asks. He knows his voice comes across as cold as his blood, blunt, but he cannot help himself. Ever since Rosalie arrived - her entrance to Hogwarts also causing quite the stir - Ominis has been intensely annoyed by her presence. She is too happy. Too carefree. Too…well, everything he is not.

And, she does not seem to leave him alone.

Rosalie is always there, always hanging around Sebastian. (Taking Sebastian away.) He even showed her the Undercroft, which had almost caused a rift in their relationship. Ominis could not believe that Sebastian would be so careless, showing someone who for all intents and purposes is crashing her way into their lives, forcing them to pay attention to her. They barely even knew her, and yet Sebastian thought it was a good idea to show her such a sacred place?

(It does not help that she is intelligent, and Ominis has caught himself on more than one occasion about to ask her about her opinion on something before he catches himself.)

“I was looking for you.”

Ominis tilts his head at that and fiddles with his ring. He considers walking away, leaving -

“I mean…Sebastian said that you were also going to be here over the holidays and since everyone else just left I thought -”

“Thought what?” Internally, Ominis winces at the biting tone to his voice. It came out harsher than he intended, his voice loud and echoing through his mind, bouncing off the cold, stone walls surrounding them.

[glitter-stained]

On villains with tragic backstories

Sometimes I'm like "is it really psychophobic, maybe i'm reaching, the character did say that they're not actually crazy they just like killing people" and then the narrative will hit me with "some terrible, dark horrors have happened in your past and this is why you are killing people but it's not too late to get admitted in a psych ward" and I wanna throw the comic through the window and myself with it.

The "mentally ill villain" trope isn't just saying that the villain is crazy or giving them hallucinations. If you're giving a villain a tragic backstory, and that backstory has caused them severe suffering the memory of which is still painful to the day, and the story expects you to believe that the villain's horrible behaviour is explained by the fact that this suffering broke something in them... It's worth examining if you're not just vilifying or demonizing mental illness on accident.

The issue isn't that your villain can't have a tragic backstory, or that the tragic backstory can't explain their actions: the issue is when the suffering itself is treated as a sufficient cause for the behaviour. Say a character was raised and abused by a cult that taught them killing puppies is good and then they kill puppies: not psychophobic. Say a character who used to love puppies was kidnapped and tortured by some guy just for the fun of hurting someone, no brainwashing or anything just pain, and then they get out and kill puppies because of the torture: psychophobic. There's a missing link in the reasoning here, a question of "what about this event taught/brought the person to the conclusion that it was a good idea to kill puppies or gave them a desire to?" The psychophobia is insidious, hiding in the implication that the trauma (because this is what it's really all about) is what made them kill puppies. Sometimes, people with trauma kill puppies. But killing puppies (or exploding buildings with children in it, or shooting someone in the spine, or severing heads and putting them in a duffle bag, or, or, or) is not and has never been a symptom of ASD*, PTSD, CPTSD, BPD, DID, DDD or any other trauma-induced disorder. It's a good idea to verbalise the logic, emotions, needs and desire that motivate your villain and where they stem from, to avoid falling into the trap that thinking their trauma, because of the magnitude of the empathy it's meant to generate for the character, is enough of an explanation for their behaviour. A villain being sympathetic because of their backstory doesn't mean that their actions are necessarily coherent.

On top of that, it's important to take in account other factors such as the original background of the character, their vulnerabilities, their age (super important when writing childhood/teenage trauma/young villains!), but also their ethnicity, gender etc etc. This is important for realism and accuracy, because trauma is neither a magical button that creates heroes nor sociopaths, but also because psychophobia interacts so easily with other forms of discrimination slipping through the cracks. Now that you've identified that your woc character becoming a manipulative, sociopathic "crazy ex" because of her trauma was not just a consequence of her trauma but the interaction between the trauma and personal factors, what are those implicit factors that contribute to make her manipulative, obsessed with her ex, etc.? And now that you've extracted them explicitly, like a zip file, can you examine them to see how many of these personal characteristics have to do with her being a woman of colour?

