#also this is after Dracula's first death

[the-crow-binary]

Leon: Our battle ended four hundred years ago ! Walter: But now i'm ready for a rematch. Leon: Took you long enough. Hehehehehe

[thegoatsongs]

A survey of 100 authors from 54 countries named "Moby Dick" as one of the 100 best books of all time... But public opinion was very different 161 years ago. When "Moby Dick" debuted in 1851, reviewers trashed it.

The book sold fewer than 4,000 copies in total (fewer than 600 in the UK), prompting Melville to have serious doubts about his future writing career.

Given that The Beetle was very popular for several years since its publication (and had outsold Dracula six times over) I am once again judging

[writingwithcolor]

How can non-Jewish writers include Jewish characters in supernatural stories without erasing their religion in the process?

Anonymous asked:

I have a short story planned revolving around the supernatural with a Jewish character named Danielle (who uses they/them pronouns). Danielle will be one of a trio who will be solving the mystery of two brides' deaths on the day of their wedding. My concern with this is the possibility of accidentally invalidating Danielle's religion by focusing on a secular view of the afterlife. At the same time, I don't want to assume that Jewish people can't exist in paranormal stories, nor do I want to use cultural elements that don't belong to me. So, how do I make sure that Danielle is included in the plot without erasing their Jewishness?

Okay so to start with I think we need to ask a question about the premise: what is a secular afterlife? I’m not asking this to nitpick or be petty, but to offer you expanded ways of thinking through this issue and maybe others as well.

A Secular Afterlife

What is a secular afterlife? To begin with, I get what you mean. The idea of an afterlife we see in pop culture entities like ghost media owes more to a mixture of 19th-century spiritualist tropes drawn from titillating gothic novels than to anything preached from the pulpit of an organized house of worship. Yet those tropes--the ominous knocking noises from beyond, the spectral presences on daguerrotype prints, the sudden chill and the eerie glow, all of those rely on the idea of there being something beyond this life, some continuation of the spirit when the body has ceased to breathe. For that, you need to discount the ideas that the consciousness has moved on to another physical body and is currently living elsewhere, and that it was never separate from the body and has now ceased to exist. Can we say that this is secular?

More so: Gothic literature, as the name suggests, draws heavily on Catholic imagery, even when it avoids explicit references to Catholicism. Aside from the architectural imagery, Catholic religious symbols permeate the genre, as well as the larger horror and supernatural media genres that grew from it: Dracula flinches from a crucifix, priests expel demons from human bodies, Marley’s Ghost haunts Ebenezer Scrooge in chains. The concepts of heaven and hell, and nonhuman beings who dwell in those places, are critical to making the narratives work. 

The basis also draws from a biblical story, that of the Witch of Endor. The main tropes of Victorian spiritualism are present: Saul never sees the ghost of Samuel, only the Witch of Endor is able to see “A divine being rising” from wherever he rises from, and her vague description, “I see an old man rising, wearing a robe,” evokes the cold readings of charlatan mediums into the present (Indeed, some rabbinic sources commenting on this assert that this is exactly what was going on).

While neither of these views of its origin define the genre as the sole property of Catholicism--or of Judaism for that matter--it would be hard exactly to categorize them as secular.

A Jewish Perspective on ghosts

However, it’s not the case that ghost media is incompatible with Jewishness, assuming that it doesn’t commit to a view of heaven and hell duality that specifically embraces a Christian spiritual framework. 

Jewish theology is noncommittal on the subject of the afterlife. The idea of a division between body and soul in the first place is found in ancient Egypt, for instance, earlier than the earliest Jewish texts. In Jewish text it’s present in narratives like the creation story, in which God crafts a human body out of earth and then breathes life into it once it’s complete. It also appears in our liturgy: the blessings prescribed to be recited at the beginning of the day juxtapose Elohai Neshama, a blessing for the soul, with Asher Yatzar, expressing gratitude for the body, recited by many after successfully using the bathroom. 

Yet it’s not clear that this life-force is something separate than the body that lives beyond it, until the apparition of the Witch of Endor. The words we use to describe it, whatever it is, evoke the process of breathing rather than that of eternal life: either ruach (spirit, or wind) or neshama (soul, or breath): neither is a commitment to the idea that it does--or that it doesn’t--go somewhere else when the body returns to the earth. 

Jewish folklore, however, leans into the idea of ghosts and other spiritual beings inhabiting the earthly plane (and others). Perhaps most famous is the 1937 movie The Dybbuk, in which a young scholar engaging in kabbalistic practices calls upon dark forces to unite him and his fated love, only to find himself possessing her body as a dybbuk. It appears that he is about to be successfully exorcized, but ultimately when his soul leaves her body, hers does as well. 

More relevantly to your story, a Jewish folktale inspired the movie The Corpse Bride. In the folktale version, a newly-engaged man jokingly recites the legal formula he will soon recite at his wedding, and places his ring on the finger of a nearby corpse--a reference to a time when antisemitic violence is said to have gotten worse not only at Jewish and Christian holidays as it does still to this day, but around Jewish weddings as well. The murdered bride stands up, a corpse reanimated complete with consciousness, and demands that the bridegroom honor his legal obligation. 

In the movie, the bride gives up her demand willingly: her claim on him is emotional rather than legal, and she finally accepts that he has an emotional connection with another person, that he doesn’t love her. In the folk tale, the dead woman takes him to court to decide whether their marriage is legal, since he spoke the legal words to her in front of witnesses as is required, and the court rules that the dead do not have the right to make legal demands on the living. In this version, the moral of the story is that a legal formula is an obligation; that when he jokingly bound himself to the corpse, he not only disrespected the dead but also the legal framework that structures society, and by so doing risked being obligated to keep his side of a contract he never intended to enact. 

This speaks to the ways that a Jewish outlook can differ from a Christian-influenced “secular” one. Christian-influenced cultural ideas can often focus around feeling the right thing, while Jewish stories will often center on doing the right thing. Does the Corpse Bride leave because she realizes she is not the one he loves? Because she--or he--learned a valuable lesson? Or because she loses her court case? It’s not that the boy’s emotions are irrelevant to the story--the tension, the suspense, the horror of the story takes place primarily within the boy’s emotional landscape--but emotions on their own are not a solution. The question “should he marry her” can be answered emotionally, but “has he married her” can only be answered by a legal expert, and once it has been the deceased bride may not have changed her emotional attachment to him, but she no longer has legal standing to pursue her claim. 

Centering legal rectitude over emotional catharsis isn’t a requirement for having Jewish characters in your story, but it’s worth thinking about what is and isn’t universal, what is and isn’t actually all that secular. 

Meanwhile, back at the topic:

Where does any of this place Danielle?

Well, unless you’re positing a universe in which Christian or other deities or cosmologies are confirmed to exist (See Jewish characters in a universe with author-created fictional pantheons for more on that topic), there’s no reason why they shouldn’t be perfectly fine interacting with whatever the setting you’re building throws at them. 

My wishlist for this character and setting runs more to the general things to consider when writing fantasy settings with Jewish characters: 

Don’t confirm or imply that Jesus is a divine being. That means no supernatural items like splinters of the cross, grails, nails, veils, etc. There’s nothing particularly powerful or empowering about this one guy who lived and died like so many others.

Don’t show God’s body and especially not God’s face, or confirm that any other gods or deities exist, whether that’s Jesus, Aphrodite, or Anubis, or someone you made up for the context. 

Don’t put Danielle in a position where they’re going to play into an antisemitic trope like child murder, blood drinking, world domination, or financial greed. If you have to, name it and let Danielle express discomfort with or distaste for those actions both because Jewish values explicitly oppose all of those things but also because Danielle as a Jewish character would be painfully aware of these stereotypes as present and historical excuses for antisemitic violence. 

Do consider what Danielle’s personal practice might look like. What does Danielle do on Shabbat? What do they eat or refrain from eating? What are their memories of Jewish holidays and how is their current holiday observance different than their childhood? I know I say “Jewishness is diverse” on every ask, but it is, and these questions--which also underscore how very much Judaism is rooted in one’s actions during this life--will help you develop how Judaism actually functions to inform Danielle’s character, even if you don’t spell out the answers to each of these questions in text. 

Do let Danielle find joy, comfort, and identity in their Jewishness not just in contrast with Christianity but simply because it’s part of the wholeness of their character. I know the primary representation of Jewishness is a snappy one-liner in a Christmas episode followed by the Jewish character joining in the Christmas spirit, blue edition, but make room for Jewishness to inform how Danielle approaches the events of your story, or why they decide to get or stay involved.  

-Meir

Hi it’s Shira with some Jewish ghost story recs written from inside–

When The Angels Left the Old Country by Sacha Lamb (deliriously good queer YA Jewish paranormal, mainstream enough that it’s got a good chance of being at your local library and won all kinds of awards)

The Dyke and the Dybbuk by Ellen Galford (sorry for the slur, warning for a paragraph of biphobia in the book but it’s an older book. I read this right before my divorce so my memories are super fuzzy but it’s about this modern day lesbian who gets possessed by the ghost of a different lesbian from hundreds of years earlier in Jewish history.) Nine of Swords Reversed by Xan West z’L of blessed memory - another queer Jewish paranormal.

