#both corrupted versions of themselves

[killedbyfrank]

Same vibe tbh

[villainsidestep]

living up to the villain sidestep name (thinking of a Third puppet)

[gch1995]

I’ve contemplated a lot about why Luke was the sort of person that Anakin felt inspired enough to turn his back on Sidious and the dark side for, while Padme, Obi-Wan, and Ahsoka weren’t.

While Anakin does become a hypocrite who no one was obligated to forgive after he turned dark, regardless of his tragic circumstances and compromised agency, I think Luke was the one who finally inspired him to turn back because, in spite of as “above it all” as Obi-Wan, Padme, and even Ahsoka wanted to believe they were, they still had many of the same issues Anakin developed of feeling pressured to be people pleasers to corrupt authority figures, expectations, and rules that they knew were wrong out of fear of the unknown under compromised agency, moral hypocrisy, pride, manipulative tactics, selfishness, and/or an exceedingly vengeful side in their anger that they were not willing to pull back on when they dueled him or other enemies that piss him off.

Padme, Obi-Wan, and Ahsoka loved Anakin, but they were also prideful, self-centered, and terrified people who were too afraid to admit that their methods flawed, too afraid to take a stand against the standards of these broken systems they were born into, too afraid to admit they were wrong, too afraid to take risks to do better, and too afraid to admit that they weren’t as “above it all” as they pretended to be.

Luke Skywalker being Anakin’s son is definitely one of the influencing factors that inspires him to turn back to the light. However, it’s also because Luke is self-accepting of his bad decisions, flaws, and mistakes. He’s aware that the old Jedi Order was deeply flawed, hypocritical, and misguided, in spite of their good intentions. He’s unwilling to stoop to the same level as his enemies. He won’t let himself get carried away with baiting his father into a fight when he gets angry, and start making justifications of how he’s “right” just because he has good intentions, just because he was fucked with first, just because he’s not a Sith, or just because it’s “too dangerous” to take a risk to be honest, kind, and offer one of his enemies (his father) a better opportunity when he sees that he really is also a victim of Sidious who is still struggling against his darker instincts and searching for freedom and love from family. He refuses to enable Anakin’s slave mentality and ultimately refuses to let his father believe that “Anakin Skywalker is dead.”

This isn’t saying that Anakin is an innocent, that Luke was obligated to forgive him, or that his victims didn’t have valid reasons to fear him and resent him. Of course, they did. The point is that in those little moments where he tries to reach out to Ahsoka, Padme, and Obi-Wan about being unhappy with the Jedi and keeping secrets of his marriage before going dark, backs off, says “Don’t make me destroy you,” or lets them go, they all had an opportunity to refuse to further perpetuate the cycle of abuse by acting in anger and vengeance. They could have refused to encourage his sense of compromised agency. They could have broken the cycle of system sting abuse, crime, and oppression with Anakin in those instances by being the bigger person.

Instead Padme and Obi-Wan encouraged him to continue to stay with the Jedi and/or keep his marriage secret when they knew their systems were corrupt, and knew he was becoming increasingly emotionally/mentally unstable and unhappy in ways that made him a danger to himself and those around him out of fear of the unknown by pretending that he would just get better if they told him he would when he tried to say otherwise.

Instead, Ahsoka ended up declaring that she’d “avenge her master” when he refused to join her right away and told her “Anakin Skywalker is dead because he destroyed him.”

Instead, Obi-Wan egged him on into a duel on Mustafar by using Padme as bait, and refused to back off after getting him to let go of Padme from his reckless blind rage/paranoia force choke before killing her when he thought she brought Obi-Wan to kill him and even got him to a point where he could tell Obi-Wan “Don’t make me kill you.” When Anakin cornered him again 10 years later for revenge that he clearly didn’t want as much as he had convinced himself he did because he still cared about Obi-Wan deep down, tells Obi-Wan “I destroyed Anakin Skywalker, not you,” and even gives Obi-Wan a chance to run away, Obi-Wan allows Anakin to continue to believe that Anakin is dead, convinces himself that he is, and he runs away to compartmentalize his own guilt over how he mistreated Anakin.

Instead, another ten years later, Obi-Wan more or less encourages Anakin/Vader to kill him by just standing there after confronting him in A New Hope, and saying “I’ll become more powerful than you can ever imagine.”

So the reason as to why Anakin can’t be inspired to atone or do better by Ahsoka, Padme, or Obi-Wan isn’t just because he’s a deeply flawed person. It’s because they are too, they live in denial of it, and let him live in denial of it, too.

[ellestra]

The Voice from the Outer World

Dune is a story of failure. SPOILERS for Dune Part 2 below

Power corrupts and all of that. We all know this. So we would be able to avoid it, right? If you know what happens you can chose another option. You would be different.

And here's a story that shows that even when you know all of this and more and can literally see the future it's still not enough.

I get why people often think that to avoid this the person in power shouldn't want that power. That this would make them somehow immune. And this logic has multiple faults (like - how can you be good at doing something you hate?) and one of them is that just not wanting to abuse power doesn't mean you would do right things with it.

We are reminded multiple times in the film (and the books also aren't shy about it) that Fremen religious belief in a saviour is not something that arose naturally. It's a belief seeded by Bene Gesserit's Missionaria Protectiva. They seeded superstitions and myths in different cultures so they could use them in a future emergency. Everything Fremen believe about their Mahdi was created so their faith could be used by a Bene Gesserit in need. And both Jessica and Paul are aware of this even before they even set a foot on Arrakis.

It's specifically made for the saviour to be a foreign one (Lisan al-Gaib is The Voice from the Outer World) because the people who made and planned to use this prophecy were ones from an outsider culture. Paul doesn't hijack Fremen beliefs to insert himself as their white saviour. These beliefs was specifically created for someone like him to use.

It was made with purpose of hijacking Fremen religion into protecting the foreigners who know how this prophecy was constructed. This is a parasitic belief (cuckoo-like faith) and the truth doesn't set anyone free. We see why with Stilgar as he wants to believe so much that everything becomes a sign. Even when he's told this has been fabricated and he was manipulated he warps it into something that supports his beliefs not undermines them. I'm sure you've seen this in real life, in real politics if not religion.

Jessica and Chani got changed the most from their book versions. They've become opposite sides of the ideological divide. Not between religion and lack of it - Jessica obviously not a believer - but between using people and letting them decide their own future.

Book Jessica is more apprehensive of Paul's choices. She's often more worried he may not survive the trials than pushing for them for power. In here she becomes the driving force of using the messianic belief Bene Gesserit implanted for Paul's benefit. She makes sure Fremen believe he fits the story. She doesn't care about Paul's wishes to avoid this burden. She knows it doesn't matter when he tells the people the truth about Bene Gesserit, their abilities and their manipulation techniques. Belief is impervious to proof and confirmation bias makes you reject all evidence to the contrary.

But then, in the film, Jessica is kind of possessed. Stilgar warns Paul not to listen to the djinn but neither he nor his mother can stop listening to the voices. The film removes Alia's book doings but replaces them with foreshadowing of what she becomes. She whispers the truths about the future to her mother even before she is born. Funny how this change make her, not Paul, the first fully prescient Atreides. She is manipulating the events when Paul refuses to and that's foreshadowing too. When Jessica took the Water of Life while pregnant she did it for the power this new position among the Fremen would give her. Alia never stood a chance. She was pre-born into this.

The only one trying to stand in the way of succumbing to the power corruption is movie version of Chani. She was never believer in a saviour. She wants her people to save themselves. They already have a plan for a better future that doesn't involve killing worlds for the Empire they never wanted anything to do with. They were not supposed to be warriors of the prophet. She sees this for what it is - a way to control her people. She understands this is another form of enslavement. The only difference is that this one is embraced. No one listens to her when she tells them the truth. They only see what they want to see.

The power that comes from being close to the rule is just as blinding when you stand close to the throne as it is when you sit on it.

And the sad part is she knows she played a part in this happening to as she convinced Paul to give this a try. She didn't see the visions he saw so she hoped he can remain the person she fell in love with. When he submits to the way prescience shows him and takes over the faith we feel her heartbreak. She watches him becoming what he feared and everyone around him stops her from trying to save him (not just other Fremen or Jessica - Gurney puts atomic arsenal in Paul's hands).

Paul doesn't bring freedom. He just changes who holds the power but in the end the structures of power remain (the similarities between Saudarkar and Fremen are not accidental). And billions die so it can happen. But billions is a an abstract number. It's much easier to feel the consequences when they hit close and personal.

Everyone around Paul gets to gain something - Gurney gets revenge on Rabban, Jessica and Stilgar get to destroy Harkonnens and Emperor. They are on top now. The power corrupts even before you even hold it. Just the promise of power is enough.

This film version of Chani doesn't let us forget that this is what we watch. That what is happening is not a good thing. We as humans have tendency to gloss over big numbers of deaths when it's unseen people with whom we have no emotional connections. Through her eyes the loss is so much more personal. She loses her Usul to Paul Muad'Dib. And he takes her people and her planet too.

As Paul says - they are Harkonnens too. And they do what Harkonnens do too. The difference was always cosmetic.