I hope it's clear that I'm not telling you what to write- I think imposing the idea that villains can't be poc, or queer, or working class, or disabled, or mentally ill, etc. is harmful, because it reduces potential representation, it's based on the assumption that I know what you're gonna write and it's gonna be fundamentally ableist, and it puts this pressure on fictional characters to be perfect icons of representation rather than actual characters with depth and personality (kinda like thinking you can't write a female character who cries because it implies women are weak). This is just to encourage you to be mindful about what you're doing when writing that tragic backstory, because it's not necessarily what we think about when we talk about mental illness, and it's important to analyse what you're writing with a measure of introspection: why am I writing this? What does this imply about the character? What's my reasoning for this character's reasoning?

I have zero issue with a mentally ill character kicking a puppy as long as the narrative isn't trying to tell me that it's a symptom of mental illness to kick puppies. But of course, perhaps the story could also be a critique of those stories about mentally ill people kicking puppies, and the satyre is flying way over my head; or perhaps there will be a secret plot-twist that happens after I stopped reading that explained why the character was kicking puppies, perhaps the book was an attempt at guiding and manipulating the reader into realising the flaws in that reasoning on their own, or perhaps it was a metaphor for something else entirely, etc, etc. I don't know. The point is, write whatever you want; but write it self-aware.

*in this context, ASD meaning Acute Stress Disorder

Two examples of comics I think do it pretty well:

> Arkham Knight Genesis: for all its flaws (i didn't really like this one), I think it does a pretty decent job of getting us to understand how Jason got where he is, that it wasn't just "tortured until evil", all the reasons for his resentment, all the brainwashing and manipulation are pretty explicit. Kind of an "easy mode" because the plot revolves around brainwashing, but solid on that front.

> Red Hood Lost Days: this one I'm more mitigated because there's this whole "pit madness/the pit made him a psychopath" thing Winick introduced to limit the damage of previous runs (and rightfully so imo, Pit Madness is a much better explanation for some of Jason's most batshit ooc runs than just trauma), but there are some pretty solid elements, especially when you know earlier comics. I'm thinking specifically about when Jason says something around the lines of "you murder people; i put down a lizard", as a direct echo to Judy's "I put down a mad dog", that's one of my favourite comic lines ever, I cheered seeing that parallel like yes, I can see the reasoning, I understand where you learned the lesson and what the thought process is and I support it.

[yesornopolls]

Fandom question, sorry it's slightly long. In canon, a character has a magic-induced health problem. Basically, every so often, he has days moving his back in any way causes staggering amounts of pain and he has severe fatigue. He can't get upright under his own power during severe episodes. Painkillers do not work. The frequency of episodes starts off once every few months but by this point in canon has become a once or twice a week problem. It can hit right out of nowhere even if he was fine all day today or he can wake up with it.

I've gotten several annoyed remarks by people informing me that this is belittling the pain actual disabled people have because disabilities, unlike curses, can't be lifted. And I can see that there's a difference. Thing is, he can't canonically afford to pay to have the curse lifted. He's stuck with it.

Do you view this character as disabled?

[mrs-stans]

Sebastian Stan

Words Natty Kasambala

Beloved for Captain America, I, Tonya, and his recent Emmy-nominated role in Pam & Tommy, Stan reflects on a career shaped by diverse characters. Now, with A Different Man and The Apprentice, he’s exploring deep questions about identity, ambition, and the complexities of portraying one of America’s most influential (and controversial) men, Donald Trump

Sebastian Stan wears Rag & Bone throughout. Photography Jim Goldberg

The first time Sebastian Stan tried acting, he hated it. At 9 or 10 years old, he played a Romanian orphan in an Austrian film called 71 Fragments of a Chronology of Chance (1994). Between the waiting around, night shoots, and general pressure-cooker energy, the whole experience had been pretty anxiety-inducing. “I think the idea of a set was just really terrifying,” he recalls. The 42-year-old mainstay admits to being a Leo, but a rather reluctant one, he says, not that extroverted or hypersocial. “I know my mom always thought I was creative simply because I would impersonate the people in our family, or birds or whatever I would see around me.” Nowadays, when he does speak, it’s with the compelling ease of someone who’s spent equal time commanding impressive rooms and in their own head trying to crack the great questions of the world – sounding off passionately about the perils of social media (“there’s so much noise in today’s world”) or the last incredible film he watched (Sing Sing and it was “pure heart”).

