dearestdo3

[dearestdo3]

Repost of my commissioned lovely art for my new obsession, genderbend tomphard 💚

1st art by innashii and 2nd is by daffo! Do check them out if you need any art done since they both have intl cms open <3

[dearestdo3]

get to know your mutuals 💐

tagged by @yumeurl 💕

Favourite Colour: Blue! 💙🩵 More specifically, denim blue, royal blue, and baby blue :D I also love black and soft pink! 🖤🩷

Last Song: Une vie à t'aimer from Clair Obscur: Expedition 33! I have been binging all of their OSTs since I finished watching long playthroughs of the game, and I keep on looping Une vie à t'aimer, Lumière, and Sirène 🌹

Currently Reading: An original BL novel by a local artist I bought during CF20. It has been a long while since I've read a book in Indonesian, but it's been lovely so far!

Currently Watching: House MD 💔 I want to finish this show as soon as humanly possible so I can finally be freed from all the spoilers............

Currently Craving: Rendang!!! (Which we'll cook with the beef we got from Qurban) But also Tacos and Nachos!!! All the restaurants serving Mexican food are far away from my hometown 😭😭😭

Coffee or tea: Both 😋<3 But a glass of water beats both of them

[dearestdo3]

🤵‍♂️👰‍♂️

[dearestdo3]

how is tom femme or femme coded? Can you explain that? I'd love to hear your thoughts

I really don't think he would be 'femme'. Femme coded is a more accurate term for him if I'm going to talk about it.

At Hogwarts and during his young adult years, his way of speaking was usually described as softer, probably in a lower tone (sometimes whispering). He was charming, persuasive, magnetic, seductive, fully aware that his appearance was somewhat appealing, rather than fitting the stereotype more connected to a popular masculinized figure of: moderate or straightforward aggressiveness, forceful (dominant-agressive assertiveness) in his representation and the way he carried himself, even as Voldemort. Tom was more quiet, but in the sense of measuring and controlling his posture, his discreet manipulation is the opposite of the 'masculine ideal' (assertive dominance) of power: he could be cruel among his knights, as much in magical ability as in strategic intelligence, but his exclusive strength was manipulation and using fear as a weapon. His combative nature was never direct and physical, unless it was purely through magic.

Now, Voldemort had a quite intense demeanor; I don't separate him and his younger self as two characters, but there are phases. Tom, unlike Voldemort, is extremely controlled, while at the same time not revealing what he truly feels within. There is even a very interesting analysis that comments on Voldemort's heartbeat being more irregular than usual.

And if we think about Voldemort's himself, I understand him as an extreme version of Tom's emotions; the cruelty, persuasive manipulation, deep-seated fragility, dramatic — all heightened. He no longer controls himself (perhaps he barely feels the need to) with the same level of care and planning that he had when he was younger, trying to rise and carve his exclusive place on a hierarchy.

Also, up to a certain point, Voldemort's voice starts to frequently become more "high" and his emotions are very volatile. And yet, his display of aggression is tied exclusively to his powerful magic.

Oh, and a good example of his behavior as Tom is the scenes of him talking to Harry in CoS. His behavior is provocative, passive-aggressive, tending toward being persuasive and having a humorous obsession (except that I think the obsession part was more of an expression than a performance). I could also say that the seductive conduct was still there, albeit even more submerged, more restrained. But it's the behavior indicative of obsession that may end up intertwining with this other meaning.

Another point I think about is the fact that some of his Horcruxes are linked to women (objects that belonged to women). There is symbolism for each Horcrux, and the fact that most of them are associated to female figures is interesting, to say the least. And let's remember that the diary was exclusively his.

Just to make myself clear: I am not characterizing him in any way as "behaving like a woman," since that kind of analysis would be somewhat superficial and based on expressions of gender. From my perspective, I am referring to his behavior in relation to how the narrative itself portrays him; to certain qualities that tend to being labeled as feminine-code, whether in terms of style, tone, or symbolic narrative function.