And one more thing. A lot is said about Arabic and Muslim influences in Fremen culture and religion but they aren't the only ones. One other is the word used for the places where Fremen live - Sietch. It comes from Zaporozhian Cossack name for their fortified encampments - sich.

In the West the name Cossacks invokes the cruel Russian Imperial forces that tsars used to pacify conquered territories. But this is not what comes to my mind first. In the Polish-Lithuanian Commonwealth they were free people living in the borderlands of the Commonwealth on the territories often attacked by the Ottomans. The constant raids from Turks meant they were warriors and constantly moving. But this also allowed for a lot of freedom as there wasn't a lot of direct control over these territories for the same reason. This meant that they were often joined by anyone wishing to have that freedom - from peasants escaping indenture to nobles escaping the law.

The dissatisfaction with Polish rule eventually lead to uprising and this part of Ukraine joined Russian Empire. That Empire destroyed all the freedoms Cossacks had and those independent warriors became just another enforcers of conformity for the Empire. They've become exactly what they fought against. I often wondered if Herbert chose the name Sietch intentionally to invoke this turn of events.

[secondhand-snow]

a body of impulses

lukas matsson x f!roy!reader (succession)

★chapter 2★

wc: 7.5k+

warnings: toxic family dynamics, drinking, very mild violence, smut, virgin!reader, inexperienced!reader, corruption kink (if you squint), oral sex (f! recieving), fingering (f!recieving), handjobs, cum eating, spit, clothed sex, unprotected sex (wrap it before you tap it!), biting, so much making out, praise, size difference, no use of y/n

summary: The youngest Roy meets Lukas Matsson at her brother's birthday party. Limerence strikes like lightening. Self-control snaps. Attachment blooms.

author's note: I'm considering making this a short series? Let me know what you think! please consider liking, commenting, or reblogging if you enjoyed!

It made you feel strangely childish, running through the darkened rooms of the event space, carefully stepping with bent knees to reduce your risk of falling from the extra few inches your heels provided you. Looking over your shoulder at the dwindling silhouettes of your siblings, you checked to be sure they didn’t think your disappearance was too suspicious. Of course, they were too transfixed with themselves. They were staring at the large, falsified, magazine covers of themselves hung on the walls of the open space. 

Connor was still making a fuss, comforted by Willa.  You noticed a few attendants coming over to begin the process of removing his personalized poster from public view. Meanwhile, Shiv and Roman had their heads together, no doubt constructing some plan to turn Kendall’s birthday into a business opportunity. You rolled your eyes lightly, turning back around to peer through the small crowd at your older brother’s bomber jacket.

“Ken… Hey Kendall! Wait up!” You called out to him, your voice only a little louder than your normal speaking tone to carry over the techno music. He heard you, apparently, turning to lock eyes with you. You trotted up to him, grateful that the room you were in was mostly empty of partygoers. The walls were big screens flashing with fire, the orange light lighting up Kendall's face as he looked at you. Flames flickered in the pupils of his eyes and you almost laughed at the ironic symbolism of the moment.

“So, I know Rome gave you something earlier, I don’t know what, but uh,  I got you a card too.” You opened your small clutch and pulled out a white envelope, Kendall’s name written on it in your neat cursive handwriting. 

“You did?” His eyebrows raised, accentuating the few rows of wrinkles in his forehead. Taking the envelope from your hand, he turned it around in his fingers, almost like he couldn’t believe it was real. You bit your lower lip and nodded, hands moving to clasp behind your back.

“Yeah, I um… didn’t want to give it to you around them,” you nodded your head in the general direction of the rest of your siblings. “I know things have been, like, weird… lately. But, It’s your birthday and I love you and so I got you something.” Smiling on the last word, your tone raised the slightest bit. Kendall’s brows were still furrowed, but he nodded and ripped the envelope open to produce the card.

It was a cliche store bought birthday card, the front of it adorned in a goofy catchphrase and the picture of a dachshund. You saw his lips twitch the slightest bit as he read the front, a full smile forming as he opened the card. The stereotypical joke’s punchline was delivered and sandwiched inside the folded paper was an old photo of the two of you as children. He picked it up between his thumb and pointer finger, turning it over to find the date it was taken and both of your names written on the back. 

A small laugh escaped his mouth, his pointed grin blooming over his face as he turned the photo to face you. Pictured were the two of you, outside at the Hamptons house on a sunny day. You were young, maybe a few years old and Kendall was an older teenager. The younger version of yourself sat on his shoulders, your hands coming down to cradle his face while his hands held onto your ankles. Your tongue was sticking out at the photographer, he had noticed your face and was in the midst of an open-mouthed laugh when the photo was captured. 

It was a nod to your younger years, when Kendall filled more of a fatherly role than a brotherly one. You had written on the inside of the card, the message reading: “Happy birthday Ken. I love you always, no matter what,” with a heart and your signature ending the note. 

“What do you think?” 

“Are you kidding, I love it. God, I- I haven’t seen that picture in years.” He tucked the photo back away and held the card in one hand while he embraced you. 

“Right?! I found it the other day when I was looking through some old diaries. That was such a good summer.” You beamed at him as you spoke. He hadn’t been this happy around you in weeks, maybe even months. 

“It was. At least, by our standards.” Kendall chuckled a bit with the memory. “This is- it’s just great. Thank you.” You pulled him into another hug, he tucked his nose into your hair and planted a soft kiss on your head.

“I’m glad you like it. I really love you Ken, don’t forget that.” You looked into his eyes as you said it, a sad smile on your face at the intensity behind your words. He just nodded, squeezing you tight one last time before releasing your frame.

“Here, come on. I’m gonna show you something.” He took your hand then, leading you through the throng of people enjoying his birthday party, nobody sparing him a second glance as he walked by.

That was how you ended up with a rainbow bracelet around your wrist and a too-strong drink in your hand, standing behind the rope blocking off Kendall’s private treehouse from the rest of the party. Your clutch fell around your wrist loosely, your fingers prodding at the straw in your cocktail as your siblings bickered in front of you. 

“You’re getting worked up about a treehouse? Do you know how ridiculous that is?” Kendall shut the rope divider in front of Roman, turning his attention to a newcomer entering the space. “Hey, come in. Wristband him.” He nodded to the security guards.

“Yeah, wristband this guy. Uh, what’s his name?” 

“No idea.” 

“Good, so good. So random, unknown man and our baby sister can come in, but not us?” Roman talked with his arms, navy blue suit jacket riding up to show the skin of his wrists.     Shiv crossed hers as he spoke, rippling the green fabric at the front of her chest, eyes staring daggers into you.

“Yeah so the thing is, and- I already said this, she’s cool. You’re not.” Kendall gestured to you and you gave a weak smile to your excluded siblings.

“Fucking bullshit.” Roman ran a hand through his hair.

“See these two? Don’t let these two in okay. She’s good, they’re not.” Kendall pointed to the three of you as he talked to the guard, a tall blonde man in a black tshirt. “This is my treehouse. You shouldn’t be anywhere near here.” 

Shiv and Rome were in disbelief, still trying to reason with your eldest brother as he turned away from them and towards you. He put an arm on your back, guiding you to walk away from the scene and into the exclusive treehouse. You couldn’t help turning to look over your shoulder, glancing at your two neglected siblings with wide eyes. Roman had begun walking away, but Siobhan was still standing there, arms folded. As she caught your gaze, she rolled her eyes and shook her head in shock before finally moving to follow her brother deeper into the party, beginning to speak to him as she walked.

Kendall cursed under his breath as he led you into his treehouse. It was honestly eerie to see the structure again. You had too much of an age gap with Kendall to have played with him in it as a child, but on more than one occasion you had wandered up into it on your own, looking for a place to escape the aggressive family dynamic that arose wherever your siblings were in close proximity. There was even a time when you were a young teenager you had accidently busted Kendall for smoking weed in the treehouse during a family get together. He ended up paying you handsomely to keep quiet, which you did, never uttering a word about it to this day. You were nothing if not loyal.

The inside of this reconstructed treehouse was much different than the structure of your childhood. For one, it was massive. The treehouse you remembered could barely fit all four of you kids in it, definitely not the few dozen that stood milling about in the new space. The interior was dark. Black walls, wooden dividers and glass windows made up most of the area, with some modern light fixtures and lanterns set around to provide a warm glow. The outermost walls were made to look like the outdoors, a forest of sorts with shadows and cool tones to outline the trees. A wooden fence sat in front of the forest walls, making the entire space feel strangely like an outdoor balcony or patio. The music was lighter in this area, though still a techno party beat playing just loud enough that conversations were had in louder tones than normal. There were more earthy toned chairs, couches and tall tables filling the space than other areas in the event, and more partygoers milling about and chatting rather than dancing. 

“Oh here, come on.” Kendal had been talking, mostly to himself for a few seconds, just rambling about your shitty siblings. You tuned back into his words as he spoke in your ear and turned you in a specific direction with the hand on your lower back. Your eyes searched around the room, not recognizing what was drawing Kendall until he spoke again.

“There he is, Lukas Mattson. The Odin’ of codin’.” Finally you noticed the blonde man sitting just a few feet in front of you. His tall frame was dwarfed by the way he sat on the bench, lanky with one leg hitched up and a beer in his hand, but as he sat up you immediately recognized his face. “My man, my myth, my fucking monolith. What’s up bro? You havin’ a good time?”

