#bloody desires if

[bloodydesires-if]

I don't know if it as been asked before or if its written somewhere but, is there another vimpires with unique abilities such as the mcs (like the sun immunity)?

Hi! Thank you for your the ask. I have not answered this anywhere.

So, some other vampires have abilities that could be similar or different from MC, but most don't. It all stems from the bloodlines. Only certain bloodlines have a chance at providing an ability. It depends on various factors. They are guaranteed. It's rare but not so rare that only MC has abilities.

For the purpose of making it fun for myself, I tried to give perks/abilities that somehow related to the backstory. So, in the Egyptian backstory, MC was a religious figure for Amun-Ra, the God of the Sun and Light. That's why I gave them sun immunity. :D

[thelostgirl21]

One thing I really want to see happen in Season 4...

Valdo Marx: Nice to see you again, Joseph!

Jaskier: *Heavy sigh* That's -

Yarpen: *Stepping in front of him protectively.* Julian Alfred Pankratz to you, you dying sounding beached whale! Only his friends call him Joseph!

Jaskier: Ah, actually, that's Jaskier.

Yarpen: *Dismissively.* Yeah, I KNOW.

Jaskier: *Getting all teary eyed.* I know you do.

[foxgirlmusk]

Affini will be like "oh no I can't possibly take a floret my desires are too MESSED UP and TWISTED I'll BREAK them if I let loose" and then their desires turn out to be light pain play and an intox fetish.

[carnivalcarriondiscarded]

hm. im not very big on new years resolutions, they're too much pressure. but... perhaps i can handle new years Desires

this year i want to complete a lil comic, fan-based or otherwise. i'd like to also complete some sort of storyboard/animatic thing. i want to develop a coloring style that i can be proud of. i want to get to a point with my dragons where they can have a coherent story & world to live in. i want to think of so many fun, trivial facts about my characters. i want to post more about them. i want to write and post an original thing, be it 1k words or 10k. i want to finish the rough draft of a book i outlined. i want to be kinder to myself. i want to create more gift art for others. i want to put more effort & care & love into my art. i want to force myself into the world and figure out how to live. i want to make an irl friend. try a new craft - scrapbooking, maybe, or making an enamel pin. i want to finish that last commission and make a new sheet for more. i want to be freer with myself. i want to finish at least three fics. i want to go whale watching again. i want to improve my art, especially in the matter of drawing people. i want to bake something tasty and share it with the neighbors. i want to be content with existing. i want to have more good things in life to list on bad days. i want to build a birdhouse.

[theprodigypenguin]

I'm not a parent, but can you imagine how psychotic Dragon would get if Sabo got hurt in his place. Like to some degree Sabo is worried that if Dragon were to die, the revolution would die with him, and Sabo was raised from a very young age to think of himself as expendable because of his parents, and that kind of thing can settle into the marrow of your bones and not go away no matter how much time passes. He would more than willingly stand in front of a brutal attack to defend Dragon, though Dragon is the last person in the world who'd ever need to be shielded. It's instinct for Sabo to protect, plus this is Luffy’s dad AND a member of the D clan. Dragon is important, Sabo isn't, so he'd happily take a hit in Dragon's stead. Queue his blood splattering across Dragon's face and Dragon just has a psychotic break because first of all he probably most definitely has ptsd, suddenly all he can see is Sabo crying against him because he can't open the gate to Grey Terminal, ten years old with half his face burned bloody and unconscious, and he just fucking snaps cuz that's not just a revolutionary or the chief of staff or his second in command that's his fucking kid and he's watched him grow up for the past twelve years, he can remember when Sabo barely reached his knee in height and now he's bleeding out because he, the child, was trying to protect Dragon, the parent. Nonono, that's not how this works and now Dragon has to commit homicide. "Would you kill for you child" he sure would! He knows Sabo can take care of himself but if he sees that blond brat fall in front of him he is going to descend to the lowest level of hell and bring whoever pulled the trigger with him.

[lukasadss]

Re-watched Crimson Peak, had a thought

[questionablealibi]

/WARNING/

Drawn blood; eye contact

Stay safe! <3 (thoughts behind this in tags ;))

"And I know, it's Stockholm that you're stuck on

How high's your pedestal?

Maybe he'll be Jesus,

Maybe he'll be Jesus this time."

"Scum" by Lovejoy

[omegaremix]

Omega Radio for April 3, 2013; #14.