The general plot is that two partners are struggling with how to be honest with each other about the effect disability is having on them. It’s got a very warm and fuzzy cozy vibe but kink culture is central to the worldbuilding so if that isn’t your vibe I didn’t want you to go in unaware.

The Dybbuk in Love by Sonya Taaffe. I don’t remember the details but I remember loving it, it’s m/f and romance between possessor and possessed.

I wrote a really short one called A Man of Taste where a gentile vampire woman and a Jewish ghost/dybbuk get together.

~S

[bindeds]

[ BITE ME. ] : 2.2k words. ☆ ⌜ALASTOR X GENDER NEUTRAL READER. ⌟ — alastor catches you with bram stoker’s dracula and decides he can’t let you go until he gets to the bottom of your desires.

#tags. biting, blood, blood sucking, alastor with vampire teeth, reference to his cannibalism, but he doesn’t actually eat you, explicit consent, suggestive

a/n. sorry guys, this was wayyy too perfect of a chance realizing that alastor’s a cannibal. i hope you enjoyed this as much as i did! also, i’m finally starting a taglist! lmk which characters you wanna be tagged for ;>

meanwhile ... vampire lucifer version! BITE ME : AL’S VER PART 2 IS OUT !!!

masterlist. request something! :>

“I can’t wait for us to hang out oh, this is going to be so fun!”

You smiled right back at Charlie, though not quite able to return the ray of light she’d been emitting with her own.

“Charlie dear!”

You both looked over your shoulder to see Alastor approaching with his hands neatly poised behind his back.

“Where on earth are you going at this time with such dreadful skies?” Alastor’s head poked out between Charlie and yourself. He pressed the side of his hand to his brow as he squinted at the view outside.

You and Charlie were standing at the grand entrance of the hotel, straw-woven basket in hand.

The red skies of hell had looked just a few shades darker than they usually were and the gravel’s petrichor smell had started to rise in the streets.

Charlie had taken the pleasure of letting Alastor know that you and her would be going on a picnic date. She had taken extra care in watching the weather forecast yesterday to make sure the weather would only be windy, at most drizzly for today, which, judging by her ear-to-ear grin, was right up her alley.

Alastor’s eyes zipped down to your hand, still leaning in front with his hand retracted. “What’s that in your hand, darling?”

“Oh,” you frowned, holding up the book by instinct. “Bram Stoker’s Dracula. I’m trying to get into the classics and Charlie said to bring a book.”

“Dracula,” Alastor’s voice and tone darkened, and the static scratches of radio surrounded the three of you as his grin grew taller. “Such a classic indeed.”

Alastor finally took a step back from the both of you, but that didn’t warrant both of you enough of a reason to continue on your way just yet—your attention as well as Charlie’s was as good as trapped in Alastor’s hands.

“Charlie, may I borrow your friend for a moment?”

“Alastor! Right now, really?” She urged in gritted teeth.

“My sincerest apologies Charlie, I’ve just remembered some important matters we had agreed to settle the very moment we were free.” Alastor placed a hand to his abdomen before he gave a slight bow.

“We won’t be long,” he drawled in a prodding tone.

“What?” You barked after he let you into his quarters first before shutting the door behind him.

Alastor’s eyes traced your shoulders, your arms—then seemed to set up camp at your hands.

Your grip on your book tightened.

“I see you’re dedicated to your little outing with Charlie, hm?” Alastor circled you as he looked over your shoulder. He twirled around to the other shoulder while he clicked his stick to the ground to use as an axis.

The fire sputtered softly in the background. The renovations done to the hotel had certainly been setting into your skin now—the cover of your poor book had become damp with your sweat. The blaring reds of Alastor’s grand room had somehow been less overwhelming to look at than the man himself.

Your eyes zipped over to his chest, shit, why—how did you get here? Though your eye sockets had been yanking you to look his way anyway, your eyelids gave the threat of a blink that for some reason entailed certain death.

A spindly finger crept its way under your chin and tilted your head up. Your gaze naturally fell to his eyes, so narrow and sharp as they could’ve pierced into your own, but no—instead, his gaze took a step into yours. Ever the polite gentleman, letting you know he was letting himself in as your blinking flickered.

“My eyes are up here, darling,” Alastor buzzed in a gravelly voice that dug below the growling radio static.

You gulped, and it seemed that that had been enough for Alastor to release your chin. “Though I suspect it’s not the outing you’re excited about …”

“Alastor, we can talk about this later—”

“Oh, but we haven’t talked about us at all—not since the fall of Charlie’s hotel,” Alastor grinned but gave a pouting tone.

Right.

You had panicked the moment Alastor left for longer than he should have. When you were the only one who clearly didn’t hate him but didn’t hug him upon his return, he took it upon himself to ask about your attitude towards him. You confessed to having thought about him a little more than the rest of the crew, thinking you would be ripping the bandaid off when he laughs at your face and tells you he doesn’t like wasting his time on such sentiments—but lo and behold, he twirled you around to an old jazz song you couldn’t recognize and said—

“Why, I would be ridding myself of the one person who happens to be a pleasure to be around! Don’t be so harsh on yourself my dear, you’re quite a beauty to be relished, even if I am no such person for the job.”

Alastor’s fingers crawled up to his lips as they tapped in a rippling motion.

“Though, it does make me inclined to try …”

So there you were.

The past few days have been more than bearable with this subtle change as you would have expected with someone who wasn’t known to be into romantics. And Alastor had made it clear that you two were only exclusive without a label—but it seemed the current moment might be testing that statement’s validity.

“I didn’t want to make you uncomfortable,” you reasoned as you held the book to your chest with the title facing him.

Alastor’s eyes dropped back down to your book and up to you again as he shut his eyes.

“And you’re doing just a splendid job, my treasure. Letting me set the pace. But right now, I must admit … it’s rather difficult for me to see you reading quite possibly the most popular piece of fiction on vampires,” Alastor held back a sigh through his explanation, but it slipped between his theatrics nonetheless. “You do know I’m a cannibal, don’t you?”

“Of course I do,” you insisted, and for some reason your voice dropped to a lower register as you frowned.

Your gaze had been drawn right back to Alastor’s prying own like a compass needle to the earth’s core—it wavered, but never wandered long.

“Then you should know it’s only natural for me to yearn for your taste,” Alastor hummed. “If only I had known you were enamored by such notions sooner …”

“What does it matter now? Right when I’m supposed to head out with Charlie too …”

“Is it really what you wish to do?” Alastor questioned with a cocked brow. “Because if so …” he stepped aside and showed you the door with his hand motioned towards it. “I will not stop you, my sweet.”

In your head, you prepared for your body to move—but you made one pathetic excuse for a step before you fell ice cold. Your head spun and whirred with the expectation of movement—but your body tensed with the commands your muscles refused to follow; like there had been a mix of commands in which your brain may have known what was right but the very blood that supplied your body remained loyal to the desires pounding in your rib cage.

“Well?”

Alastor stood rooted to his spot, and though his grin had turned into a tamed smile, you knew that underneath his closed eyes he’d been brimming for your answer.

“What … What are you going to do?” You asked innocently. There were a number of things already stirring in your head about your fate in the next ten minutes or so, but Alastor’s hell-renowned status had been built escaping the grasps of others’ expectations.

“What would you like me to do my dear?” He tilted his head at an unnatural angle as his sharp eyes narrowed at you once more, the static noise crackling much like the fire had—only this sound panted and prodded in your ear, demanding to be known.

“No, this is not how this works, Al,” you sterned as much as you could with the tremble in your voice. “You tell me exactly what you have in mind, then I will tell you what I think.”

“Hmmph,” Alastor cooed. “How clever.”

He made his way over to you, and your body reacted quicker than your mind as your steps matched his, only they brought you backwards while he stalked forward.

He leaned into your ear. “I’d like to know what you taste like, dear.”

You attempted to steel yourself as a shiver traveled from your arms to your spine. Alastor’s breath might have been warm but the shiver had shedded off half your warmth and preserved the rest on your cheeks.

He returned to his original position right in front of you, keeping your flickering gaze locked on his, even if his own hadn’t been half as loyal when they switched between your neck and the former.

“Not to worry. I won’t hurt you any more than I have to. I find those fangs that vampires possess quite appealing,” he commented. “So what do you say, darling?”

You nodded. You didn’t mean to.

But by this time your throat, your muscles, the very same ones tensed with the promise of Alastor’s tongue on your skin—they had been pulling the strings because you knew you wouldn’t do it all by yourself, acting so surprised by the things you’re saying.

“Please,” you whispered as you bit your lip. Now’s no time to be praying.