“Do I look like I’m having a good time?” Lukas’s gaze darted from Kendall to yourself, your eye contact lingering for just a second long enough to provoke you to turn your stare to the ground in reservation.

“No, you do not.”

“I am not.” 

“Still haven’t figured out the socials, huh? Dude, you should get your algo guy to fix your code.” Your eyes lifted at that, and you smiled at the tone of your brother’s voice. Your hands came to raise the glass you had held at your side to your mouth. You drank through the thin black straw, the artificially colored liquid stinging your throat a bit as you swallowed heavily. Mattson didn’t respond to that, cocking his head at Kendall’s comment, pointedly looking at you, and shifting back to stare at him again.

“Oh uh yeah, this is my sister,” Kendall introduced you with your name, and you gave a small smile to Lukas in greeting. “Listen, heads up, my siblings are looking for you now.”

“And you led one of them straight to me?” He didn’t acknowledge your greeting, but his gaze continued to linger on you, a new softness behind his eyes.

“Yeah, well, she’s cool. She won’t try to get to sell your soul like the other two. Shiv and Roman, they’re like emissaries from the Grand Duke of Old. Dad wants to buy you, so he sent his winged dildos to schmooze.” 

“I shouldn’t say anything, even the look on my face is commercially sensitive.”

“But it makes, like, no sense, correct? Amtrak buys Tesla? If anything, you should buy him.” Your eyebrows furrowed the smallest bit at Kendall’s suggestion, turned your head to look up at him. He was too engrossed in his conversation to notice your confusion, but the way Mattson cocked an eyebrow showed that he did.

“You think?” You turned your attention back to Lukas, taking another sip of your drink. “Well, I really appreciate your impartial read.” He leaned his head towards Kendall, speaking lowly, like his words were a secret.

“ Kendall? Uh, Rava wants to say hi.” Comfrey had appeared behind you, moving quickly and quietly in a way you’d come to appreciate. You didn’t even notice her presence until she spoke, fidgeting with the phone in her hand.

“Sure, uh not right now. When I’m ready.” Kendall dismissed her and Comfrey slinked back into the shadows of the party, waiting for him to finish his conversation. “Listen, you should stay up here, okay? So you don’t get networked to fuck. Uh, here,” He spoke your name, addressing you for the first time since he’d begun talking to Lukas, “Keep the cronies away from him. And the sibs.”

“Um… okay.” It felt like more of a command than a request, but you agreed despite your annoyance.

“Yeah, yeah. Enjoy, man.” With a wave, Kendall left, following Comfrey into a new area of the night’s festivities.

You stood for a moment, awkward and self conscious, twirling your drink’s straw between your thumb and index finger. Biting your lower lip, you made eye contact with Mattson, realizing he had been staring at you this whole time.

“Hi, sorry, I don’t think we’ve met before.” You finally spoke, offering a small smile to the man in front of you. 

“No, we haven’t. I know you though. The youngest Roy? The virtuous daughter?” He motioned as he joked with you, the beer in his hand sloshing around in its brown glass bottle.

“I don’t know about that.” You laughed, moving to sit by him on the wooden bench he occupied. “You can’t believe everything you see in the media, I thought you would know that better than anyone.” 

“Maybe. Your lack of involvement with your family’s scandals speaks for itself, though. You’re a saint compared to your father and brothers.” His Swedish accent peeked through his words, making his sentences flow together like music.

“Well, I’ve had less time to fuck things up. I joined the company much later than them, I only finished college a few years ago.” Shrugging while you spoke, you tried your best to dismiss his implications. Your momentary status as a neutral bridge between your feuding family was something you couldn’t bear to lose.

Mattson hummed before answering, nodding his head slowly as he looked you up and down. “And you aren’t going to use this time to try and convince me to sell?” 

You shook your head, a shy smile coming to your face. “Honestly? I don’t really want to. I think you’ve already decided what you want to do, and no amount of my bargaining will change that.”

“You’re smart.”

“I try.”

Lukas grinned at you, “Do you always do what your brother tells you to?”

“No, I just want to make him happy.” You shook your head slightly, feeling a little embarrassed at your obvious obedience to your family. It’s not like you don’t think for yourself, it’s just that sometimes complying is easier than the alternative. “You’re not enjoying the party?”

“No. Are you?”

“Not really. Crowds aren’t my favorite thing. And these drinks are way too strong.” You set down your drink on the floor near the bench, the liquor was beginning to give you a headache.

“But you came to support Kendall?” You nodded. He raised his eyebrows. “And you still say you aren’t obedient to him?”

“I…” You bit your lip lightly, not sure of how much information you should really reveal to this man. He was an adversary, but something about Lukas made you want to be honest with him. Maybe it was his eyes, or his casual posture, but you felt like leaning into his warmth, however strange it may be. “Well, you did call me virtuous. Maybe I just need to rebel a little, give into impulses for once.”

It was a joke, you both knew it, but the smirk on Mattson’s face felt a bit serious. “That’s an idea.” 

You smiled at him, a little blush coming to your cheeks at the suggestion in his sentence. He had moved a bit closer to you through your conversation, and now his knee brushed gently against your. His hand comes down to innocently brush out a wrinkle in the skirt of your dress, resting gently on your thigh for a moment too long before moving away.

“Hey! There you are, fucking hiding from me. Like a human VPN.” The sound of Roman’s voice snapped the two of you from the silence of the shared moment. You quickly adjusted your posture so your leg was crossed away from Lukas, adding a bit of distance between your bodies. “I see someone already found you. How are you doing?”

“I’m all right, just enjoying the company. It’s just, uh, you can fill in the blanks.” You subtly glared at your brother as Mattson spoke, immediately aware of his attempt to cut you from the conversation.

“How’d you get up here Rome? I thought Kendall had you banned from the premises.” Roman perched on a chair across from the pair of you, rolling up his sleeves as he sat.

“I paid a girl to give the security a blowjob, what do you think?” Sarcasm was thick in his voice as he spoke to you. “Hey Mattson, uh, question. My old man- our old man,” He made a motion between you and himself, “got a bit grumpy this morning, but you weren’t trying to humiliate him, right? I mean, fucking everyone says, last big legacy content library, last big fucking super app streaming platform. We obviously fit right?” 

“People say we fit.” 

“Yeah, yeah.” Roman runs a hand through his hair, a nervous tick you’ve come to know. You can tell he's worried at the frankness of Lukas’s responses.

 “Stargo is really, really shitty, though. Your genius would really help us out, if you end up selling to Waystar” You raised your eyebrows as you addressed Lukas. The anxiety radiating off of Roman made you want to pitch in, help him, although you still thought your haggling wouldn’t affect Mattson’s final decision.

 “I do have one question before we start these.. negotiations. Like, I don’t wanna be rude but.. What kind of shape is your father in? How long will he be around, we’re talking one year… five years..?”  Roman is shocked quiet at Mattson’s forwardness, his hands running down the sides of his face as he tried to formulate a response that won’t fuck the deal he’s working to build.

“Well, you mean, you just don’t want him hanging over you, right? Looking over your shoulder all the time, especially while you work” You ask in his stead. Lukas nods. “Well what if you don’t have to talk to him? Like, ever?” Looking over to Roman, you try to throw him a lead to jump back into the conversation.

“Yeah, you work out of, uh, Austin, London, Stockholm, Geneva, whatever. It’s just totally separate companies and we burn Stargo.” Rome catches up, making a contribution to your schmoozing. “And on the occasion that you need to send up a fսcking smoke signal from Geneva, then that goes through me.”

“We can do that together.”

“So, I know GoJo is your baby, and we don’t want to interfere with that at all. So, bearing that in mind, would you consider meeting with my dad?” Roman clasps his palms together and points them towards Lukas.

“Yeah, well, if all this is true, then... yeah.”

“How's Monday?” 

“Monday is great.”

“And if I were to shake your hand right now, could I go tell my dad that I basically just bought GoJo for him?” 

“No.” Lukas chuckles, pauses to take a sip from his beer. “But you can tell him I'm in the conversation.”

“I’ll fucking take it.” Roman smiles and takes a deep breath before standing from his seat. “I will see you then, I have a call to make” He pulls his phone out as he walks away, already starting to dial in the numbers.

You take a moment to be silent, watching his frame fade into the crowd until you turn to Lukas. He’s looking at you too, head tilted and grin plastered across his face.

“I thought Kendall told you not to let him speak to me.”

“I thought I told you, I’m trying to be more rebellious.” You smile back at him, switching the way you cross your legs to let your bare knee touch the fabric of his pants. 

You stay that way, speaking to Mattson and letting him subtly touch your arm, back, leg, for the better part of an hour. It hadn’t been your plan to stay so long, just make a quick appearance for Kendall’s sake and head home before midnight, but you found yourself not wanting to end your dialog with Lukas, causing you to push back your exit further and further. He grabs you a new drink from one of the servers walking through the party, a cocktail that luckily tastes much better than your previous refreshment. Well, maybe not so luckily, since you end up drinking enough to get yourself buzzed and bolder than normal. 