David Bowie “You Feel So Lonely You Could Die”

How To Destroy Angels “We Fade Away”

Atoms For Peace “Before Your Very Eyes”

Depeche Mode “Soothe My Soul”

Cold Cave “Oceans With No End”

Blind Alley “Sister Smile”

Jesu “Duchess”

Sea Oleena “Orion’s Eyes”

Ormonde “I Can’t Imagine”

Geneva Jacuzzi “Clothes On My Bed”

Computer Magic “Running”

My Bloody Valentine “Is This And Yes”

Brothertiger “Turquoise (Skyline)”

Chromatics “Tick Of The Clock”

Glass Candy “Digital Versicolor”

Kraftwerk “Trans-Europe Express”

Golden Filter, The “Hide Me”

Nite Jewel “We Want Our Things”

Phil Western “Citrus Dream”

Desire “Mirror Mirror”

Small Black “Despicable Dogs” (Washed Out RMX)

Telepathe “I Can’t Stand It”

Washed Out “Within And Without”

Deluxe pop, standards, synthpop, and chillwave.

[jane-d-ankh-veos]

Feeling feelings because of May and Clay Men: episode 999 💔

Resonates so well with FL:

[hella1975]

hi hella I read the first 2 chapters of aftg and this is how it went

ok tbh I was planning on going further than two chapters like I said I'm in a mountain shack rn internet isn't always great and also my dad would prefer that I'm not constantly on my phone so I was SUPPOSED to do more reading. but. tee bee h. I got through 2 chapters and was like oh I'm so fucking bored let me get on tumblr again

okay but your commentary is so fucking funny

[bloodydesires-if]

can you tell us more about the clans? and about vampires in general? can they eat human food, what happens when they're in the sun, are they cold to the touch, etc? basically i'm asking for that sweet, sweet lore dump 🥺🤲

Sweet, sweet lore just for you anon <3

Warning: discussion about blood...but this is a vampire game...so be aware pls :)

Some vampires facts:

They can walk around in the sunlight but it causes them to get hungry faster, which makes them a bit weaker in terms of strength and speed when outside during the day.

They need around 15 liters of human blood per month to maintain a regular level of strength and endurance. If they are injured, they need more.

Blood tastes different depending on the person. If they are happy or excited, their blood may taste sweeter. Fearful? Spicy. Sick? Metallic. It varies greatly.

Vampires can also drink the blood of other vampires (although they cannot die / be drained completely). This is a very rare thing to see and it shows trust between two vampires. Because when doing this, the vampire drinking can see a core memory of the other one. A memory that has shaped them. Something vulnerable.

They can eat human food but too much because it can cause a stomach ache. Nothing bad happens though. Some vampires have been known to do it to feel more fragile, more human...

Body temperature is regulated by emotion. Colder = sad, hurt; Room temp (close to human temp) = stable, content; Hot = angry, frustrated.

Some clan information:

Viscardi - intelligent, cunning. They love a good mystery. Headed by Lucius Viscardi and dates back to Ancient Rome. Lucius believes in finding a way to co-exist with humans. Not everyone agrees, including some of his clan. But his clan is made of thinkers and innovators. They are respected.

Crescendo - founded by Zephyr (last name unknown) after the First Vampire Civil War. Crescendo clan members are seen as leaders who can inspire diplomacy - or inspire their brethren to crush enemies. Others listen when a Crescendo speaks.

Saleyrn - a young clan considering their power, but Seraphine Saleyrn is someone who can charm or seduce her way through the world. Founded during the Renaissance period, Seraphine took very little time to find the best of humanity and turn them. There was a vampire ready in every court, every government, ready to any decision she saw fit.

Infinitum - The infinitum clan is secretive, reclusive, mostly seen at the Vampiric Round Table. No one outside the clan has a full grasp of who they truly are, how many members they have, or what their goals are. But they are a deceptive clan. It's a wonder any of the clan trust each other.

Not sure if that was what you were looking for but hope it helps!!

Thanks for the ask <3

[polysyndetonaddictsupportgroup]

if toji suddenly reincarnated back into ssg, how would each character react? like obvi gojo would try to hollow purple him on sight but he manages to hold himself back to get some answers from toji instead. do the others know that it was bc of toji that megumi is stuck in the situation he’s in rn? would megumi even want to talk to his dad?

and how would toji take finding out how the zenin treated his son? he thought that he’d be safe and happy there and then he finds out what they did to megumi and that it was gojo and co who stopped it.

Everyone knows that Toji sold megumi to the zenin.

I think it actually really bothers Megumi how it’s common knowledge. He doesn’t know anything about his own father other than he sold him, and that’s not even private to him. He’s just some unwanted kid who his dad only had to sell like prized cattle.