[dearestdo3]

HAPPY BIRTHDAY BRAT

[dearestdo3]

weird kid

[dearestdo3]

(tom's little bright star isn't really that bright)

this is a small 4-koma test of my tomphard omegaverse AU! I might make more here and there since the longfic this was based on is gonna be written waaaaayyy into the future 😩

[dearestdo3]

it’s unfortunate that (some) people in fandom spaces are starting to get too comfortable complaining and being rude to writers and artists who create contents they personally don’t like (“why are you making this character a top when he’s obviously a bottom? omg do you even understand his character?” “I’m so sick of seeing fan art and fanfic where this character is portrayed as a sadist when he’s actually misunderstood in my opinions, therefore anyone who disagrees with me is wrong and should be shamed” just to name a few I’ve seen) instead of curating their own fandom experiences by engaging only with contents they do like.

you want more fics where (x) is written in this specific way? either write one yourself or politely expressing your opinion about how you hope there will be more fics where (x) is written in this specific way instead of making fandom a toxic place by being rude to writers and artists who dare make contents that are not to your Personal Liking.

if the universe does not revolve around you, strangers and fandom spaces don’t have to cater exclusively to your personal preferences either.

to all my beloved writers and artists, write whatever you want, draw whatever you want. portray that character in whichever way you want to portray. I hope you have fun doing what you love. don’t let anybody tell you what you can or can’t do with the blorbo. go wild. I will always support you

[dearestdo3]

Idk where the “Sirius had unrequited feelings for James” take has come from, because while they’re both co-dependent and inseparable, James clearly comes across as more attached to Sirius than vice-versa, whether you read them as platonic or romantic. Among other things:

It’s James who seeks out Sirius in the train and after he finished his DADA exam (before he starts doodling Lily's initials), not the other way around.

Sirius pokes fun of James many times in the flashback (“reading between the lines…”) yet we never see James do the same to Sirius, even though he’s plenty capable of doing it to pretty much everyone else (“how thick are you, Wormtail?” / “ah, don’t make me hex you, Evans.”)

Sirius was the only one for whom James would have stopped showing off - he tells James to put the Snitch away and James immediately does, no questions asked. But we never get any scene with James doing the same to Sirius.

James chose to ride behind Sirius on his motorbike, holding onto him, rather than fly on his own broom beside Sirius.

James was literally in hiding with Lily and their infant child and he still specifically needed Sirius to cheer him up. And Lily wrote Sirius a letter asking him to come visit, be still my Jilypad heart

So if we're going for unrequited Prongsfoot, surely James being in love with Sirius makes much more sense and has more (unintentional on JKR’s part, naturally) basis in canon?

~

[dearestdo3]

Some practice concepts (?) of young Tom riddle :3

[dearestdo3]

nagini may have killed my fav but shes still so pretty in the fb movies💔💔 oh and also drew tom

[dearestdo3]

Fest Information

Welcome to the second Marauders Omegaverse Fest! This is a fest to promote omegaverse, or A/B/O, content in the Marauder's fandom.

Look at our prior collections here: 2024, 2023.

Prompting is open until June 1, 2025. Claiming opens May 28, 2025, and will remain open until August 15, 2025. Submissions are due on August 20, 2025. Posting will begin on September 1, 2024.

Interested in participating? Check out our Rules and FAQ posts. Once you've done that, you can:

Prompting is Open!

View the prompt list!

Claiming will open May 28!

Submissions will open soon!

If you have another question, please send us an ask! Send an ask! 

[dearestdo3]

Tea time with Tom Riddle for @augustuscaesarsalad

Contrary to popular belief, I love drawing characters I don't usually draw. I just never remember to draw them. Thank Caesar Salad for reminding me and planting this image in my head.

[dearestdo3]

I don't care how physically big Sirius is, in my opinion he can't even open a jar without magic (in my opinion he can't do ANYTHING without magic because he's a pureblood nepo baby who probably couldn't make his bed WITH spells)

He'll stand there trying to open it and fail, again and again, and again, but it won't open.

Severus?

He just takes it off him with a "tsk", opens it himself, no magic just his delicate lil wrists, hands it back to Sirius, and leaves.

Doesn't even need to say anything.

[dearestdo3]

💚

[dearestdo3]

Said Voldemort...

Hi everyone! I'm trying out a new way of analyzing speech in the HP series. In my previous installments (Said Snape & Said Malfoy), I used a method breaking descriptors down by part of speech, so as to better reflect the exact phrasings and constructions used in the series. However, I have been thinking about changing this up going forward, by combining all descriptors across parts of speech and breaking them out semantically. That's what I did here—please let me know what you think!

Riddle/Voldemort's speech is described as:

About a fifth of the time when Voldemort’s (or Riddle’s) speech is described, it is to denote the softness of his volume (e.g. “quietly”, “softly”, or “whispering”). The second most common descriptor conveys an icy tone: e.g. “cold” or “cool”, followed by a high pitch: e.g. “high”, “high-pitched”, or “shrill”. Coming close behind words denoting pitch are words denoting a strong, negative, anger-based emotion: e.g. “furious”, “shouting”, “shrieking”, “screeching”.

Although not the most common descriptor for Voldemort/Riddle’s speech, it is notable that he is the character in the series whose speech is most often described with snake-like, sibilant hissing— fitting for the notorious Parselmouth.