You’re self aware enough to draw back when you notice your siblings entering the room again, Roman giving a small wave before heading to a different seating area. You don’t pay him much mind until Shiv enters the area as well, hair frizzy and makeup smudged. She seems pissed, he seems drunk, it all looks like a recipe for failure. Roman perches on a chair, glass of wine in his hand, Shiv turns to leave but gets drawn by some comment he makes.

“I’m sorry- maybe I should…” You look back at Mattson, your conversation had lulled for a few seconds as your attention had turned to your siblings.

“Have to go babysit?” He smiles at you, a bit condescending, but not enough to make you upset. You don’t respond for a second, biting your lip and looking between your current company and the scene between your family. 

“I just…” The words come at as a sigh, your head lulling back in exhaustion as you notice Kendall and Naomi breaking through the crowd to engage in Shiv and Roman’s antics. “Things always get out of hand when I’m not there to mediate. But I’m so fucking tired of having to be the good one all the time” 

“You don’t have to be, just take a step back, watch shit unfold. Rebel, remember?” Mattson’s blue eyes are dark in the lighting and his eyebrows are raised, daring you. You smile, nod, take a sip of your drink. “It’s actually good entertainment when you aren’t involved.” 

Deciding to take a break from your role as peacemaker, you turn to face your siblings in your seat, the same direction Lukas is sitting. You feel his bent knee brush against your back and lean into a bit, something not visible from your sibling’s position. You allow yourself to stay that way until you notice Roman moving to get up. That sparks you to rise, set your drink down, murmur an apology to Lukas, and quickly run over to the circle of your siblings.

“You know you want to, just fucking hit me, do it. ‘I’m not a real person’ fuck you.” Rome’s words are charged, he’s too close to Kendall for your comfort and you see his next action coming a mile away, without any way to stop it. “All right, I’m sorry, I’m sorry. Happy birthday fuckface.” 

Two hands hand on Kendall’s back as he turns to walk away, a push from them sending him falling onto his face in the middle of the party. You know Roman didn’t mean to push him so hard, he wasn’t thinking clearly, but the result was the same regardless of his intent.

“What the fuck Rome? Why would you do that?” You move to help Kendall up with Naomi, turning your head to yell at your other brother, who was laughing at his actions.

“Everybody just take it easy, okay?” You didn’t even notice Connor’s presence until he spoke.

“Oh shit, are you okay? Happy birthday.” Roman laughed through his words. Kendall pushed you away from him in embarrassment when he stood, Naomi giving you a look telling you that she had it covered.

“Take your coat off. Take your fucking coat off.” He didn’t look back at Roman, didn’t address his comments, just spat anger at Connor as he was ushered away. Just a few hours ago he was fine, you didn’t know what could’ve caused him to crash so hard since you’d last seen him.

“Like a fucking eight year old. You're an asshole.” Shiv speaks briefly before marching away, Roman still giggling at his own antics.

“It’s funny. It’s funny! You’re gonna laugh at it later.”

You moved to face your brother, pushing his shoulder back against the chair he had moved to sit in. “Clean your fucking act up. You do one thing right and think you can get away with anything. I love you, but don’t be so fucking stupid, Roman.” Your words seem to break through, he stops laughing for a minute to shoot you a dirty look. Not waiting to see his response, you turn and quickly walk towards the nearest exit of the area, pulling your phone out of your clutch to message your driver.

“Leaving?” Lukas’s voice next to you startles you, and you shoot him a weak smile.

“Yeah, I’m sorry, I need to get out of here. I just can’t be near them right now.” He walks with you, humming in understanding as you speak.

“Why don’t you leave with me? Get your mind off them.” You stop walking then, now only a few yards from the exit of the venue. Crossing your arms, you lightly rock back and forth on the balls of your feet.

“Do you think that’s a good idea?”

He shrugs. “Maybe.”

“If someone found out…”

“Think for yourself. Be impulsive for once.”

His words give you pause. Normally you would deny him, deny the aching between your thighs that his presence gave you. You’d head home and masturbate until you passed out, report to your Dad in the morning, never speak to the man again. But you were so, so tired of being good.

“Okay. Let’s do it. My driver’s here, we can pull around and pick you up in a few minutes.” Thinking quickly, you come up with a simple plan to stop the public from seeing you leave together. He nods, smiles, and reaches for your phone. You let him take it, let him put his number in and hand it back to you, fingers lingering on yours.

“Text me when you’re here.”

The ride to Lukas’s hotel room is intense. You have enough discretion to raise the divider between the front and back seats of the car, blocking the view of yourself from your driver. But once that black panel separated you, Mattson was merciless. He wasted no time in pulling you into his lap, kissing you roughly and palming your chest with his large hands. You barely came up for breath the entire ride to his hotel, and when you did your neck was immediately attacked. He marked your skin with hickeys and bites, leaving you gasping for air. Trying your best to quiet your moans and whimpers, you covered your mouth with your hand whenever you could, but you doubted your driver couldn’t hear the noises Lukas pulled from you. You tipped them an extra thousand dollars just in case.

He gave you a break while you hurried through the hotel, standing close to you but not touching you, even in the elevator. It gave you plausible deniability. Though if your reflection was any judge, the already darkening marks on your neck spoke for themselves. Mattson is so stoic in public it has you questioning if he even wants this. If he wants you the way that he did in the car. But, as he holds the door open for you to enter his hotel suite, your question is answered.

The hotel suite is modern, with several separate rooms adorned in black, white, and gray decorations. The farthest wall of the living room, the space you’ve walked into, consists of glass windows which offer a gorgeous view of the city’s nighttime lights. You take a moment to look around, throwing your clutch over to an entryway table and walking towards the windows. Your reflection is just barely visible in the glass, your silhouette a sliver of light against the darkness of the New York skyline. Your head tilts to the side a bit, and you reach a hand forward to press against the glass. Maybe it’s the alcohol in your bloodstream, or the lust making your heart beat faster than normal, but you don’t even notice Lukas approach until his reflection joins yours in the window. You look up and slightly behind you, catching his eyes with yours. His pupils are wide and dark, his lids heavy and narrowed with intent. 

He places a hand on your chin, tilting you up as he bends down to reach your lips. It starts soft, lips barely parted and eyes closed. Your body follows the tilt of your head, moving to face him and place your hands around his neck. His hands travel to your butt, using his leverage to press you against him. His tongue slips inside your mouth, his movements speed up. Hands begin to grope at your ass, squeezing and pawing you through your gown. It’s rough, but there’s no anger or malice behind his moments, only eagerness.

A hand moves up to the small of your back, lightly rubbing the fabric on your skin in an almost soothing motion. When you finally break the kiss for air, Lukas moves, nuzzling into the crook of your neck to place sloppy kisses there. You’re breathless, but craving his mouth so badly you direct his head back up to yours with a hand in his hair. He groans into your mouth when you press your chest against his, your boobs straining against your dress. The kisses become dirty and wet. He bites at your lower dip and pulls it a bit. You trace the roof of his mouth with your tongue. Your thighs are squeezing together now, softly grinding into each other to provide some kind of sensation to your throbbing clit. 

You finally say something when his hands move to pull up the skirt of your dress, breaking the kiss with an inhale for breath before quickly speaking.

“Wait, wait.” He does. Pauses his movements but keeps his fingers in the fabric of the dress. “I’m -I uh, haven’t had sex before. And I don’t want to lose my virginity to someone I’m not dating. Or like, in a relationship with.” 

“Okay. Can I still make you cum?”

“Oh, um, sure. Yes.” He’s unfazed by your words, gives you a little smile and another messy kiss before dipping to kneel in front of you. He presses soft kisses to your lower stomach, just barely lifting your dress to expose the very bottom of your panties. When he moves to kiss the front of your mound though, you freeze.

“What are you doing?”

“I was planning on eating your pussy. Is that okay?”

“You want to do that?”

“I would like to, yes.”

“Uh, yeah, okay. I just haven't done this before.” He looks up at you with his piercing blue eyes, waiting until you give him a firm answer. “Can you maybe just tell me what you’re doing? Like, before you do it?”

“I can do that.”

“Okay, okay. Thank you.” You smile down at him, blushing a bit in embarrassment from your lack of knowledge. He returns a small grin, before moving to kiss the front of your pubic bone again. This time, you let him.

He muzzles his nose into the fabric there briefly, before moving his fingers to rub against your panties. They’re soaked, drenched from your time in the car and the heavy making out you had just finished. He chuckles lowly to himself as he feels this, his touch featherlight.

“You’re so wet. Are you that turned on already?” You bite your lower lip and nod, chest beginning to rise and fall quicker.

“I’m going to touch you underneath your panties, is that okay?”

“Yes.”

He nods at you then, using his thumb to hook your underwear to the side, exposing your cunt to the cold night air. Two long fingers move on either side of your slit, giving pressure just outside of where you need it so badly. You whimper at his motions, muffling the sound by pressing your lips together. His index finger moves then, gently grazing over your clit as it travels the length of your vulva, collecting wetness as it does. A few gentle circles around your entrance before returning to your clit, finally pressing there and beginning to trace patterns into the bundle of nerves.

It feels divine. You’d gotten good at pleasing yourself with your twenty plus years of abstinence, but it felt so delicious to have someone else touch the most sensitive parts of your body. Especially someone who knew what they were doing. And from the way Lukas was moving, he knew exactly what he was doing. His index finger drew circles with your clit, joined shortly after by his middle finger to fully pressure the bud. Your head tips back then, brushing the window behind you as a moan escapes your mouth. 