“I want you to bite me.”

Unless it’s to the very demon before you.

“Lovely.”

His hand slipped to your waist and steered you to the right and towards the edge of his bed.

You fell back, your book finally escaped your grasp and Alastor’s shadow casted over you completely.

He adjusted his tie as he set down his microphone, chin held high with a half-lidded glance at your book that laid askew on his bed. He picked it up and flipped it back to front briefly before setting it down on his bedside table like he’d been framing a picture.

“Now then,” he grinned, and his teeth had been completely altered with a straight row—the only two to stand out being the prominent fangs that ended on his lower lip.

Alastor swooped in and you shut your eyes tight from the gush of wind that accompanied him only to be met with his warm breath on your neck.

“I trust you know that this will hurt for an itty bitty moment, yes?” He warned with a voice so vile yet sultry, like his little remarks had slithered into your ear and lapped your head in jawbreaker promises filled with his venom.

You nodded quickly, and froze at once when he punctured you; fire spread throughout your neck, inflamed your cheeks, collarbones protruding as you clawed at his shoulders for purchase—and to your surprise, he adjusted your grip to loop around his neck, which in turn enveloped you closer to him.

A swirling sensation danced into the picture with your jugular pulsing against his teeth. Your flesh and muscles hugged the two blades that only sank deeper into you causing you to bruise even further. You winced, and Alastor’s tongue drew small circles where he had been sucking. Something had been dripping from you and Alastor was sure not to miss a single drop of you. At least, not from your neck.

You bit your lip once more, a sound rising past your throat and holding your tongue hostage. Warmth had now engulfed your jaw and neck as you craned it back to allow him easier access—what was previously festered had subsided into a dizzying pleasure, his fangs almost tickling you along with the wet trails left by his tongue.

Ice washed over the abused spot on your neck when his fangs left you, pieces of your skin still clung onto him until the very last second. He nibbled and bit further down and along your collarbone before he drew back.

He exhaled through his teeth, which had now grown out to be the regular sharp rows he possessed previously. With the way his eyes trekked on your shoulders and jaw, it took every muscle in your body not to shrivel under his critical eye.

“Oh, my dear, you’re absolutely glowing,” Alastor sighed, the inner corner of his brows arched up as his hands remained planted on either side of you. His smile faltered. “If you should even dare to think otherwise, come to me. I will fix what is wrong with this realm, and that is the wretch who convinced the moon and stars they were nothing but rotten work.”

Heavy knocks thundered from the door.

“Alastor! What’s taking so long?” Charlie reprimanded, which made you jolt when she uttered your name along with his. “We need to go!”

Alastor stepped back and dusted himself off which allowed you space to do the same. You fixed your shirt and ran towards the door only for a firm hand on your forearm to twirl you around and dip you, your hair falling away from your face.

“Alastor!” You hissed.

Alastor held up your book with his free hand. “I’m touched you’d let me keep this as a souvenir.”

You grabbed the book and headed for the door again. “I’m late.”

Charlie called your name once more.

“Coming!”

“That you will be,” Alastor chuckled.

You glared at him over your shoulder. “Big talk for an ace.”

“I never know what that means.” Alastor shrugged as he planted his microphone in front of him.

You rolled your eyes before opening and slamming the door behind you, leaving Alastor to think about what he was going to do about your attitude when you got back.

[drac-kool-aid]

I like the reading that the Romani did actually try to post Jonathan's letters, that they were caught by Dracula, and he then lied about their duplicity to Jonathan. It's clearly not the read that Bram intended, but he's dead, and I'm not. (Yes, that was a Death of the Author joke)

Anyway, let's take this a logical step further! In a mirroring of what he did with the three roommates, what if this was another "test" both for Jonathan and the Romani.

He knows he's going to have to start having people around again soon to help with the arrangements for the trip, but (if you ascribe to the idea that he hadn't initially planned to let Jonathan live after his initial use was done) he hadn't accounted for his captive to still be running about the castle.

He's already seen proof that Gothic Heroine Jonathan Harker has the power to turn even the most cowed peasants to his side, as seen by the townsfolk and the carriage folk already, so now he's got to nip this in the bud because Jonathan needs to think he is isolated, needs to view him as his only form of safety.

So, Dracula carefully keeps watch, and lo and behold, the Romani DO attempt to help Jonathan. Well, it's a good thing he anticipated this.

So, he interrupts the delivery of the letters, maybe pushes the idea that he's omniscient of all that goes on in Castle Dracula cause who's going to call him out and people are less likely to attempt anything if they are under constant surveillance, maybe maims or kills a few people to really push the consequences of helping again.

Okay, that's one part done. Now, for Jonathan, he can once more enforce the idea that Jonathan can only turn to him for protection, increase his feelings of isolation, and destroy his trust. He can happily torment him as he sees fit, and everyone is too shaken by their disastrous first attempt to try again.

Anyway, long story short, interpreting the text as "maybe the Romani people are good and aren't a racist caricature" actually gives a more interesting reading. Also, it allows them to parralel Jonathan's plight as people who are forced due to circumstances to obey Dracula, as he is the least likely to kill them right this second.

[vickyvicarious]

"For your mother's sake."

It hits so hard, on multiple levels. First, what this might mean for her. It's her final effort, the most impactful thing she says after religion, superstition, outright pleading on her knees and crying all fail. She knows that she can't stop him from going, but at the very least she will try her best to protect him as much as she can. She places the crucifix around his neck herself, doesn't just hand it to him.

Did she lose a child to Dracula in the past? Is she seeing echoes of her own son in Jonathan's face? Or perhaps there have been brave young men who tried to fight back against him, who deliberately went to the castle and never returned. Maybe Jonathan is the first person she's met who is actually trying to go there, and while she knows it can only end in his death, the idea of letting anyone go willingly to that evil place is more than she can bear. She's giving up a piece of her own protection. The Count has been sending letters to her husband; he was the one who suggested Jonathan stay here. He knows of her. If she shows any resistance it could mean greater danger for herself, and giving Jonathan her crucifix means losing a powerful totem of self-protection. If he actually listened to her warning, she can probably expect a terrible fate of her own; maybe even just giving him the crucifix alone would be enough to ensure that. But again, whether he reminds her of her own lost son or just because he doesn't know what he's getting himself into, she can't bear to do nothing. She places herself in the role of his mother here. "For my sake," she's saying, "let me do what little I can to save you. Please."

Jonathan is an orphan. We don't know the circumstances of his childhood, but it's possible that he never even knew his mother. (It's my headcanon.) Even if he did, she has been gone for a long time now. And yet these are the words he can't argue with in the end. He was already taking her seriously, and trying to treat her with respect. Her warnings were obviously distressing to him, but there's no way he can actually turn back now. His livelihood depends on this trip, he has no actual evidence to justify leaving, and he also wants so badly to live up to Mr. Hawkins' trust in him. He is already "thinking of his father" (or the closest he has) when he says he has to go to the castle. And yet, the care and fear and love this woman is showing for him hits so hard. I wonder if he is thinking of his actual mother when he accepts the crucifix. Whether the concept of her or an actual memory... Or maybe he too is placing her in the role of his mother here. Maybe, in keeping the crucifix (and not just with him, but around his neck where she placed it, even as he rides away) he is saying yes to that implicit request as well. "I'll let you care for me. I'll accept it gratefully." It's the first motherly care he has probably felt in many long years.

In this book, children are placed in terrible danger again and again, and most of the time they can't be saved. Parents and parental figures are equally doomed, leaving our heroes all orphaned in a sense, unable to rely on any greater source of wisdom or comfort. They have to take things into their own hands and deal with the problem alone, despite still being caught up in grief for what they've lost - a kind of coming of age in that sense. There's even a literal version of this happening with both Arthur and Jonathan (and Mina) specifically, when their father figures die and leave them with sudden new responsibilities. And of course, the inheritances from these father figures help in distinct and immensely useful ways, even as they remain absent from the story throughout. They haunt the margins at best until death steals them away completely, and their illnesses tend to serve to divide our heroes from one another when they needed to be united sooner. I personally don't count van Helsing as a father figure really, but if you do then he is the only one who manages to be around and be directly helpful (and even then, he's unable to save Lucy), even though all the fathers we hear from are loved and loving. But we do actually meet a few mothers, and they are usually unable to alter the story despite being more present. Their efforts to save their children are misdirected and only bring about their own death as well, in the end. Lucy's mother seems to mean well but everything she does directly makes everything harder; the mother at the castle later tries to avenge her child possibly against the wrong person, and in any case is unable to succeed. But here, the innkeeper's wife with her crucifix manages what no other mother does. Even though she assumes this to be another wasted effort (in fact, she can't bear to remain in the room with him afterwards; re: Dracula did such a good job with the hopelessness in her voice when she says the 'mother's sake' line), her assistance helps Jonathan to survive. His 'inheritance' from this momentary mother-figure isn't just the physical crucifix, though that is useful (and also the only inheritance a mother leaves for a child throughout the book, even when it would be expected and easy and make complete sense to do so, ahem). It's also the first and the most knowledgeable and the most effective aid given to a 'child' throughout the entire book.