It was never a secret that Toji sold him to the Zenin. Maki knew, and she already told the others when giving them the rundown on what happened. They’d all know that toji’s the reason megumi’s stuck in this situation.

The second years:

It depends on when he arrived. If it’s when Yuuta still hasn’t gotten the RCT backlash under control, then he may have to worry a bit about the power of love and also this sword.

He’d survive. Not unscathed. But he’d survive.

If it’s after Yuuta’s gotten control, Yuuta still would hate him, but he wouldn’t be as proactive about it. Mostly because Megumi would feel weird about him making a fuss. He’d intervene every time Toji tried to talk to Megumi if Megumi established he didn’t want to talk to him. He’d try to quietly get him the fuck out of there. He'd radiate an aura of murder whenever Toji came close.

Maki would ice Toji out on principle. Like, she’d hate that she had to. Toji’s supposed to be the only one who understands her. They’re both Zenin clan rejects. They both were hurt in such similar ways.

But only one of them sold their fucking kid back into that hellhole, and that ended with Megumi in a hospital bed. She’d be bitter, internally, that she couldn’t try for something like a relationship with Toji. She’d wonder if she betrayed Mai the same way he betrayed Megumi. She wouldn’t outwardly react to him. She’d ice him out.

Inumaki and Panda would embark on a quest to ruin his fucking life. They’d short sheet his bed. They’d put itching powder in his pants. They’d put bleach in his shampoo. All would fail, but this would not discourage them.

The adults:

Gojo would bend over backwards to keep Toji away from Megumi.

Gojo's playing the game of "only let Megumi get information he can physically handle" right now. that's why he's refusing to let Maki tell him the truth about the Ten Shadows. He knows his kid. He knows Megumi's impossibly fucked up and is not going to tell them how badly or ask for help for what happened. He knows Megumi's going to break if anything else happens, and he knows that Toji showing up out of nowhere and dropping six bombshells on him is not something Megumi could handle. He'd squeeze Toji for insider information on the Zenin and threaten to punt Toji to the moon if he didn't stay the fuck away.

Toji would not be impressed by the threats.

Nanami and Shoko would refuse to have anything to do with him. Shoko wouldn’t speak to him. Nanami would, but only to inform him that his sole priorities are the wellbeing of his family, and that Megumi has a right to speak with Toji if he so wishes, but if he doesn't, toji needs to steer far clear of him. He's done enough. toji may have been his father biologically, but Nanami was the one who carried him home--twice--after the family Toji sold him to broke him to the point he was close to death. Nanami has been there for the parent teacher conferences and the nightmares and all the shit Toji never even tried to be there for even when he had a chance. Toji surrendered his place in Megumi's life, and it's been filled. And Toji should not dare to try and hurt nanami's family again. He's already done enough.

Megumi:

Megumi hates him. And he wouldn’t want to talk to him.

Megumi never talks about his dad. If someone asked, he’d say he doesn’t care about him, didn’t expect better from him, and doesn’t care that toji sold him. It’s hard to be hurt by someone you never expected to love you. He’s not surprised; he’s not disappointed; this is just his dad being on brand. He was a piece of shit before and a piece of shit now.

He’d be lying.

His dad selling him to the Zenin cut megumi deeper than anything else in his life. The zenin were always his abusers. But Toji was supposed to be his dad. He was supposed to take care of him.

He was supposed to love him. And a part of megumi has never been able to understand why he didn’t.

In megumi’s mind, he had to have known what pieces of shit the Zenin were, and he sent him there anyway. And Megumi hates him for it, he really does.

I guess it really depends on when in the sgg timeline it is. Like, are we dropping him right in the middle of the currently chapter?

Megumi would assume he’s a hallucination. He’d think his brain would be just fucking with him and making it all hurt more. It would make him violently upset, and Toji would have to be removed from the room, and Gojo would probably have to knock Megumi out to get him to calm down again.

If he’s gotten better, then Toji would still make him violently upset. But he’d be aware enough to hide how much.

He’d refuse to see him. He’d refuse to talk to him. He wouldn’t want to be in the same room as him. His dad couldn’t be fucked to ever be there for him, so Megumi doesn’t see why he should drop everything to see him now.

Megumi's not in a mindset where he could ever healthily see Toji, coming right off SGGs. like, he's traumatized out of his fucking mind. He's absolutely unable to handle the added stress of his deadbeat dad coming back to life and wanting to chat.

Toji:

Toji would kill all of them.