“Don’t fight your noises, I want to hear how good you feel.” The only response you have to his command is to let another whine pass your lips, an action which you hear him groan at. Your fingers move down to grab at your dress, pulling it higher up to expose your bottom half fully, balling your hands into fists in the fabric.

“Fuck, I’m taking these off.” The pressure on your clit stops for a moment, and you lean your head down to look at him. His fingers loop in the sides of your panties to pull them down your thighs. As they reach your calves, you move a hand to his shoulder and stabilize yourself so you can raise your feet out of the garment. You step your last foot out of your panties, and instead of discarding them to the floor, Lukas balls the fabric up, stuffing it in his back pants pocket. He just smiles up at your confused expression, not bothering to explain.

“I’m going to taste you now, okay?”

You nod, and Lukas moves close to you, so close you end up with your back pressed against the window. He lightly holds one of your legs, moving it up and over his shoulder, allowing him better access to your now naked cunt. He leans forward, and with the flat of his tongue, licks a long stripe across your pussy. The feeling is new and exciting, hot and wet and just the right amount of strength. You move a hand to thread through his hair, your other one pressing against the glass behind you to hold you in place. 

His tongue fucks you like you’re his favorite taste, diving in and out of your already soaked folds. When he sucks your clit into his mouth, you choke back more of a scream than a moan. The leg on his shoulder begins to shake, and your brows knit together in ecstasy. It’s unlike anything you’ve felt before, you don’t ever want it to stop. Your climax begins building at a rapid pace, and you feel yourself grinding against Lukas’s tongue, chasing your pleasure with impulsive motions. He lets out a low moan against you, a buzzing hum that vibrates through your body. 

“Fuck Lukas, please don’t stop.” The words come out breathless, followed by a whimper and preceded by a groan. He hums against you again and doubles his efforts, moving his tongue to fuck into your enterance while two fingers come up to rub quickly against your clit. It’s only a few seconds before the tension building in your stomach finally snaps, and with a languid moan you fall apart under Lukas Matsson’s tongue. 

You aren’t even sure what noises escape your lips, too lost in bliss to focus on anything but absolute pleasure. He keeps eating you out until you’re over sensitive and almost pushing his face away, and even then he continues lightly stroking your folds with a few fingers. When you look down at him, his chin is covered in your juices and his pants are tented with an obvious erection.

“Oh my god.”

“That good?” 

“Kiss me again?”

He does, of course. Raises from his knees to grab your chin and pull you into his body, not bothering to wipe his mouth before capturing your lips with his. You can taste yourself on him, tangy and rich and intoxicating. The flavor only spurs you on, pressing your lips to his roughy. He’s hard against your stomach, a feeling that both arouses you and causes some anxiety. Lukas seems content to kiss you forever, tasting your lips like a man starved. When he pulls away to kiss down your neck, you take a moment to speak.

“What about you?”

“What about me?”

“I… want you to feel good too.” 

“You want to get me off?” You nod in response.

“Will you show me what to do? What you like?” 

“Sure. Here, come with me.” He smiles at you, grabs your hand with his, and gently leads you over to the couch in the room. It’s a big, white sectional facing a massive TV. Lukas moves to sit back against it, gently pulling you to sit close to him, nearly sitting in his lap. His erection is even more obvious in this position, his length looking painfully hard against his thigh.

“Can I touch you?” You look up at him with wide eyes, your hand moving to his thigh while you wait for a response. He leans back and nods at you, a slightly cocky grin on his face. Gently, so gently, your hand moves to palm over his cock. He hums as you make contact, quietly encouraging your timid rubbing. 

Fingers explore the imprint of his length in his pants, finger tracing the outline of his cock cautiously. You looked up at him through your lashes, noticing the way his face twitched and changed with your increases in pressure. Pressing a bit harder, you touch him with long strokes, beginning a pattern with your movements. Lukas’s tongue darts out to wet his lower lip. Something in his stare feels animalistic, like a predator watching its prey. Maybe that should scare you, but if anything it stirs you on, makes you want to please him even more.

“Will you take these off?” Your hands move to his waistband, finger slipping underneath the fabric there, pulling it teasingly from his skin. 

“Of course.” He smirks, uses the back of the couch to prop his hips up, and slowly pulls his pants down his thighs. He doesn’t bother with leaving his briefs, pulling his underwear off with the same motion, leaving only exposed skin in his wake. 

His cock springs up, brushing against his shirt slightly, leaving a small wet spot from the precum on his tip. He’s long, not that you have much to compare it to, and thin, with a red-pink head already leaking. You take a moment to touch him again, slowly sliding your hand across the skin of his thigh until your fingers graze the short blonde hairs at the base of his shaft. Your hand wraps around him, fingers barely touching. His dick is double the length of your hand, standing tall with a slight curve upwards. 

You’d be lying to yourself if you said you weren’t intimidated. Slowly, eyes flickering from Lukas’s face to your hand and back again, you began to stroke him. Your hand gently raised from his base to tip, your thumb grazing over his slit. This elicits a soft gasp from Lukas, a sound that makes you give him a shy smile. The hand on his cock moves back down, your other moving to rest gently on his thigh as you slightly adjust to face him better. Your motions are stuttering and unpracticed, hindered by the dryness of both your skin. Lukas doesn’t seem to mind, his breath coming faster and his hips slightly moving to guide the travel of your hand. 

“I think…” You bite your lower lip in thought, your eyebrows coming together as your sentence trails off. Bending over Lukas’s lap slightly, you look up at him through your dark eyelashes, and let a string of spit fall from your tongue onto his cock. 

The effect on him is immediate, a deep curse falling from his lips as his dick twitches in your grip. His head falls back against the couch, his eyes shut softly. You don’t know if it’s the sensation of the spit on his sensitive tip, or the fact that you were doing something so dirty, but he seems to love your impulsive choice. Your hand gets into a better rhythm, moving much easier as you spread the wetness across the skin of his cock.

“Fuck, how did you know about that?” Lukas is breathless, but still chuckling through his words. 

“I didn't, it just seemed like you needed something wet…” 

He curses again, hums in agreement. You just blush in response, moving your attention back to his length in front of you. Your grip tightens, your motions speed up a bit. The sound of skin fills the room, joined by low hums and moans from Lukas’s throat. The heat between your thighs begins to return, a dull throb causing you to grind your thighs together.

“Does that feel good?” Your voice is quiet and laced with desire when you speak.

“Mhm.” A lazy grin is on Lukas’s face, his arms are spread wide across the back of the couch. “You’re doing so good.”

The compliment goes straight to your cunt, sparks traveling down your thighs at the praise. You move faster, leaning into him more as your hand speeds up, giving him a view of your cleavage. You don’t even notice the desperate whimper that escapes you, but he does.

“Just like that, fuck. Good. Good girl.” Lukas sits up more, a hand moving rest on your thigh as his body begins to tense up. His eyebrows pull together as you continue stroking. Your motions have gotten rough and fast, a physical exhibition of the desperation running through your veins. A string of curses heavily veiled in a Swedish accent leaves Lukas’s mouth, his hips buck roughly into your fist, and with a groan, Lukas Mattson comes in your hand.

Strings of white coats your skin, the fabric of your skirt, the bottom of Lukas’s shirt. He continues thrusting into your hand, chasing his release until he falls against the couch, panting and smiling and spent. Your eyes travel from his face to the ribbons of come on your hand. Instinctually, you bring it to your mouth, licking up the liquid before your thoughts get in the way. 

“You are insane.” Lukas’s voice brings you back to the world. He reaches over and guides you to move into his lap. You straddle him, his softening cock sandwiched between your torsos. He’s all smiles, face blissed out and eyes soft. He brings a hand to your chin, looking into your eyes before placing a surprisingly light kiss to your lips. 

Things are quiet for a moment, your head tucked into Lukas’s neck and his hands around the small of your back. It feels delicate, almost loving, almost corny. It partially scares you, being so intimate with someone you’ve just met, with someone so powerful. But the captivation outweighs the fear. He feels like the Earth; strong, devoted, all-consuming. You could try to leave but he would be everywhere, and you would come back to him.

You stay at Lukas’s that night, wrapped in white sheets with his arm thrown languidly across your waist. In the morning, he tells you that’s the best he’s slept in weeks. You let him see you with smeared makeup and messy hair, listen to him talk about Stockholm and pasta and the sun. He texts you to make sure you get home safe, then texts you a photo of him working on his laptop. You can’t help the smile that comes to your face when you talk to him, one so obvious you have to hide it in public. He calls you every night. 

It’s the closest you’ve come to a relationship, even if it’s something you need to hide from the world. He’s funny and weird and bold and drastic. You feel his hands on your skin in your dreams, like your body is a memory of his touch. He makes you happy, makes you perverted. Things move fast and slow at the same time. It’s confusing and clear all at once.