[thewritetofreespeech]

Could I request Alucard/Adrian with a doctor s/o?

Alucard + doctor s/o

They met when s/o became an apprentice of his mother.

Like Lisa, they had a great desire to help people and cure them of the afflictions that humans face every day. Not content to rely on pray or leeches to get the job done.

Lisa took them under her wing. Despite Dracula’s protests of letting more humans into the castle and sharing the knowledge would be dangerous, he eventually conceded and let s/o be taught.

They actually handled a lot of the practice when Lisa was pregnant and tending to a young Alucard.

Since he grew up quickly with his vampirism traits, he caught up to s/o in “age” very quickly and he had been in love with them for as long as he could remember.

Initially they kept their fondness for one another, and eventual relationship, a secret as it felt like a betrayal of Lisa a little bit to be involved with her son. They both forget though that nothing can be hidden from her though, and Lisa is very happy for her.

When Lisa is eventually killed by the church, Alucard is devastated that his mother is dead but also afraid that s/o would be next. So he proactively spirited them away to keep them safe.

He knows all too well that he would be just like his father if something happened to them. Unable to keep his mother’s final wish of “don’t hate humans” if they took them and her from him.

After his first fight with his father, it was s/o’s turn to spirits Alucard away and helped him with the set up for his coffin to heal.

When he was awakened by Trevor and Sypha, they join them on their journey. A “healer” always essential in any adventuring core.

After the events of Lisa’s death and Dracula’s demise, s/o is rather disillusioned on helping people now. Alucard is the one that encourages them to continue with their skills. Citing that not all people are bad, and it would be a shame to let his mother’s teachings die with her.

[prickly-paprikash]

Annette in Rondo of Blood was literally nothing more than a damsel in distress who's whole purpose is to give Richter motivation to fight against Dracula. And to help him continue the bloodline.

In other versions, she's turned into a vampire and is obsessed with Richter.

I'm sorry, but I have two questions.

In any of these, is Annette being of pure white descent necessary? Is her being blonde and pale a defining part of her character? Is there anything, anything at all that demands Annette be a white woman in every single adaptation?

No.

She's just a plot and lore device. Be saved by Richter. Love Richter. Continue the Belmont line.

That's it for Game Annette.

In Nocturne?

She's a warrior who escaped bondage and burned her slavers to the ground. She communes with her ancestors who have long since passed. She feels grief. She mourns. She regrets. She knows, in her heart, that she was at fault for Edouard's demise the same way Richter knows his mom had a better chance of survival had he got on the ship. Rage flourishes in Annette. Love grows between Annette and Richter.

She hates. She weeps. She forgives.

Annette is a character made whole in Nocturne. It also adds so much to her for being a Black, Creole woman.

Richter and Annette are parallels with key differences. Both are haunted by their mothers' deaths. Both are warrior-mages who do battle up-close while using their magic as supplementary to their combat, whilst Maria and Tera focus more on magic and use sword-play as their supplementary skills. Both carry legacies too heavy to bear, yet they persevere.

Richter feels like he's trying to forget he's a Belmont. He is cut off from the magical world. Annette on the other hand continues to push herself to connect to the realm of her Ancestors and her gods. Annette burns with a righteous rage against the ruling class. Richter is consumed by his trauma and puts up an apathetic facade when we first meet him.

They are both made whole after their failure in the crypts. Annette kills her slaver. Richter connects with his grandfather.

They are both stubborn, flawed, dauntless warriors. Richter is arrogant. Annette is vengeful. Both of them manage to fail during separate assaults on the Abbey. Both grow and heal from these failures.

Those fuckers who hate Annette for being 'too different from the source material' are dweebs.

Because Annette in the game isn't even a character! Just a tool! A supporting face! That's all she is.

Nocturne takes many creative liberties that expand on the world.

Just say you hate Annette for being black. Be honest with your racism. It makes it easier for everyone to identify who's a mouthbreathing bigot.

[diamondcitydarlin]

----LOTS OF SPOILERS FOR THE FILM BELOW BE AWARE---

The thing that's driving me kinda CRAZY about the sequel though is how perfectly it sets up a personal arc for Lydia to be intertwined with Beej's. Like I said in my reaction post after seeing the film last night, I feel like Lydia as a character doesn't really get much of an arc or a resolution by the end of the story, as most of the plot is focused on repairing her relationship with her daughter, with Delia, maybe even her ex-husband to a certain extent, and for as much as she's rid of someone actually preying on her (Rory) we have no reason to believe she's found inner peace or really discovered herself or isn't still constantly popping pills to help with the 'gift' of sight she still has to deal with. There's so much about her left unresolved that Tim is either going to have to make another film about or I will have to fanfic about. But again, what's also fascinating is the way the beats of Lydia's story become tangled up with Beej's by the end of this, and also the ambiguous suggestion that there might be some kind of red string of fate linking them together across life and death and centuries (my kingdom for Beej saying "I've crossed oceans of time to find you" in a deep sexy Dracula voice and Lydia being like "plz shut the fuck up" LMAO)

Like, the 'psychic connection'. The thing that makes Lydia able to see and interact with Beej in places other than the house/model in Winter River. At first I think we're led to believe these are genuine hallucinations she's having, but ofc that's debunked when Beej reveals he's aware of these sightings and has been participating in them on purpose. Does this suggest that their first marriage may have been binding in some way that didn't release him from death, but allowed him more range to manifest so long as he was attached to her? That's not really addressed or explained, but I feel like it opens the possibility of being a thing (as so many fanfics have had happen before, I LOVE it tbh)

Also, the parallel of them both having had predatory exes that tricked them into 'selling their souls' (one in a figurative sense, the other literally lmao). I'm honestly shocked more conclusions weren't drawn from that conspicuous parallel in the film itself, because it's VERY interesting. It seems almost to suggest they're both meant to safeguard each other's souls (which is why I'm still bitter we didn't get Lydia defending him from Delores, I think that would've been a nice follow up to Beej saving her from Rory, even if she was just doing it out of a sense of obligation).

And idk, on the whole I feel a lot of Lydia's personal struggle at this point in her life is defined by a need to feel 'normal'. I get how that can seem odd coming from the teen girl that confidently described herself as 'strange and unusual', but this is 30 years later, after several failed relationships, after becoming a mom and struggling with a strained relationship with her daughter because of her oddity, idk, I think it's a good case study on how society forces women to conform lest they be a bad daughter or a bad mom or a bad wife, etc, but I think it's obvious she's just fighting her 'strange and unusual' nature and the more she does that, the more difficult her life will be.

To me, that suggests her path to happiness has actually a lot to do with Beej, or very well could. Who else is going to understand her true nature the way he does? Who else is going to unashamedly encourage her to be balls to the wall weirdo like she REALLY is??? Who else can truly set her free that way??? Like I'm gnawing on wires here yall, if nothing else Tim gave us SO much fanfic material to work with on this one.

[jonathansknife]

Mina also when the men isolate her spiralling HARD so much that she blames HERSELF for Lucy's death. Saying that her coming to Whitby killed her, not Dracula. Putting herself down as the men being right, she's just a silly girl who cries and she should not tell Jonathan about her dreams because it's her duty. And it all backfires.

YES ANON YOU GET IT. The weight of the entire world is on her shoulders. She can't even look back on the last moments she spent with her best friend without feeling guilty that the smallest decision she made is what killed her. She holds herself responsible for everyone, she is so obsessed with being present and useful that she memorizes train schedules, but when Dracula is in Transylvania preying on Jonathan she's in England with Lucy and when Dracula is in England preying on Lucy she's in Budapest with Jonathan. And then when she's finally in the right place at the right time she's told the only way for her to help is to stay away. So she isolates herself and keeps her mouth shut. If someone has to suffer alone it might as well be her, right? After all, this is her fault for failing to protect everyone in the first place. And of course this line of thinking only pushes her deeper.

[elysianholly]

This fucking guy

My villain origin story is people claiming that Riley's biggest crime in the series was being boring. He wasn't just boring. He was a passive-aggressive chauvinist who the show bent over backward to defend. A while back on Reddit, I made a list of reasons why Riley sucks. This is that list, and I'm adding to it.

The only reason he punches Parker is because Parker is mouthing off about a girl Riley likes. Everything about this interaction suggests that Riley has heard him say similar before, and hasn't cared until the woman in question was someone he had a vested interest in.

He calls Buffy stupid for not wanting to date him (if this guy slid into your DMs and called you stupid for turning him down, lbr, this would not lead into a healthy, lasting romance)

He immediately puts himself in competition with Buffy. Even at his most inoffensive, he says things like "I don't even know if I could take you."