The thing is, I don't think Toji actually thought Megumi would be safe and happy with the Zenin. I think that's the lie he told himself to justify selling his son to his abusers. Like, he knows his family's cruelty better than anyone. He knows that even if you have cursed energy, they're not exactly tender parents.

I think he was just in a spiral, struggling with a gambling addiction, and was trying to take an easy way out and lying to himself about what exactly he was doing to his son.

He'd feel like shit over it, the confirmation that he son could be literally the most important person for hundreds of years to the zenin and they'd still hurt him. He'd kill them for putting Megumi in the hospital bed, for hurting him all those years ago. He wouldn't know how to begin fixing things with his son, so he'd do what he knows how to do, which is just fucking kill the people who hurt him to begin with.

[newvegascowboy]

Playing the dnd version of Red is actually interesting to me because the context of their memory loss (or... lack of context i guess) really informs how they view romance and relationships and how they choose to live their life once they do regain their memories, and ir facilitates a lot of character growth.

Red in the game never goes through an amnesiac period, so they've just got to content with the immense weight of all their desires suddenly being freed and fed by the party, vs their entire life of Torment And Bad Decision Making.

Basically what im trying to say is this bitch needs to get hit on the head.

[lizbert-megafig]

nobody gets a glimpse into what’s wrong with me like the guy from trivia who collects our answers and sees my little drawings in the margins

[literatureismyentirepersonality]

Plastic Theatre In Prose: Aşk-ı Memnu

For a while I’ve really enjoyed reading what I can only describe as ‘Plastic Theatre’, not simply in plays, but in prose.

Plastic Theatre is known as a technique used by 20th century dramatist Tennessee Williams, known for A Streetcar Named Desire, The Glass Menagerie and Cat on a Hot Tin Roof among other plays (these three that I have read/seen are excellent). It involves a symbolism that borders on the surreal and a heavy awareness of the spaces that characters operate in as representative of their inner states or relationships. If the curtains are blue, there’s a very good reason.

I haven’t, however, been able to find any criticism that makes the jump from Williams’ on-stage Plastic Theatre to its mirrors in prose. (If anyone knows of any, please direct me to it)

Margaret Atwood is the author who I saw it in first. She is an incredibly deliberate author, playing with language constantly, and so, of course, when she describes a space, she does not do so without good reason. The constant and intoxicating symbolism of The Handmaid’s Tale may be forgotten sometimes in favour of its high-concept, but one must note that the actual plot of the novel is very limited (just as our narrator is very limited). It is the prose, the linguistic entanglements and the imagery of flowers, of eggs, of corpses, that sustains engagement and creates such a powerful and meaningful story.

Angela Carter’s The Bloody Chamber (which I have some issues with, plot-wise) is linguistically and symbolically incredibly rich. Where I was tired by the constant returns to that (I don’t want to talk about it; if you know, you know) as apparently the only means of darkening a fairy tale, my interest was maintained by the cleverness of the prose and the richness of the text. As with Atwood, every detail has a secondary meaning or a hundred secondary meanings.

Halit Ziya Uşaklıgil’s Aşk-ı Memnu seems also to have an element of plastic theatre in its construction, gesturing not only to symbols of space, dress and action but also to genre. Plastic theatre in Aşk-ı Memnu is not so sustained as in the works of modern writers, but equally it is more sustained and intrusive onto naturalism than its contemporaries.

Firstly, Halit Ziya is luxuriously heavy-handed in the names he gives his characters; even in the text, he cannot help but inform us that ‘through a strange irony she was taller and more slender than her name’, a playful hint not at all distant from Williams’ Blanche dissecting her own name so falsely in A Streetcar Named Desire. Beşir, bringer of good news or prophet, seems almost to give the game away before he has begun.

Yet Halit Ziya does give the game away before he has begun. Forbidden Love and the immediate rendition of Firdevs’ history sets up Bihter’s fall from the very beginning and, like all adulterous women in such novels, her death feels inevitable (I am feeling very tempted to write another post about the agency dynamics of why these women must, narratively, at least, end in disaster). There are few narrative surprises in Aşk-ı Memnu. What is there in abundance, however, is linguistic and symbolic art.

I will only consider the first chapter in detail, but to do so will require much ranging across the text regardless.

From the first chapter, Halit Ziya puts perhaps excessive emphasis on the colours around the Melih Bey set, ‘Melih’ alluding to charm and beauty, the white of Bihter’s veil and the white of their boat against the mahogany of Adnan Bey’s— the innocence of Bihter and the stately rigidity of grief that her marriage to Adnan Bey will bring— and Firdevs’ wish to erase the whiteness of her own hair to prevent the returned innocence and what she perceives as the neutered sexuality of old age.