You’d choose it all over again if you could go back

© secondhand-snow 2024

[aquilaofarkham]

Dying Has Never Frightened Us: Intergenerational Trauma, Healing, & the Burden of Legacy in Castlevania

An analytical and interpretation essay that discusses how the concept of family legacy and duty can lead to intergenerational trauma in the Castlevania franchise. Focuses primarily on the Belmont who found strength from his pain by honouring his family’s legacy no matter how heavy it felt or the burden that came with it and the Belmont who found his own strength from the ones he loved and who loved him in return.

☽ Read the full piece here or click the read more for the text only version ☽

THE BURNING NEED FOR RETRIBUTION: INTRODUCTION

The world has trauma. It is deep, collective, spanning its roots over centuries and territories dating back to when the borders of today never existed, and it has largely gone untreated—but not undiscussed.

From children’s cartoons to award winning dramas, trauma has become one of the most common topics for media to discuss, depict, and dissect. It makes sense given the sort of physical and mental gauntlet which society has been through in the past five years. Sometimes even in just the past twenty-four hours. From an uptick in disasters stemming from climate change, the rise of publicised policy brutality, genocide as a result of settler colonisation, new developments coming to light after decades of denial regarding the residential school system in Canada, and of course a global pandemic which is still making ripples. Then there is the recent examination of generational trauma which differs from culture to culture. The open wounds we’ve already left and will be leaving for future age groups.

Seeing how fiction reflects reality and vice versa, it isn’t any wonder that movies, television shows, and video games find ways of processing this worldwide sensation of frustrated ennui along with the need to find answers as to how regular citizens can fix things, including ourselves, when politicians and world leaders cannot. When reality cannot provide satisfying resolutions, when we are left confused and even angrier than before due to the apparent shortcomings of institutions meant to provide relief towards the average person, it’s natural to look towards specific media. Whether for coping mechanisms, validation for this collective and personal trauma, or simply for cathartic release so the emotions don’t have to remain bottled up.

Castlevania , both its original 2017 series and the most recent entry of Castlevania: Nocturne (as well as the video games which the show is inspired by), is no stranger to this popular trend of storytelling and characterisation. Yet this trend also comes with its own controversy. When done with a deft writer’s hand and a layer of empathetic critical thinking, trauma in fiction and how we heal from its intergenerational effects can be a powerful tool in raising awareness in regards to something left forgotten by the larger public or it can allow viewers to look inwards at themselves. Done poorly or with a lack of empathy and taste, then the floodgates open.

But beyond the usual discourse surrounding trauma in fiction (how to portray a “realistic” panic attack, what makes a “good” victim, the problematic connotations of forgiving one’s abuser, etc.), Castlevania has its own things to say about the lingering effects of grief, guilt, and pain over the course of thirty-two episodes (now a fourty episode runtime with the inclusion of Castlevania: Nocturne season one). The series—particularly the first which ran from 2017 to 2021—has now gained a reputation for being one of the darker animated ventures tackling themes of religious corruption, abuse, sexual manipulation, and injustice among many others. The value and thoughtfulness of each depicted theme ranges from being genuinely compelling to delving into mere shock value yet the series is also known for its uplifting ending and cathartic release from such dark themes.

One could write entire dissertations on each complicated character and their developments. From Dracula’s suicidal tendencies as a result of unchecked grief to Isaac’s conflicted redemptive journey beginning with his unflinching loyalty to the king of vampires and ending with him forging down his own path in life. How characters such as Carmilla, consumed by her inner agonies and burning hatred towards the world to the bitter end, was left isolated from her sisters until she was forced to choose the terms of her own death, while others like Alucard, Sypha, and to an extent Hector rose above their individual torments in favour of hope and survival. However, this examination will focus on the series’ titular family of vampire hunters. Namely, the Belmont who found strength from his pain by honouring his family’s legacy no matter how heavy it felt or the burden that came with it and the Belmont who found his own strength from the ones he loved and who loved him in return.

Note: this essay will delve into speculations and purely interpretative hypotheses stemming from the author’s own opinions in regards to how they personally read the presented text. It will also discuss heavy spoilers for the majority of Castlevania games and the first season of Castlevania: Nocturne.

—

WHAT A HORRIBLE NIGHT FOR A CURSE: THE CYCLE OF TRAGEDY IN THE CASTLEVANIA GAMES

This examination begins in the exact same place as the show began with its inspirations and references: the original video games developed and distributed by Konami Group Corporations. It’s easy to get swept up in the notion that because of the technological limitations with video games at the time, the Castlevania games are devoid of story or characterization. Yet even the most bare bones of a story found in the games can still have something to say about the burden of legacy and how trauma left unconfronted has the possibility of tearing down that legacy. The most prominent example being Castlevania: Symphony of the Night , arguably the first game to begin delving into a deeper story and character driven narrative. It follows the events of Castlevania: Rondo of Blood , a game which portrayed its protagonist Richter Belmont as a force of nature in the face of evil, always knowing what to do, what to say, and emerging victorious without so much as breaking a sweat (or candelabra).

In keeping with the time of its release and the landscape of popular media particularly in Japan, Rondo of Blood feels like a traditional 1990s action anime complete with brightly coloured cutscenes and character designs reminiscent of Rumiko Takahashi and Rui Araizumi (despite the usual classic horror elements present in every Castlevania game). This is most evident with Maria Renard, the second playable protagonist who attacks with her own arsenal of magical animals and even has her own upbeat theme music during the credits when players complete the main story in “Maria mode”. Richter also shares many similar personality traits with his counterpart, namely his optimism in the face of danger and the confidence that he will be the hero of this narrative.

Of course all this changed in the direct follow-up to Rondo of Blood , the aforementioned Symphony of the Night . Arguably the new staple of future Castlevania games to come, not only did it change the gameplay and aesthetic, it changed the very core of the characters as well. The game even begins with the same ending as Rondo of Blood where Richter fights and defeats Dracula with the help of Maria. Then during the opening crawl, we discover that during a time skip, Richter has vanished and Maria is searching for him. Surely this will be nothing less than a heroic rescue and the most powerful Belmont of his century will be restored to his rightful pedestal.

Yet for the first half of Symphony of the Night , the player is faced with a sobering realisation—the villain we’re supposed to be fighting, the one responsible for conjuring Dracula’s castle back into existence, is Richter himself. No longer the hero we’ve come to adore and look up to from the previous game. Of course, the player along with new protagonist Alucard both know that something isn’t right; perhaps Richter isn’t in his sound mind or some nefarious force is possessing him to commit evil deeds. But unless the player solves the right puzzles and find the right in-game items, Symphony ends with Alucard putting down Richter like a rabid dog. However, this ending can be avoided and a whole second half of the game is revealed.

Richter’s canonical ending is left ambiguous at best, tragic at worst. He laments over his moment of weakness, claiming the events of the game were his fault despite Alucard’s insistence that confronting Dracula was always going to be inevitable. Still, the tragedy of Richter’s fate and how he is portrayed in Symphony of the Night comes much later, when it’s implied the Belmonts are no longer capable of wielding the fabled Vampire Killer, a leather whip imbued with supernatural properties that has been passed down generation after generation. One mistake and misjudgment left the Belmont legacy in a perpetual long lasting limbo with the titular hunters themselves seemingly disappearing from history as well, leaving others such as the Order of Ecclesia to pick up the fight against Dracula’s eventual resurgence. It isn’t until the height of World War II (the setting of Castlevania: Portrait of Ruin ) when the whip’s true potential is finally set free thanks to the actions of Jonathan Morris, a distant relative of the infamous vampire slaying family. However, the only way in which Jonathan can reawaken the Vampire Killer is by defeating a manifestation of the person who last wielded it and also whom the whip abandoned nearly two hundred years prior—Richter Belmont.

Yet players and fans don’t get to see it in the hands of another Belmont until the events of 1999 when Julius Belmont defeats the latest incarnation of Dracula and seals his castle away in a solar eclipse. Even then, he loses his memory until thirty years pass and he’s forced to do battle with Soma Cruz, an innocent transfer student who is also the reincarnation of Dracula. If the protagonist of Castlevania: Aria of Sorrow succeeds in defeating the cosmic threat that has awakened his supposed “evil” destiny, then Julius can finally lay down the Vampire Killer in peace (until the sequel Castlevania: Dawn of Sorrow , of course). If not, the game ends with Julius keeping his promise to Soma should he lose sight of his human side and let Dracula be reborn once again. In a scene that directly mirrors the beginning of Symphony , Julius enters the castle throne room, Soma throws down his wine goblet, and the screen goes black. The cycle continues anew. Julius has upheld the duty of his family name but at what cost.

The theme of tragedy getting passed down through different generations, permeating from person to person even with those who are not Belmonts, is a staple of later Castlevania games following Symphony of the Night . In some instances, pain and trauma is what jumpstarts the story moving forward. Castlevania: Curse of Darkness begins with its protagonist Hector in a direct parallel to Dracula swearing revenge on the one responsible for the murder of his wife; an ultimatum that follows him every step of the way, fuelling his rage and determination up until the penultimate moment when his goal is within reach. Yet even then he cries out, claiming this “murderous impulse” isn’t truly him—it’s the result of an outside force he himself once aided before defecting before the events of the game.