He has an inherently chauvinistic view of the world (established in The Initiative)

He is upset that Buffy had a significant relationship before she knew him and assumes Buffy boinked Angel in The Yoko Factor

He uses abuser language to excuse his shitty behavior like, "I love you so much I can't think straight."

He decides that Buffy doesn't love him all by himself

When he decides that Buffy doesn't love him, he confides in Xander and doesn't communicate his relationship issues with Buffy

He wants to help Buffy but only in jobs that are "manly." In No Place Like Home, for instance, he nopes out when Buffy suggests he help with the spell to identify what might be wrong with Joyce. Even if there wasn't a lot for him to do, he could, idk, stick around to be moral support for his partner who is trying to figure out what might be attacking her mother. That seems like a pretty standard partner thing to do.

He gets upset that Buffy "doesn't get all worked up over him" the way she did with Angel when "getting all worked up" in CONTEXT means "isn't constantly miserable."

He is sad boi at Buffy in OoMM for also prioritizing her mother's health after she believes Riley is healed rather than sticking around to play nursemaid

He wants Buffy to show emotion over Joyce at a time when Buffy literally cannot (if you've never had a parent in the hospital with a life-threatening illness, maybe you don't know that there are times/places to break down and "in the hospital" where you're supposed to be strong isn't one of them)

He doesn't care that his girlfriend's mother is sick, possibly with something life-threatening; he cares that he got to be the hero of the piece, the shoulder for Buffy to cry on. His only reaction to any of that was to be hurt that Buffy didn't respond the way he thought she should; no concern for her well-being or Joyce's, just Riley getting his feelings hurt because he wasn't the center of Buffy's universe or the rock for her to lean on when all went to pieces

This is further confirmed by the way he just doesn't mention Joyce's absence at all in As You Were. When he leaves Sunnydale, it's after Joyce has had a successful operation. He returns and she's not there and no questions? No condolences? It's because he doesn't care.

He doesn't ask about Buffy's death when she lets him know she died.

He starts separating himself from the Scoobies and then gets mad for not being included

He literally cheats on Buffy with vampire sex workers (there are people who say they were not sex workers, but in a show where monsters are metaphors, you have to be especially dense or willfully obtuse to not realize this is what they are)

Riley intentionally puts himself in a position where he might be killed or turned specifically to SPITE BUFFY, which demonstrates his lack of consideration for what she might have to do later if things go bad

Riley blames Buffy for being roofied by Dracula (again, monsters as metaphor)

He never apologizes or owns that he was unfaithful

He blames his infidelity on Buffy, actually

The first time Buffy learns Riley isn't happy, she's told she should've seen it, which is classic victim blaming and happens from Xander AND Riley (and a good amount of fans who want to excuse that behavior)

He is fine with torturing sentient creatures, and in fact had a stake made specifically so he could torture vampires without killing them

He goes behind Buffy's back all the time

Riley was not boring. If he were boring, he would be inoffensive. Dull to watch but not rage-inducing. But he is rage-inducing because, despite all the passive-aggressive gaslighting bullshit he gets away with, people in this fandom still believe he was "Buffy's best boyfriend." That she was to blame for the deterioration of this relationship. That he was the healthiest of the Buffyverse men. The show does, too. That's why Xander (Wh*don's mouthpiece) gives that sanctimonious little speech to Buffy (the audience in this case) in Into the Woods to scold us for not treating Riley better. Then they double down in As You Were to make Buffy fawn all over herself to let this gaslighting asshole off the hook for everything he put her through.

Riley's sin is not being boring. It's that he was actually awful. Wh*don himself once called Riley a "healthy relationship" for Buffy, and if that doesn't tell you something, there's no talking to you.

[biocrafthero]

Why Sunny’s Halloween costume is a mummy instead of a vampire

Okay strap in guys this is a long one

(Under a read more because I have lost my mind)

(Also for some stuff I’m using Wikipedia as a source this isn’t a professional essay or anything)

Something I have noticed with Omori fans is that, much like with other fandoms, people like to assign fun Halloween monsters to their favorite characters. For a character like Sunny, I have noticed that many people opt to make him a vampire, which is a choice that seems quite understandable. The idea of the modern vampire can be traced back to many different authors, the most popular one in the minds of most being Bram Stoker’s Dracula, which was published in 1897. Some of the visual and behavioral trademarks of a vampire has to do with things such as aversion to sunlight, pale skin, fangs, and the need to feast on the literal blood of others to stay alive. Vampires have always been considered undead, which aligns with their history throughout folklore; there were several instances where corpses were staked after being accused of vampirism.

Reading this, its easy to see why fans would assign a character like Sunny to the idea of vampires based on all of the common traits of vampirism. However, while I do enjoy AUs and such of a vampiric Sunny, I disagree with this common interpretation and instead propose the idea of Sunny being associated with a different kind of undead monster: the zombie.

(“But Kaun, didn’t you say in the title of this post that Sunny is associated with mummies?” Yes, but we’ll get there.)

The origin of the zombie can be traced back to several different sources throughout the world, the most well-known one being Haitian folklore during the 19th century. Regarding modern depictions, popularized by the film Night of the Living Dead, zombies tend to be slow, rotting, human undead (while it must be noted that undead animals isn’t particularly uncommon either). Much like vampires, zombies need to consume humans to survive, but the difference is that, while vampires only need blood in most depictions, zombies tend to eat all parts of the body. The idea of the brain being the specific target is something that’s only come up within the last fifty years throughout pop culture; adding to these newer additions, it was only within the last twenty or thirty years that the idea of the running zombie was introduced and subsequently popularized.

So what does any of this have to do with Sunny?

Well, thought Omori, we are shown clear evidence of why the idea of the zombie resonates with his character. The most obvious example is with Hellsunny, who can be found throughout the entire truth sequence, in some parts of Black Space, and in a very particular cutscene in the Hikikomori Route.

Now, while its easy for us to assume things from the POV of Sunny himself, sometimes its important to take into account the intent of the creator in order to interpret things such as this. So, once again, why a zombie?

Well, the choice of the zombie is quite obvious to me: the fact it is commonly referred to as the living dead. Now what does this allude to regarding Sunny? It most likely correlates with his emotions in the wake of Mari’s death, especially considering he’s the one who killed her in the first place. It is commonly said by people who have experienced the loss of a loved one feel as if they’re just drifting through life after their passing, and the same can definitely be said for Sunny. At the time the real world sections of the game take place, its been four whole years since the incident had occurred, and Sunny has both figuratively and literally wasted away in his own home. Characters comment on how he seems very skinny and/or frail, and how he clearly hasn’t been taking care of himself. In a way, its like a part of him died alongside Mari.

This is where we get to what some would consider to be an extension of the zombie archetype: the mummy.

Regarding its depiction in horror since the history of real mummies is an entirely separate conversation, the modern depiction of the (male) mummy can be found dating back to the 1932 film The Mummy. While most historical, real life mummies had their organs removed before burial, the mummy from the film (named Imhotep) was deduced to have been buried alive after it is discovered that its organs had not been removed at all. Now while the rest of the film’s plot isn’t quite as relevant to our analysis, I believe these details are important to note. The idea of the mummy being something sealed away, only later to be awoken again as some kind of living dead, is very interesting considering the parts of Omori that make this comparison to Sunny. The allusions to the idea of Sunny’s own home being some kind of coffin or tomb adds to these ideas.

This is why I think the vampire comparisons simply do not fit. The idea of the vampire inherently implies that the afflicted needs to take something from others in order to survive, and while the same can be said about zombies it must be noted that within recent years the idea of a kind zombie has been slowly making itself known. Additionally with mummies, aside from the blatantly orientalist bullshit regarding its history in pop culture, don’t tend to be depicted with having to consume any physical part of the human body (but physical violence in general is still on the table for them. They tend to be depicted as more on the level of vampires in terms of their intelligence).

In contrast, the living dead (referring to both zombies and mummies) tend to be much more passive. Most don't go out of their way completely to hunt humans, only hunting if one crosses their path—mummies even more so, with them not even needing human flesh to maintain themselves. When not hunting, these monsters tend to just... exist, not doing much of anything at all. They don't expend energy on actively looking for what they need to survive, instead opting for what they need to find them, wasting away all the while. And the thing is with zombies: they rot. They decay, bound by more realistic things than mummies are (which tend to be sustained my more magical elements in pop culture).

While the idea of having to actively go out and hurt others to sustain yourself is very interesting, when specifically regarding Omori’s canon, it doesn’t quite fit in line with Sunny’s character and his arc. In contrast, him neglecting his own needs and wasting away is more in-line with all of that, which is why he’s more commonly depicted as being a zombie or a mummy by official material.

I know this post is extremely long-winded, but I think this kind of analysis is very fun. Additionally, you don’t have to take my word as gospel, either. I enjoy AUs where Sunny is a vampire, since he’s in a position where he has to violate his own morals in order to sustain himself. I think it acts as a very interesting way to deconstruct his character, and to push him to his limits (including the brink of death if he refuses to hunt).