When ‘[Firdevs’] husband’s name was erased’, this is reflected in the narrative by the literal absence of him or his name. He is subsumed into Firdevs’ in the same way Nihal’s mother is into Adnan and part of Adnan and Bihter’s conflict is perhaps that neither can swallow the other into their world entirely until Bihter is dead.

The scenes between Firdevs and her husband are incredibly rich. The letter in the bouquet not only foreshadows Firdevs’ letter to Behlül, but also renders an image of Firdevs’ nature: a beautiful exterior which conceals an interior of unknown substance. Halit Ziya is a writer; he treats word and narrative as powerful (see the semantic field of literature, narrative and the physical object of the book when Behlül discusses his romantic feelings). No matter how grotesque Firdevs’ external pursuit of beauty becomes, she is notable for having the power of word and falling into the trap of its becoming revelation. She keeps her love letters in the yonic drawers and her husband savagely destroys in what can be read as an attempt to wrest back the masculinity that was lost in the erasure of his name, but when he is dead, Firdevs reasserts herself as masculine in power. She will hunt for a yonic ‘purse’, predatory, though unsuccessful.

The dynamic between public spaces and private spaces is also masterfully utilised. It is in the semi-public space of the river and the boats that Adnan Bey and Bihter’s relationship is born, but it is also there that Firdevs is first revealed to her husband. Forests also function in a similar way— a space where social convention is briefly confused, as in Chapter Seven’s picnic and Chapter Nineteen’s magical forest, oozing with the mutability of a Shakespearian or folkloric forest.

Outside, the narrative concerns itself with fashion, with known histories, with reputation and with mere flirtation, but when Nihat Bey brings the women inside, into their private sphere, the narrative immediately switches to domesticity and marriage. Where the externally focused Firdevs had managed to dominate the novel’s opening, now the internal world belongs to Bihter.

The more the narrator retreats, with Bihter, from the outside world, to the interior of the house, to her own small room, the more aware of her interior thoughts we become and the more tightly she seems to be bound by circumstance.

The early imagined ‘rainbow [...] deluges of green, blue, yellow and crimson, [...] sunshine composed of emeralds, rubies, diamonds and turquoises were being poured’ seems to signify a point of multiple paths, but also becomes the world of her relationship with Adnan. Like Stanley and Stella’s coloured lights in Streetcar, colour becomes dualistic in Chapter Eight, the luxury of jewels and silks becoming the oppressive greens, blues, yellows, and reds flowed over the shadows, creating and destroying each other. These colours of experience, pulling her from her initial ties with white, will once then again morph in to become an emblem not of Bihter and Adnan Bey’s relationship, but of her independence. Reconfigured, Chapter One’s rainbow is now representative of Bihter’s escape from Firdevs, just as Chapter Eight’s is her escape from Adnan into the arms of whatever love she can grasp, be it from herself, or later from Behlül.

Note also that the main item of jewellery Bihter will eventually receive is emerald green as Halit Ziya employs literary shorthand to emphasise Nihal’s envy.

The final confrontation of this chapter takes place on the şehnişin, a space neither inside nor outside, private nor public. Firdevs is most comfortable in the public arena, she wishes to draw Bihter outside, at least partially; it is in this space that Bihter assumes a ‘demeanour peculiar to children’, emphasising her own initially liminal state between childhood and womanhood. It is a ‘dark night’, yet through ‘half-closed eyes’, Bihter watches ‘a speck of light’. Halit Ziya refuses to allow the pair to exist certainly in any capacity.

Even in a single chapter, so many symbols and generic references are invoked. Later, Nihal will repeatedly signal the gothic and the folkloric without the narrative ever truly becoming either of these; Mlle Courton, in Chapter Three incessantly invokes the French sensibility tradition, yet this too, cannot overtake the narrative. Behlül persists in his romance. Yet, in death, Bihter reclaims the genre of the book for her own, enforces her own story. Nihal can try to evade it, try to pretend that she is the heroine who survived the wicked stepmother and her wicked prince, but Bihter’s stamp on the novel cannot be erased. She could not swallow Adnan Bey into the Melih Bey set, but she could swallow his narrative into her genre: the domestic drama wins out.

(I feel like I have to make a little addendum because this is a Tumblr post and not an academic essay; I write with excessive confidence as a stylistic choice. Every single point made here is up for debate.)

[sytoran]

my work ethic sucks

ive worked on 3 separate wips today (babysitter!au pt2, goddess!nat pt5, cheerleader!nat) but i just cant bring myself to actually finish it