Born in Romania and raised in Vienna until he was 12, it wasn’t until immigrating to America as a preteen that Stan found his way back to the craft at all. Attending Stagedoor Manor summer camp aged 15, in the Catskill mountains of upstate New York, his spark was reignited. “That place was really magical and made me fall in love with (acting again); I couldn’t think of anything else as exciting to me as performing was,” he says. “Some of it was about not ever being sure of what to be when I grew up. I kept thinking that you could be a lot of things if you did this.”

So far, he’s been a wayward socialite, a cannibal, a space surgeon, a ski patrol villain, a heavy metal drummer, a supernatural student and a World War II veteran turned brainwashed Soviet operative, to n ame but a few. He’s not an actor you’ll find in the same role twice. With that said, his name has reached household status through a decade-long Marvel stint, with the two films Stan finds himself at the helm of this year being his most ambitious forays yet. 33 years on from his awkward beginning, the actor’s commitment to film appears to still be very much in bloom. “I think I’m at a point in my life where I’m trying to understand things on a deeper level,” he explains. “I can’t say I know everything, you’re always growing, always having to explore. I think it’s important to stay curious, to stay in a certain degree of healthy discomfort… I want to be part of important storytelling that’s asking important questions and reflecting our time.”

In A Different Man, an A24 production directed by Aaron Schimberg, Stan takes on the role of an aspiring actor called Edward with neurofibromatosis, a genetic condition that results in the extensive growth of benign tumours. He undergoes a clinical trial that cures him of his physical symptoms, but his new life turns out to be far from what he dreamed for himself. It’s a winding surrealist investigation into the social impacts of disability, alienation, representation and self-image: its gaze is unflinching, its narrative self-referential and its humour pitch-black. Stan has already won the Silver Bear for Best Leading Performance at the Berlin Film Festival for A Different Man.

The second release, The Apprentice, follows a wildly different arc. Directed by Iranian-Danish filmmaker Ali Abbasi, it tracks a young Trump as he falls under the nefarious mentorship of infamous legislator Roy Cohn. Dubbed ‘an American Horror Story’, it’s a sobering yet deeply entertaining snapshot of the making of one of America’s most influential men. Yet even within the dynamic, prescient story, the actor’s take on Trump is subtle and human, and the tone of the film is less moralising and more matter of fact.

Though the narratives of these two projects are starkly different, you can’t help but find the common threads. Both are set in New York and document a transformation, and both centre a feverish pursuit of some ideal imagined self. A Different Man was filmed back in 2022, and The Apprentice only wrapped in February of this year, but Stan agrees it’s a curious double-header. “I’m weirdly finding parallels between them that I never thought I would. Identity, self-truth, self-abandonment. This idea that we’re always chasing in America, whether it’s image or status or an inability to accept failure and to take ownership over mistakes.”

For the Trump film, that real-life denial was almost the ending of their work of fiction. After years of false starts, Trump’s legal team attempted to block the film’s release in the US altogether and they struggled to find a distributor willing to take on the risk of pissing off a potential President. “For to edit it and get it to Cannes in some finished version itself in five months was just insane. There was no idea if the movie was going to come out,” Stan says. On an individual level, the task felt equally murky and intimidating at first. “You’re trying to tell a story about somebody that’s so famous, who everyone has an opinion about: either extreme love and adoration or hate and animosity. And everyone’s got a version of the guy, so you think, well what do I…” he shrugs, “how do I find my way into it?” Ultimately, they landed on this film as a means of peeling back the layers of one of the most polarising figures of our time. It’s less caricature and more character study as it explores his relationship with his father, his ambitions, the man he was before the slogans and affectations.