[honest-moth-of-silver-grove]

Platonic Yandere Trevor finding out that he isn't the last Belmont, and that his younger sister escaped or was spared because she was a iligitamate child of the family and not publicly known to be a Belmont and the church assumed she was just a servant of the house

A/N: It would be great if Trevor was not to be the sole Belmont left! Not that he can’t handle the responsibility, because he does step up in the end, but because it would be much easier to carry on a legacy when there’s more than one person left to tell your story. 

Edit: Here's what I think about his sister's age

Edit 2: Here's why her age makes it all the more horrifying.

Platonic! Yandere! Trevor Belmont Finding Out He Has a Long-Lost Little Sister: 

The moment Trevor finds out about her, be it from unearthed family records in the Belmont hold, or from growing gossip in town, he sets out to find her and bring her home. Even if it turns out not to be true, he can’t let her continue to live life on her own, she’s too much of a target with the Belmont Family crest on her back. 

He is both angered yet relieved when he finally meets her and discovers she’s truly his half-sister. Trevor feels betrayed that one of his parents strayed beyond their marriage, but he also feels thankful for their infidelity, as it provided his half-sister the cover she needed to escape slaughter alongside the rest of his family.  

It doesn’t matter if she’s in a relationship or if she’s found a new family for herself, he whisks her away back to his life, cutting off any other bonds she may have forged for herself. After all, those people didn’t matter. They were simply placeholders, keeping her safe until he could dutifully come along to take her back to the life she was always destined to live. 

If he’s traveling with Sypha at the moment she better welcome his half-sister with open arms and support Trevor’s decision to take her back with them. Trevor makes it clear to Sypha, that should push come to shove, he’ll choose his half-sister over her. Sypha was the one who encouraged him to fulfill his family’s destiny in the first place. She should know very well Trevor would put his last remaining blood relative first. 

Regardless of where he and Sypha are, Trevor elects to drop everything and head back to the ancestral Belmont hold. Trevor needs to show his half-sister all that’s stored there. He needs her to remember who she is. 

On the journey back, he teaches her some basic combat, mainly self-defense. One part of him doesn't want his sister to join in the physical fights ever, but another part of him knows deep down it’s inevitable. All the Belmonts were fighters in one way or another, even if that wasn’t their main skill set. Being a part of his family meant no one could afford to be a pacifist. He knows too well: if you’re a Belmont, trouble’s bound to find you eventually, especially when you aren’t looking for it. 

If his half-sister appears to have an affinity for it, he might even consider letting Sypha teach her some Speaker magic. Trevor knows how capable Sypha is of taking care of herself during a battle, and he’d very much like that same reassurance for his little sister as well. 

If Trevor and Sypha have already defeated Death and are residing within Dracula’s castle, Trevor journeys to retrieve his sibling alone, before bringing them back to the former ruins of the Belmont hold, what is now the beginnings of Village Belmont. He does his best not to sound too proud when he tells his little sister the village name. 

Despite the warm welcome his little sister receives, Trevor refuses to let her speak to anyone else or hang out with villagers her age without his supervision. Even though these are the people he fought alongside to stop Death and his vampire generals, Trevor tells his little sister not to trust them. 

Trevor’s paranoia worries Sypha, Alucard, and Greta, who truly just want to be friends with his younger sister. At the same time, they do have some degree of understanding of why Trevor would want to be as watchful as he is. 

Sypha tries to bring it up but gets shut down. Having their future children to think about, she decides to let the matter go, knowing her focus is needed on her baby right now. 

Greta tries to offer to teach Trevor’s sister some basic fighting techniques but that suggestion is quickly squashed by Trevor who makes a show of dominance. He challenges Greta to a quick fight and wins of course. But not before making it clear that he had more than one opportunity to finish her off for good if he wished. Greta keeps her distance after that, and she advises her people to do the same. 

Alucard accompanies Trevor and his younger half-sister on every tour of the Belmont hold, making the occasional snide comment about Trevor’s family dedicating themselves to the eradication of his kind. Seeing how uncomfortable the tension makes his little sister, Trevor lashes out at Alucard, the two of them causing a fair amount of property damage. The two of them only stop when Trevor’s sister rushes between them, crying, begging them to please stop hurting each other. 

It becomes clear to everyone that unless Trevor learns to let go, his half-sister is going to live a very sorrowful, very isolated life as a Belmont. 

As always, if you enjoyed, please LIKE & REBLOG!

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[immediatebreakfast]

The very constant presence of religious symbols in the first part of the entry; before Jonathan arrived at Dracula's castle, not only serves as a way to amplify the dreading questions of what exactly is awaiting Jonathan on his final destination, but also textually points out how truly dire the situation is for the people that live in the surrounding area of the castle itself.

Jonathan may not have the cultural background, nor the religious context to truly understand all of the stuff that he saw, along side the locals mentioning prayers, and their gifts to him, but the picture painted today in between those beautiful mountains was one of pure fear.

The locals live in constant fear of the Count, and with good reason. The text itself doesn't tell us how badly has Dracula traumatized the region, but if we read how people have what it seems to be a point of "true danger starts here" on the path to castle Dracula,

as we swept round the base of a hill and opened up the lofty, snow-covered peak of a mountain, which seemed, as we wound on our serpentine way, to be right before us: —"Look! Isten szek!"—"God's seat!"—and he crossed himself reverently.

Then we can speculate that it's truly a horrible situation where they can't afford a single mistake... unless they find themselves in utter misfortune.

It's not only the remark of how if you want to truly go to castle Dracula you have to pass by God's seat, and leave it behind, is everything that Jonathan writes down the more the coachman tries to speed up the horses as the other people get more and more scared. It's the ever presence of goitre, it's the rows of crosses acting as wards against what the night hides, the way Jonathan's companion keep praying and crossing themselves without stopping, how the coachman refers to the wild wolves around the area as this to to Jonathan:

 "No, no," he said; "you must not walk here; the dogs are too fierce"

Not wolves, but dogs. A softer word that does not convey the danger that everyone is in the deeper they go into the wilderness, the anxious hurry as both coachman and passengers pray that the horses (bless those poor horses) are fast enough to beat the clock, to beat the what we could assume is a gruesome fate for Jonathan once the Borgo Pass marks his point of no return.

The gift giving akin to funeral rites for poor Jonathan, whose only idea of the true context of the situation is the clues that go through the fear, and the small acts of kindness by the other passengers. Moreover, when both the coachman and the locals arrive an hour early with Jonathan,

The passengers drew back with a sigh of gladness, which seemed to mock my own disappointment.  "There is no carriage here. The Herr is not expected after all. He will now come on to Bukovina, and return to-morrow or the next day; better the next day." 

When they finally think that maybe, maybe this time all of the effort that they have put protecting both themselves, and this poor young english paid off. Who else jumps on the scene but a strange ominous, coming from what seems to be nowhere with a carriage and four horses, like a spirit coming to sow true terror into their hearts, like death coming to guide a young soul who will go too soon...

One of my companions whispered to another the line from Burger's "Lenore": —"Denn die Todten reiten schnell"— ("For the dead travel fast.")

Like a soldier coming to take a young bride to an unknown place, away from the caring bossom of her family and into the cold hands of her soon to be husband, uncaring of her mental suffering.

What else can they do than give the poor bride dressed in rosaries and a flowers to the man less they risk their wrath?

[sky-kiss]

A/N: Blatant Asmodeus propaganda. After betraying Raphael in the HoH to save Baldur's Gate, they steal his corpse back from Meph and entreat Asmodeus. Also. A Dracula gif. To push my agenda.

Raph x GN!Tav: A Pact Struck, A Contract Sealed

Ages have passed, and empires have risen and fallen since a mortal last attempted to bind his Aspect. Asmodeus feels a tickling in the back of his psyche, barely a drag at his near-infinite energy. His awareness fragments and then shifts, searching for the source of the petition. The words come second, the feelings first. 

Desperation. Pain. A soul-deep grief. Physical hurt, too, but it's a stinging afterthought. The Lord of the Nine Hells cocks his head to the side, eyes closed. They are petitioning his avatar. They whisper in the darkness. A chill winter breeze howls around them, bowing the branches of dead trees. How fitting, he thinks, that this little creature should surround itself with such things. They wear death like a shroud. 

He is not in the habit of entertaining such low-hanging fruit…but there is a touch of something in their desperation, a sweetness Asmodeus has not sampled in many years. It amuses him. And he is not above indulging his amusement—the Archdevil motions with his right hand, passing a fraction of his awareness to the Aspect. The darkness of his throne room fades in favor of a moonlit night—the sickly sweet tang of blood colors the air. 

Ah, and there is his petitioner. They sit with their back pressed to an ancient white birch, skin badly frostbitten. Cania's stink lingers across their skin, brimstone and hellfire marrying together. They curl around their prize, clutching a badly mangled figure to their chest. Asmodeus hums, kneeling. Its wings are broken. So many bones shattered. 