Something similar occurs in Castlevania: Lords of Shadow , an alternative reimagining of the franchise that while still a topic of division amongst most die hard fans has also seen a resurgence of popularity and reevaluation. It begins with Gabriel Belmont grieving over the death of his own wife (a trope which is unfortunately common amongst the majority of Castlevania titles). This is a wound that follows him throughout his journey until an even more painful and shattering twist regarding Marie Belmont’s demise is revealed to Gabriel later in the game.

However, there is one example from the games that stands above the rest in regards to the sort of damage which generational trauma as a result of familial duty and legacy, upheld to an almost religious degree, can inflict. So much so that even a declaration of retribution can evolve into a generational curse.

—

HUNT THE NIGHT: LEON BELMONT & THE MYTH OF FREE WILL

The Castlevania timeline didn’t always have a set beginning. An inciting incident by which all future stories, characters, and inevitable calamities could base themselves off of. Rather it changed from game to game until a definitive origin was settled in 2003 with the release of Castlevania: Lament of Innocence . For at least two games, the starting point was supposed to be with Simon Belmont, making his way through a labyrinth of dark forests and cursed towns, before finally traversing the ever changing fortress in Transylvania to defeat Dracula. He even went as far as to gather the remains and resurrect the eponymous lord of his own choice just to rid himself of another curse entirely. 

Castlevania protagonists are always cursed by something. Whether it be the cause of Dracula’s influence, their own actions as seen in Lords of Shadow , a curse of the flesh like how Simon had to tackle his own ailment in Castlevania II: Simon’s Quest , or something else just as common as Dracula’s curse: the burden of honouring a family duty.

A basic yet iconic 1986 entry followed by a sequel that had potential especially with the first appearance of the now famous “Bloody Tears” track but suffered from a rather confusing and lacklustre end product. Then suddenly the starting point for the franchise timeline changed drastically. Castlevania III: Dracula’s Curse despite the numerical inclusion in its title stands as more of a prequel, detailing the exploits of the Belmont who came before Simon. Not much was altered in the grand scheme of things; the titular vampire hunter still essentially slays Dracula with the help of three other playable characters, said final boss having been driven mad and more violent than ever by humanity’s slight against him. However, not only were the methods by which Dracula is defeated changed but players were given more insight into the sort of burden placed upon the Belmont family name.

When the story of Dracula’s Curse begins, protagonist Trevor Belmont isn’t revered as a legend or hero but rather a blight on larger society who the people only turn to as a last ditch effort against rising evil. The regular god-fearing people of Wallachia now fear the Belmonts and their power (it is also implied that some still feared the barbarian-esque Simon despite his legendary status) so the family is excommunicated. Trevor is forced to enlist three other outcasts—or simply two other fighters, depending on which version of the story you examine—in order to carry out the family business. Even when the rest of the world has shunned them and there are plenty of others just as capable of stopping the forces of evil, a Belmont still has a destiny to fulfil. 

Yet once a series has gone on for long enough, things within the established canon are bound to change—again and again. Whether through re-examination in order to line it up better with present day morals and sensibilities, or through good old fashioned retconning in favour of something more interesting, more thought out, or less convoluted. Other times, it’s simply because either the creator or viewers wanted it to happen. In 1997, this occurred with the release of Castlevania Legends on the GameBoy, a prequel to Dracula’s Curse that was meant to serve as the actual origin for the Belmonts, Dracula, and even his son Alucard. Instead of Trevor, the very first Belmont to fight Dracula is now his mother, Sonia Belmont, seventeen years old and already burdened with the glorious purpose of her bloodline.

Sonia is undoubtedly the protagonist of her own story with agency and drive. However, the game ends with a stark reminder of why the Belmonts have a place in the Castlevania universe. The last we see of Sonia in Legends is in the form of an epilogue where she holds her newborn child and states that one day when he’s grown, he will “be praised by all the people as a hero”. Despite her triumph over Dracula—a monumental feat itself—it seems that her purpose in the end (the purpose of most Belmonts other than to forever fight evil in fact) was to merely continue the bloodline so that descendants can carry out a promise made centuries before by another Belmont—someone that neither Simon, Trevor, Julius, or Richter ever knew.

The inevitability of sudden retcons within long-running media was not as kind to Legends as it was to Dracula’s Curse . Because of how the in-game events conflicted with subsequent entries (for example the implication that Trevor is actually the son of Alucard, thus further tying the Belmonts to Dracula through blood as well as duty), both Legends and Sonia were completely removed from the canon timeline. This is merely one reason why the next attempt at creating the definitive origin for the franchise, now a cult favourite among certain subsections of the fan community, was regarded with some animosity. However, twenty years after its release, Castlevania: Lament of Innocence is considered by many as an underrated entry. It is certainly the darker title where both the hero and villain stumble through their own hardships yet neither emerges completely victorious by the end.

The opening narration crawl of Lament of Innocence describes the lives of Leon Belmont and Mathias Cronqvist. They spend most of their lives as reflections of each other; one grows into more of a fighter while the second is coveted for his intellect and ambition. Both are valorous, honourable, and products of their own respective plights. Despite his service to the church, Leon is soon systematically stripped of everything save for the clothes on his back because he wouldn’t follow their orders blindly. While Mathias is forced to watch as an uncaring god (the very same god he serves) takes away a figure of pure virtue and love. This figure, Elisabeta Cronqvist who appears to be a splitting image of Dracula’s next deceased wife Lisa Tepes, was the last remaining tie Mathias still had to whatever bit of morality he still feels, which he eventually throws away when deciding to drag his only friend and everything he holds dear into hell alongside him.

The difference is how both men react to those personal horrors and how they let it govern their pasts, presents, and futures not just for themselves but for others who follow after the dust has supposedly settled. Two men, two best friends turned hateful enemies because of an interlinked tragedy. Not only that, but also because of their perspectives, morals, and the way they view a world that is unkind to them. Both were spurred by the death of loved ones, both used it as a conduit, or rather a catalyst for the radically opposing directions in which their choices take them and their families. Leon chooses to struggle onwards towards a world free from darkness and horror despite his pain. Mathias chooses to revel in that very same darkness and pain with a fire that would burn for aeons. In the end, one thing is absolute. A single thing the two men can agree upon as they flee down adverse paths: one of them will destroy the other.

Yet the timeline of Castlevania proves that this choice comes at a great cost for the Belmonts in particular. By the end of Lament of Innocence , Mathias has revealed himself to be the great manipulator pulling the strings behind the scenes. Due to the immense grief he felt over losing Elisabeta to a presumably common illness made untreatable because of the time period’s medical limitations (coupled with his own arrogance and narcissism), Mathias finally becomes Dracula. Dominion over death and even god by has been achieved by doing what Leon’s righteously moral mind cannot comprehend: transforming himself into an immortal creature driven by bloodlust. All he had to do was lie, cheat, and cruelly outsmart everyone else around him. That of course includes Leon as Mathias’ manipulation tactics were also the cause of the mercy killing of Sara Tarantoul, Leon’s fiance, to stop her from turning into a vampire herself. After watching his former friend escape before the sun can rise and disposing of Dracula’s constant right hand man Death, Leon finally feels his anger over such a betrayal boil over. He gives one final message to Mathias, now the new king of the vampires: “This whip and my kinsmen will destroy you someday. From this day on, the Belmont Clan will hunt the night.”

This is how Castlevania: Lament of Innocence ends. Unlike other entries like Symphony of the Night, Aria of Sorrow, or Harmony of Dissonance , there is no good, neutral, or bad ending that can be achieved if the player is aware of certain secrets and tricks. There is only one for Leon and Mathias. The inclusion of multiple endings in some Castlevania games versus a singular set ending in others may seem like a small coincidental narrative choice in conjunction with evolving gameplay, but it matters in the case of Lament of Innocence. From the moment Leon enters the castle to rescue his fiance, the wheel has already started turning and his fate is sealed. Mathias has already won and Sara, along with future Belmonts, are already doomed. And Leon’s ultimatum made in the heat of the moment would go on to have repercussions centuries later. “Hunting the night” gave the Belmonts purpose but it also burdened them with that exact purpose. While Dracula deals in curses, so does the Belmont family—a curse of duty that gets passed down throughout the bloodline.

Leon Belmont was of course never malicious or cruel like Mathias was. He never wanted to deliberately curse his family because he suffered and so should they. His choice was made out of anger and retribution. Still, it goes on to affect Simon, Sonia, Julius, and others in drastic yet different ways. Yet in the case of specific Belmonts like Trevor and Richter, we see how this family legacy can have varied consequences in far more detail through the introduction of animation and serialised writing into the Castlevania franchise.

—

SOMETHING BETTER THAN A PILE OF RUINS: TREVOR BELMONT & STRENGTH FROM LEGACY

If there’s one thing that Castlevania makes abundantly clear with its four season runtime, it is that trauma does not inherently make people better or more virtuous. We of course see this from the games with Mathias and his personal crusade against god which leads to the complete dissolvement of his closest friendship. Or with Hector and the rage he feels towards his wife’s murderer, who also happens to be his former comrade under Dracula’s employment. Even Leon’s promise to both his friend, now his most despised enemy, and future descendants can also be an example of how gut reactions to pain, grief, and betrayal can have damaging consequences in the long run. This particular dissection of trauma when it affects a survivor negatively and in almost life-altering ways while still giving them a chance at achieving their own method of healing is most apparent with the animated representation of Trevor Belmont.