If we break down the prevalence of these descriptors by Voldemort’s timeline, some interesting patterns emerge:

As a child, Riddle is most likely to speak in a politely controlled fashion, demonstrating an understanding of power hierarchies (he’s speaking to adults) and a desire to manage perceptions. This suggests a wary and mistrustful view of authority figures.

Looking across Riddle’s childhood, teen, and young adult years together, we see that his speech is most often characterized as soft (e.g. quiet, soft, whispered) followed by controlled (e.g. calm, careful, pleasant, measured) and impatient (e.g. quick, sharp, sudden, interrupting). The somewhat contradictory set of vocal descriptions in his youth (impatient vs controlled/polite) illustrates a tension present in young Riddle; although he’s ambitious, thirsty for knowledge, and strives for distinction, he remains highly conscious of how he is perceived. Riddle very rarely displays vocal indicators of aggression or anger, instead learning to use his charisma to get what he wants, as Dumbledore says the following about Riddle’s skill in this regard:

“He showed no sign of outward arrogance or aggression at all… He seemed polite, quiet, and thirsty for knowledge. Nearly all were most favorably impressed by him.”

Teenage Tom Riddle, preserved as a horcrux, confirms that he used his charm to manipulate starting from a young age:

“If I say it myself, Harry, I’ve always been able to charm the people I needed.”

His high tone becomes a key feature of his voice in his teen years and above, and the most negative descriptors used for his tone (e.g. “dreadful”, “dangerous”, “malicious”, “cruel”, “inhuman”, “merciless”, etc.) don’t appear until Riddle himself becomes inhuman and creates his first horcrux, the diary.

Another notable feature of Voldemort’s vocalizations is his amused tone. Voldemort’s laugh and amused tone only emerge in Riddle’s teen years; it seems Riddle may not have had much reason to laugh in the orphanage. But Riddle/Voldemort as a teen and above relishes wielding his power, and often laughs as he faces others’ distress. He has a dark, sinister sense of humor and delights in irony (when he recognizes it). Riddle/Voldemort’s humor is not simply performative; he indulges in it even while alone with his victims, and clearly finds himself hilarious.

As the years go on and Riddle remakes himself into Lord Voldemort, he loses the need to impress or charm authority figures and emerges as one himself. For example, when Voldemort returns to Hogwarts to request the DADA position, Voldemort no longer bothers to strike a polite or pleasant tone in an attempt to persuade, instead speaking softly and contemptuously. Compared to Riddle, Lord Voldemort is more likely than ever to speak softly, with descriptors denoting his youthful impatience and politeness all but disappearing and “cold” and “high” becoming ever more prominent.

After Voldemort’s initial defeat, when Voldemort exists as a spirit and in his rudimentary baby form, the most common description of his voice is “cold” or “cool”. There is also a lack of contemptuous descriptors of speech in Voldemort’s non-corporeal form; perhaps he is too weakened, too dependent to engage in his usual sneering and jeering.

Upon his regeneration in Goblet of Fire, Voldemort’s anger is close to the surface and emerges more often in his vocal indicators; Voldemort has been severely disappointed by his followers, and doesn’t hold back. Voldemort’s angry vocalizations peak in Deathly Hallows, as Voldemort embarks upon attempt after attempt to kill Harry Potter, and fails.

Misc. notes: There is a notable similarity in the vocal descriptions of Voldemort, Lucius Malfoy, and Severus Snape, as all three men have a tendency to speak softly/quietly and coolly/coldly/icily. @saintsenara (x) and @sideprince (x) have suggested Snape’s quiet, cold intimidation was learned from Voldemort, and it’s very likely Voldemort, as the most significant influence on these men’s lives for a time, served as a model for one or both of them.

There are some interesting differences, however. Lucius is somewhat more likely to speak contemptuously (sneering, jeering, drawling), and Snape is more likely to speak impatiently (sharply, curtly, barking, interrupting). Another distinction between the three is the tendency to express positive emotions vocally, or to laugh. Lucius, though his tone may hold delight, rarely laughs. Snape never expresses any delight vocally, and never laughs. Snape has the most varied descriptors of the three (almost 2x as many as Voldemort, and about 2.5x Malfoy’s), which makes sense given his relative presence in the story, as well as his more complicated characterization.

*This is by no means meant to be the definitive, exhaustive analysis of Voldemort’s speech. This was completed doing simple searches for dialogue with “Voldemort” and “Riddle” and Harry’s dreams/visions, so it’s entirely possible that I’ve missed a couple instances.

[dearestdo3]

he came out of the closet