"Tell me, child." His voice is low and pleasant in the chill air, a warmth chasing along the baritone. "Do you know whose name you have called? The attention you would court?" 

They nod, grip tightening on their prince. Tears cut through the mess of dirt on their skin. Crying, he thinks, and what a charming little oddity. Who shed tears for a devil? How curious. How delightful. "Lord Asmodeus, Prince of the Darkness. Lord of Lies." 

"Indeed, I am. Pretty titles, aren't they?" 

"I thought…" they catch themselves. Asmodeus notes the tremor in their right hand and the way they struggle to stay upright. His presence is overpowering at the best of times; the wounded little creature is fighting valiantly not to succumb to darkness, mind breaking under the weight of his Aspect's attention.

"My apologies, little one. It has been some since I treated with your kind. Allow me." He reaches out with one clawed hand, tapping his nail to the center of their forehead. The ward will protect them from the worst of it. They blink at him. "Continue, please." 

Their right hand tightens in the corpse's dark hair. "My Lord, I had hoped to make a deal with you. I know…I am beneath your attention…"

"Most are. The benefit of being a god, I suppose. But it has never stopped me in the past." 

Despite themself, they smile. Shuffling, the adventurer turns their burden outwards. Though badly burned, cheekbones shattered, he recognizes the features—so much of the father in the son, an agony to both parties. Mephistopheles' boy stares blankly forward—a hollow shell of himself, a waste of potential.  

It pains the Prince to see so promising a resource wasted. 

"I made a mistake. I…" they swallow. "There was something that had to be done. And it came at a cost. Raphael…” 

"The boy is known to me, child. If I may?" They hesitate. Asmodeus forces his temper down, the air around them heating. He is a god and not in the habit of being denied. But the Hero of Baldur's Gate relents, shifting their burden into his arms. The Lord of the Ninth cups his hand over the pretender-king's mouth, his forehead. Asmodeus shuts his eyes. "Such a waste." 

"Can you help him?"

"Do you doubt me, little one?" They shift back, dropping their eyes at the sharpness of his tone—a warning, barely veiled. "Mephistopheles has devoured that which he gave—the infernal. The mortal soul…is uncontested. Lost somewhere in Avernus. It could be located…for a price."

"Anything." 

Asmodeus chuckles. He is not ignorant of the sudden rush of color in the little creature's cheeks or how the sound makes them avert their eyes. This guise is pleasant, after all, tall and angular and dark. The wind catches in the blackness of his hair, the long strands falling well below his shoulders. "How dearly naive. I've half a mind to take advantage of such generosity." They shiver under the force of his stare, reality undoubtedly going dark around the edges. He hums. "But…the alternative could prove a more pleasurable distraction still." 

The Lord of the Ninth stands, holding out his hand. The hero, Tav, sets their palm in his. He helps them to their feet, settling his other hand on their shoulders. So close, he can feel the weight of their exhaustion and desperation rolling off them, an ambrosia. The depth of their affection for the boy-king. Interesting and useful. Asmodeus touches their cheek. 

"I will treat with you, little one, and more fairly than I ought. Your dear one's potential: a few more centuries, a stern hand, and Raphael might have made a powerful piece on the board. His sire is…" Asmodeus tapped his chin. "Increasingly irrelevant. Immutable and tiresome." 

Tav stares up at him, such a little thing. And there is potential there, too, the ability to warp and mold this boy-king into something suitable to his grand design. He touches their cheek with a claw. "I will give the means to locate Raphael's soul. In retrieving it, you will prove your worth and dedication. I have no use for the faint of heart. Is this clear?" 

"Yes, my Lord." 

"Clever pet, very clever." He smiles, chucking them under the chin. "You bring the boy to my court in Nessus, where he shall be given the means to decide his fate. Is that clear?" 

"Yes."

What an amusing twist of fate. He bends, collecting the Prince's mangled body in his arms. Tav looks ready to protest, to fight for their dear one (and again, how delightful; Asmodeus cannot help but feel charmed), only to remember what precisely stands before them: a god in truth, the Lord of all the Nine Hells. Asmodeus smiles at them, bowing his head. "I shall keep him for you, little one. You have my oath. Collect his soul, and we will meet again." 

He leaves them without another word, a touch of the dramatic, a hint of mystery to whet their palette. Asmodeus inspects the corpse in his arm. 

Sweet Prince, broken and bloodied. 

Asmodeus will make him whole again. 

[utilitycaster]

Dimension 20's Failed Genre Experiments

(This is the "Has Dimension 20 lost its touch?" post I’ve alluded to; please enjoy some genuine criticism masquerading as a riff on those sorts of articles for other shows.)

Dimension 20's debut and flagship burst onto the scene with a simple and elegant premise. What if a John Hughes movie were set at a high school for D&D adventurers? Its next full length pre-recorded season was the similarly strong urban fantasy The Unsleeping City, which in turn was followed up by the channel’s most ambitious outing yet: the Game of Thrones in Candyland mash-up, A Crown of Candy. 

Widely considered to be a watershed moment for the show, A Crown of Candy explored darker themes on a famously comedic platform, was the first on the channel to have permanent player character deaths, added new mechanics and limited what the players could choose to fit the world to support this more serious tone, and on a structural level, was a welcome departure from the prior rigid alternation between episodes of combat and episodes without. It was filmed prior to the pandemic but went to air in early April 2020, when many livestreamed actual play shows were on pause and even some podcasts were scrambling to figure out remote recording. D20 introduced their talkback show as a way for the cast to hang out remotely and chat about each episode, and Adventuring Party has remained a companion to the main show. The channel had hit its stride.

Its House of the Dragon sidequest, The Ravening War, aired three years later. Despite a complicated reaction to its announcement, it was a well-received outing, but one on what had by that time become a noticeably bumpy road.

Sidequests like The Ravening War are what D20 calls its shorter, 4-10 episode seasons that do not feature the main “Intrepid Heroes” cast in full nor necessarily feature Brennan Lee Mulligan as DM. We've seen everything from the perspective of the villains in both a Lord of the Rings clone (Escape from the Bloodkeep) and a Dracula homage (Coffin Run); to a Regency romance in the Feywild (A Court of Fey and Flowers). In addition to Mercer, Jasmine Bhullar and Gabe Hicks have each run a sidequest, and Aabria Iyengar has run three. And while the Intrepid Heroes' only venture outside D&D so far is the D&D-inspired Star Wars 5e, sidequests have been run in various Kids on Bikes hacks and Hicks' own Mythic system, as their shorter format makes it even easier to experiment with the parodies, pastiches, and mash-ups the channel is known for.

There have however been two notable failed experiments, and their close proximity (both released within the past year) could be a hiccup, or could be a sign that D20’s ambition, while admirable, could use some serious reining in. They are Neverafter and Burrow's End.

Marketed as the horror season, crossed over with fairy tales, Neverafter started out strong. Only three episodes in, there was an unprecedented (for D20) total party kill. The subsequent episode is the zenith of the season, in which each character is brought back, most of them changed and twisted by the experience, playing out an analysis of their role as an archetype within these stories: Sleeping Beauty and the classic roles of The Princess (introducing such NPCs as Cinderella and Snow White), for example; or Puss in Boots as The Trickster.

Unfortunately, the quality dropped soon after. It was revealed that the darkness spreading across the fairytale multiverse was due to the influence of The Authors, and the story began to be one about the concept of stories...while still trying to incorporate not only the plotlines of the fairy tales the main PCs were from, but also an intertwined conflict between the fairies and the princess NPCs. With this, the horror, with a few exceptions, melted away: violence and monsters are standard D&D fare, and when heroes race to save the world and victory seems not only possible but likely, any distinction between horror and a typical D&D heroic fantasy is lost.

It’s not the first overstuffed campaign, but it certainly is the first one that fails to land on several levels. Starstruck Odyssey is similarly chaotic and rushed at times, but it consistently sticks to a broad message of personal autonomy and freedom within late-stage capitalism. Mulligan is famous for his capacity to spin endless dense lore off the cuff, and if it at times overcomplicates the plot of the packed and colorful comedic space adventure, at least it contributes to the baked-in excess of the setting. But Neverafter's postmodern flourishes against a horror backdrop desperately needed an injection of sparseness and silence it never received. 

This is enhanced by the nature of actual play: with a few exceptions, even when filmed and even with the elaborate production values of Dimension 20, it is first and foremost primarily an auditory medium. We only know what is narrated to us. Neverafter did not permit its audience the time and space to fear the unknown. The existential horror of the metanarrative, of being a character doomed to a specific ending, while touched on by some of the cast (particularly Siobhan Thompson’s Sleeping Beauty), took a backseat to models of giant spiders and tales of undead dwarves. The story lacked the room to build real tension, but also failed to adequately create the claustrophobia of being truly trapped within its narrative. It feels more stuffy than unsettling.