Executive producer Amy Baer has spoken about the choice to call on a non-American director to provide a new lens on the intricacies of American culture, propaganda and patriotism. With Stan’s own immigrant story, his perspective adds another dimension to that prism too. Memories of walking down Fifth Avenue in awe and wonder as a kid, staring up at all the big buildings – he tapped into a hunger and drive to portray early Trump as a young man desperately trying to be a part of The Club. “I guess with my experience coming to this country, it was communicated to me even from Eastern Europe that this is the place where you can make something of yourself, you can have a good idea… and you could just succeed,” Stan says. The Apprentice asks, “but at what cost? What happens to a person’s humanity?”

Throughout the film, you witness Trump espousing about “bringing back New York”, even remarking on Reagan’s campaign slogan ‘Let’s Make America Great Again’ towards the end, an ideology he would go on to repurpose for his own candidacy. It’s a fascinating yet depressing origin story of a nationalistic rhetoric that echoes today as a Trojan horse for corruption and greed. “It’s complicated. That’s why I think there’s value in exploring it,” Stan urges. “This American Dream idea is a really powerful driving force that also comes with consequences.”

Perhaps the most complex part was the toxic relationship with his sometimes-partner-in-crime played staggeringly by Jeremy Strong. “I think he was the best partner I’ve ever had in anything I’ve worked on,” Stan declares with a smile. “You know when you’re standing in front of a fire and you feel the heat of it and there’s crackling in the air? That’s how it felt.” Amidst quite a gruelling, isolating filming schedule, it’s the aspect Stan speaks about most fondly.

Clothing Fendi, Necklace & Bracelet Cartier, Boots Givenchy

Swinging between dominant and intimate, transactional and paternal, from comical to devastating, both stayed in character throughout the shoot and undertook a colossal amount of research to be prepared for infinite possible improvised routes. “Creatively, makes things interesting is when you’re not in control. You do all this preparation to be prepared to be surprised,” Stan says. Shot documentary-style in moments, Abbasi might give each of them notes in private to shift the tone of a scene, and they’d find themselves responding instinctively within their roles. “The only way you can achieve that is if, to some degree, you find that person in you. And I can certainly tell you,” he pauses briefly to consider his landing. “There is a version of Trump that existed in me. And I’ll make the argument that there’s a version of Trump that exists in all of us. And that part of our job, part of our interest, should be figuring out what that is. I think we have to acknowledge and expose the things in us that are not so easy to admit, in order to further protect the things we need to fight for. You can’t ignore it.”

In that moment, it’s clear that it’s an argument as true of our discourse on Trump as it is of Stan’s other role in A Different Man. His character Edward is driven to obsession and madness when he witnesses the thriving life of a person with the same disfigurement he was quick to shed, the very thing he believed to be the root of all his misfortune. Right before his transformation, Edward has been ignoring a leak in his ceiling for weeks, and the damage is getting worse. When he’s finally forced to call for a repair, the super arrives and is appalled at how bad he’s allowed it to get. He tells Edward frustratedly, “you should have fixed this sooner”. In that moment, it feels as though he’s talking about a hundred things at once. From Edward’s own issues with doubt and self-acceptance that cling to him even when he is no longer ‘different’ to our own society’s discomfort with, and the misunderstanding of disability altogether. We cannot be afraid to look.

“Edward makes a decision that he thinks is going to improve his life, but he’s not making it for himself. He’s making it because he’s watched other people and he’s grown up in a society that’s told him this is what works,” Stan explains. “Essentially, he abandons himself and he spirals down trying to further live with that painful acknowledgement. I think we have to be conscious of when we’re making decisions that go against who we are and what we truly want.”

In true indie style, squeezing in around the schedule of their makeup artist who was on another project at the same time, Stan had some hours to kill most mornings in prosthetics before filming which he’d spend navigating the city he calls home: “one of the gifts that I was given which I’m very grateful for was the experience that I had walking around New York City as Edward.” With reactions to him ranging from invisibility to hypervisibility, it shifted his entire understanding.