Burrow's End is far less airless, but profoundly disjointed. Neverafter thought it knew what it was, but Burrow's End went through multiple identity crises by the halfway mark, and the marketing for the series reflects this.

The initial trailer makes it seem like a cute if dramatic story about a family of stoats - think Redwall, think Wind in the Willows. The first episode was excellent, however, and sold many who had been unimpressed by the trailers on the series, with its well-played setup of the clear Watership Down/Mrs. Frisby and the Rats of NIMH parallels with a unique twist in the form of The Blue.

The promotion took a strange turn, however, with the second episode and its infamous bear carcass battle map. It was hyped as uniquely horrifying, with a teaser video posted of the cast shrieking as the map, unseen by the audience, was wheeled past them. This seemed rather cavalier of the channel once the episode was posted, accompanied by a gore content warning covering a period of well over an hour...which was then further undercut by an exquisitely crafted, but ultimately rather tame display of a bear's innards. It was left out on the table during Adventuring Party as well, further reducing the idea of any meaningful shock factor (or any attempt to accommodate those in the audience who were triggered). The combat this map was for was a creative one, and the episode itself high quality, but it furthered the sense that Dimension 20 itself was unsure of what they were trying to get people to watch.

The series continued on with two more excellent episodes as it reached Last Bast, a clearly man-made structure full of thousands of stoats, with a strong dash of the police state. The actors immediately clocking the flaws of this society, but their stoat characters having no similar sense, led to a fascinating tension. However, the Blue (called the Light in Last Blast), previously described as some animating force and driver of magical power, and mysteriously concentrated in the brain of the dead-but-animated bear, was then revealed to be ionizing radiation.

At this point, the details of my own life become relevant. My career is in the field of health physics. I hold a master’s degree in this specialty and have served as a radiation safety officer, though not at a reactor. I don’t think that this background is a requirement to understand the structural issues of this season; but it certainly made me particularly attuned to the flaws.

Before you claim that this is just a show and who cares: In addition to my love of actual play, I am also a fan of comics and all sorts of speculative fiction. I am well aware that Spider-Man’s “radioactive blood” would not realistically grant him spider powers; I know that going into a high radiation field would not create Doctor Manhattan; I know that Superman does not actually have ‘x-ray vision’, and I know that radiation creates neither kaiju nor rad roaches. This is fine. In comics, radiation is a shorthand for “mad science” or “mysterious powers” with a sense of the lethal and the eldritch and the hubristic. The story is not so much about the source of these powers, but rather the great responsibilities they require. Godzilla, meanwhile, is clearly a metaphor for the very real nuclear devastation of Hiroshima and Nagasaki, and Fallout is an anti-proliferation and anti-war message with nuclear annihilation as the set up for its post-apocalyptic setting. These works understand that radiation is a limited-use plot device, and, wisely, they keep it simple.

Burrow’s End, by placing radiation front and center, has lost the message. The themes of the story are irretrievably muddled: what seems like a tale of family displaced by human intervention now positions a man-made hazardous material as both sinister corruption and divine boon, and engages neither with a fitting narrative of both the pros and cons of technology, nor of human and animal symbiosis. The finale establishes the latter in a rushed cut scene reliant on a single persuasion roll, and the two episodes prior to that meanwhile establish that while the humans first introduced radiation to the ecosystem, the first five stoats were the ones who sought it out and disseminated it and built the police state, and their true nemesis was Phoebe, one of their own. This culminates with Phoebe, the previously unseen fifth of the first five stoats (who have by now already been killed by the heroes), piloting the body of a 20-years-dead human, threatening to somehow cause global radiation contamination as her grand Evil Scheme. Unnecessarily, from a narrative perspective, I might add; this occurs after the final combat has already begun and she is magically controlling two of the party members. They’re already going to kill her. It’s a hat on a hat on a hat, and the humans are incidental.

When I was a child, I was enamored with the sort of stories in which children are sent to another time or place and then return with seemingly no time passing, and at one point excitedly told my mother I had an idea for a story, of what happens back while you’re time traveling. My mother, a fan of speculative fiction herself, and never one to coddle, told me “nothing, honey, that’s the point.” I wonder if something similar happened here; an attempted deconstruction of those radiation-granted superpower tropes, focused so hard on being clever it overshot into something anything but. Other elements of the story - particularly the weak pun of “copper” to hammer home the already obvious theme of population support being the arm of the police - make me think this was indeed an attempt at cleverness that missed the mark.

I am happy to elaborate on the flaws of the science elsewhere but I think the most succinct way to put it is that while the biology and habits of stoats sans radiation has been considered with what seems to be at least a modicum of love and care (their use of pre-existing burrows, Viola’s pregnancy), the radiation science/understanding of recent nuclear history can only be described as abysmally neglectful, in and out of game. They let a Loss of Coolant Accident go on for three days with a remarkably casual attitude? This disaster was sufficient to result in what appears to be an exclusion zone (of which there have been three, ever, in human history; two of which are the immediately recognizable Chernobyl and Fukushima) and yet it isn’t being monitored closely enough for someone to notice that there’s been penned animals next to the building for years (let alone that the building itself is teeming with stoats)? For that matter, they’re opening the site only twenty years later? After the “radiation dust”, apparently present on the fully maintained roads by the reactor, but neither within nor in front of the reactor, just now made 14 people bleed out (not how Acute Radiation Syndrome works; also 14 deaths from ARS in 1982, when the series is set would in fact be an unprecedented disaster. In our world, Chernobyl - which had not yet happened in 1982 -  is the only nuclear accident that exceeds that ARS death toll.)

Radiation becomes an all-purpose plot engine with no internal consistent logic: it kills humans swiftly and brutally (though based on statements by Dr. Tara Steel and the fact that she seems fine in only a hazmat suit - which shields from contamination but will stop neither gamma nor neutron radiation - only via inhalation). But it infects chipmunks and bears with corruptive and bizarre neurological effects, turns wolves into horrifying but loyal hybridized monstrosities, and conveys to stoats not just human intelligence, but mastery of human language, magic spells, and the ability to come back as a revenant through force of will…though it also can immediately kill them, but also extend their lifespans, but also cause them to slowly mutate into wolves (but not through DNA splicing transfer, that would be silly). It kills 14 humans nearly instantly with off-site dust, but another survives a fiery attempted core meltdown with no apparent ill effects.

There is an excellent and thoughtful story about family, generational trauma, and political structures somewhere under here, and the incredible cast does its damndest to sell it, but it is all but lost beneath a sci-fi whodunnit that would make Ed Wood cock a skeptical eyebrow.

Neverafter and Burrow’s End’s respective collapses under the weight of ambition coincide, perhaps unintentionally, with some of the more dubious film editing choices on Dimension 20. Filmed actual play can be visually unexciting, and Dimension 20 has used simple shot/reverse shots, as well as some sound effects (notably for critical hits and fails) throughout its run to break it up. Neverafter, however, is marked by deliberate hisses and glitches, fractured split screens, echoey vocal effects, and nails-on-chalkboard screeches. This did not add to the atmosphere as intended; at best they were irritating and for many made it actively harder to hear key dialogue. Burrow’s End’s editing has been simpler, mostly relying on some, to be fair, well-placed cuts to black and voice distortion to indicate taped or radioed segments; but a key moment - Jaysohn’s potentially fatal rush into radioactive waters - is undercut with a frankly cheesy montage. Others I spoke to compared it to Indian soap operas, 1960s Doctor Who, The Oscars In Memoriam video, and reality show farewell reels. It takes what could be a tense potential character death - something D20 already handles wonderfully with their iconic Box of Doom - and makes it cheap and tacky, particularly jarring given the beautiful and haunting shadow puppet animation the season had previously delivered to convey the stoat creation myths. (And then, when Ava falls into the waters herself saving him, she merely comes back as a revenant with no ill effects. The stakes were never there to begin with in this smoke and mirrors season.)

Praise for Dimension 20 often hinges on its original innovative structure; most actual play shows skew towards more longform storytelling. However, the short format comes with a price. The fixed length of D20 seasons and the elaborate, custom made maps require a deft GM that can guide players to the exact right place without it seeming forced. Threading the needle is harder than it looks; even the otherwise iconic Fantasy High debut season stumbled towards the end when the players were too good at uncovering the mystery, and Mulligan had to place their characters in an inescapable prison in order to pad out a pre-scheduled episode before the finale. Perhaps the strain of this constant need to live up to a reputation as high-concept innovators, rather than simply create something good and cohesive, is beginning to show. The higher production values in Neverafter and Burrow’s End cannot hide their messy plots and confused messages, and indeed only highlight them. One interview said that for Burrow’s End, Iyengar wants the audience to trust her; after Burrow's End, I can’t say I do.

The next Dimension 20 season after Burrow’s End is a long-awaited return home to the flagship: Fantasy High Junior Year. Let’s hope this reminds the channel where they came from, and what magic they are capable of making when they keep it simple.