“I’ve been there like everybody else thinking, oh, if I had that. Or you see someone on Instagram and you’re like, oh my God, look at that life, they have the best life; you get caught up in these things.” It’s both reassuring and a little disheartening that, unlike his superhuman alter ego, a star like Stan is still not immune to the very human insecurities us civilians face of joy-stealing comparisons. “There’s this idea I’ve been thinking about a lot with my therapist actually,” he laughs. “He was saying ‘I am me and you are you.’ I was like… yeah! But you forget. We have to understand our own experience and then understand someone else’s. But we have to try to understand it not through our own emotional… vomit.”

When I ask Sebastian what he does for fun, to unbecome his characters and shed their existential weight, he cites reading (mostly non-fiction) and travel (to see other cultures). “I always feel like I’m not learning enough,” he laughs. You get the sense that this year is a juncture for Stan, always revered for being grounded and likeable, but perhaps waiting for opportunities like these to enrich and express other sides of himself as an actor and voice within culture. “Both of these films came at an interesting time where I’m thinking about if I’m at mid-life, this second half of my life. What is it that I want to be a part of and one day look back and be proud of?”

And that’s not to say fun is off the table for Stan. He’s passionate about laughter as a release in a difficult world. “I think it’s just as important, we have to protect humour,” he tells me with an urgency. “I love comedies, romantic comedies, action.” In fact, there’s a top-secret action movie passion project that he has in the works and hopes will come together in the right way. “There are also things in Marvel I want to do and explore with ol’ Bucky Barnes,” he smiles, presumably in reference to the new Marvel film Thunderbolts, slated for a 2025 release, in which he stars alongside Florence Pugh, Harrison Ford and David Harbour. “Otherwise I just want to keep learning how to be a human being. I’m telling you,” he laughs, “I feel like it’s pretty hard.”

Photography Jim Goldberg Styling Reuben Esser Production Hyperion LA Hair Jamie Taylor using Augustinus Bader Hair Erica Adams Represented by A-Frame Agency

[eldritch-spouse]

https://www.tumblr.com/eldritch-spouse/785739977066692608/real-sorry-if-youve-already-written-sumthin-like?source=share

Legit the only time I've ever read Santi being nice to a concubus reader on this blog and it is kinda heartwarming and heartbreaking that this is the state you have to be in to not be seen as a threat. I forgot he can get triggered into a platonic and protective relationship if you remind him of himself or Grimbly.

TW: Fantasy eating disorders (I genuinely don't know how to explain this)

Santi comes off as a very nice and charming guy who really doesn't want anyone to get riled up- But I always like to leave the demonic side in these characters present.

At the end of the day, he's still an incredibly powerful high-ranker. And to maintain that rank, that power, Santi has to bludgeon any perceived competition as soon as it rears its head. Another concubus won't see Santi the way you do. They'll see the hungry beast in him, the jittering, anticipating creature always evaluating how much of a problem another concubus will be. That's why, to keep friends of the same type, Santi and them have to purposely meet up outside each other's perceived territory. Even then, it's genuinely hard for him to come to tolerate another concubus.

A "disabled"* concubus won't register as a threat to him. And although Santi will still prefer that concubus get out of his claimed space, the sight of such does tug at what little empathy he garnered throughout the years. It's a rolling, conflicting mixture of feelings wherein Santi is mildly irritated but swallowed by pity and the clawing sensation that himself and those he considers dear to him have been in similar states before. (Ironic that this same feeling isn't sparked when you become his obsession)

Could Santi become obsessed with a concubus? The chances are extremely low, and the relationship would be more outwardly abusive. In the sense that you're not allowed to surpass him in power or rank, and he will always steal energy from you. You will forever be forced into submission, and his control over you is unwavering.

* A "disabled concubus" isn't a concubus who has lost a limb, for example. While those afflictions exist certainly, a disabled concubus is a concubus whose ability to feed is limited- Either because something in their magic doesn't function properly (ie: inducing terror instead of arousal), or they've been mentally disturbed enough to acquire eating disorders. In that ask, Santi presumes you have the latter.