At its core, the first season of Castlevania airing in July of 2017 with four episodes in total is inspired by the events of Dracula’s Curse with the following seasons taking more from Curse of Darkness along with original story elements. It begins with the brutal execution of Lisa Tepes after she is falsely accused of being a witch. Shortly afterwards, Dracula declares war on all of humanity in an explosion of grief-riddled vengeance (a declaration that is not dissimilar to Mathias’ cursing of god after Elisabeta’s admittedly more natural death). Hundreds of civilians are slaughtered in the capital city Targoviste and hoards of night creatures descend upon more townships across Wallachia. 

This would be the perfect opportunity for a Belmont to stand up and fight back except there is one problem: the Belmonts have been eradicated from this world on false grounds of black magic and aiding the vampire lords instead of hunting them—much like how Lisa was slandered and paid the price with her own life.

The only Belmont left surviving is Trevor himself and his introduction does not paint him in the most optimistic or even heroic light. In the midst of being excommunicated by the church, he’s been wandering aimlessly for the past few years while languishing in whatever tavern he stumbles upon. In one particular bar Trevor finds himself in, he overhears the other patrons cursing the Belmonts and blaming them for Dracula’s siege upon humanity. He tries to stay out of it and not bring too much attention to himself until one glance at the family emblem stitched into his shirt breast is enough to ignite an all out skirmish.

Trevor hides his true identity not because he’s ashamed of it, but for his own safety and self preservation. In fact, the opinion he holds of his family is the total opposite from disdain for the sort of legacy they have saddled him with even in death. He reacts strongly to false accusations directed towards the Belmonts, angrily correcting the bar patrons by stating that his family fought monsters. However, he quickly realises he’s said too much and tries saving face by once again detaching himself from possibly being connected to the aforementioned Belmonts.

It’s only when Trevor is backed into a corner and is fresh out of snappy drunk retorts (thanks to a few hard hits to his nether regions) does he finally admit to his real lineage. As mentioned earlier, Trevor finds himself caught up in the first real brawl of the series not because of the pride he feels in himself but the immense pride he feels for his bloodline. All the while, he’s given up trying to hide what he is—a Belmont—and what he was born to do—fight fucking vampires.

Every time Trevor has the opportunity to bring up his bloodline whether in a fight or in conversation, it’s usually spoken with some bravado and weight even when he’s inebriated. However, when visiting the ruins of the Belmont ancestral home in season two and thus directly confronted with what little remains of his family legacy, Trevor loses all that previous bluster and becomes far more contemplative. He doesn’t reveal much of what it was like to actually live as a Belmont, only that it was “fine” and “no one was lonely in this house”. Even when staring up at the portrait of Leon Belmont, he says nothing and instead firmly  grips the very weapons which his ancestor must have also wielded.

It’s clear that Trevor feels no shame, bitterness, or lack of respect towards his family history despite the hardships that have come with it. Still, it’s difficult for him to truly accept the duty of being a Belmont and Trevor continually struggles with it over the course of two full seasons. Upon arriving at the ruined city of Gresit which is under constant threat of night creature attacks, Trevor doesn’t seem particularly concerned with the people’s plight or with helping them. He inquires about what’s been happening by speaking with a few local merchants but it’s only in order for him to gain a better picture of the situation that Gresit finds itself in. Otherwise, he’s simply passing through on his way to another tavern, fist fight, sleeping spot, or all three. Until he puts aside his own needs for self-protection in favour of saving an elder Speaker (a fictionalised group of nomads original to the Castlevania show who have made it their mission to help less fortunate communities and pass on their histories via oral tradition) from a potential hate crime committed by two supposed men of the cloth.

This moment acts as a representation of the first chip in Trevor’s carefully maintained armour. During the bar fight, he claimed over and over again that he was a Belmont in both skill and purpose. However, Trevor hasn’t done much to prove such a proclamation. Because of his ennui and poor coping mechanisms due to lingering trauma, he’s been all talk and not a lot of action—until this point. At first he tells himself to walk away, this sort of confrontation doesn’t concern him. Then he remembers where he comes from and uses the very same family heirloom to help someone physically weaker than himself.

Yet when he accompanies the elder back to where the other Speakers have found shelter from the monsters repeatedly demanding their heads as well as future night creature attacks, Trevor’s metaphorical walls are erected back up. He won’t take any part in this eradication of humanity whether as a victim or perpetrator and especially not to stop it. The people of Wallachia made their choice in the unjust murder of Dracula’s innocent wife, they made their choice when they decided to massacre what was left of his family, and the church made their choice when they decided to fight Dracula’s armies themselves without the Belmonts. Why should he lift a finger (or whip) to save the masses?

Despite this nihilistic attitude, Trevor proves to be a poor defeatist. He still desperately wants to protect the Speakers and warns them of an oncoming pogrom planned for them. A massive hate crime fueled by superstition and facilitated by the corrupt Bishop of Gresit which will supposedly save the city from night creature ambushes (this can be interpreted as a direct allegory meant to comment on how minority groups such as Jewish and Romani communities were used as scapegoats during the Mediaeval period). However, the Speakers refuse to budge and decide to face the angry and misled crowds head-on. They instead tell Trevor to leave in their place which, in a burst of frustration, spurs him to finally act like a member of his clan should. 

What follows next is one of the most defining moments of the series for Trevor, cementing his place as a Belmont. Another corrupt member of the church demands to know what he could possibly stand to gain from fighting back considering his downtrodden state and the fact that he’s entirely outnumbered. Trevor’s answer is simple: nothing. The Belmonts don’t protect everyday people for any great reward or because of any strong personal ties. They do it because it’s their duty and the right thing to do. Trevor even mirrors something which the elder Speaker told him; a family mantra that encompasses the very purpose of the Belmonts, dating back to Leon: “It’s not the dying that frightens us. It’s never having stood up and fought for you.”

Trevor’s healing journey does not end at this moment. He still has moments of hesitation where someone like Alucard has to forcibly remind him of his place as Belmont, saying he needs to choose whether he’s really the last of a long line of hunters or a drunkard. This leads to a fight sequence that nearly spans the length of an entire episode where Trevor further proves himself by taking on at least three different creatures all with varying degrees of strength, skill, and fortitude. Episode six of season two is the ideal example of not only Trevor’s determination but also his quick thinking. Moments such as him wrapping his cloak around his hand so that it doesn’t get cut while his sword slices through the throat of a minotaur or using a set of sticks to beat against an adversary when his whip is knocked away. Being a Belmont means using one’s intellect (no matter how unconventional it may seem) as well as one’s muscles. 

There is also another albeit less violent instance at the start of season three where he still feels the need to hide his surname while in an unfamiliar village. Then there is the revelation that malicious stories about the Belmonts and their supposed demise still circulate amongst rural Wallachian communities. Yet despite coming from a family of old killers (a term Trevor uses before facing off against Death in the final season) his family name remains his strength and the weight of both the Vampire Killer and Morningstar whip keep him grounded rather than burden him. The Belmont name carries such weight throughout the series that by the end, there is strong consideration from Alucard of naming a new township nestled in the shadow of Dracula’s castle after that family.

Trevor deals with his pain and trauma quietly, almost numbing it with the assistance of alcohol and dodging the harder questions regarding what his family was really like. He still finds strength in remembering what the Belmonts are here for despite the tribulations that come with the family name. Hardships that continue and evolve nearly three hundred years later.

—

THE THINGS THAT MAKE ME WHO I AM: RICHTER BELMONT & STRENGTH FROM LOVE

Depending on what sort of mood you might find the author of this essay in, their favourite Castlevania game will vary. At the moment, it’s a three way tie between Symphony of the Night for its artistry, Lament of Innocence for its story and characterisation, and Aria of Sorrow for its evolved gameplay. However, one personal decision remains relatively consistent no matter the mood or time of day: Richter Belmont is the author’s favourite Belmont and the inclusion of him in the latest animated adaptation Castlevania: Nocturne has only cemented that fact.

It makes sense from both a narrative and marketing standpoint as to why we’ve suddenly gone from the events of Dracula’s Curse/Curse of Darkness depicted in the previous series all the way three hundred years later to Rondo of Blood . Narratively, Richter and his companion Maria Renard already have a direct link to Alucard through the events of Symphony , which Nocturne will most likely cover and be inspired by in its second season. Marketing wise while also appealing to the largest demographic possible (even those less familiar with the games), amongst more recurring characters like Dracula and Alucard, Richter is arguably one of the most recognisable Castlevania figures right down to his design.

Certain traits and visual motifs of other Belmonts have changed drastically over the years and with each iteration. Meanwhile, from Rondo and Symphony , to Harmony of Despair and the mobile game Grimoire of Souls , to finally Nocturne and the inclusion of Richter as a playable character in the fighting game Super Smash Bros Ultimate , specific elements of Richter never waver. This includes his blue colour scheme, his tousled brown hair, and his iconic white headband. All of which carry over in the first season of Nocturne which not only expands upon Richter’s character first established in Rondo of Blood but also further examines said character.

For example, Richter’s true introduction directly following the downer cold opening is without a doubt the farest cry from Trevor’s. While Trevor’s first scene acted as a sobering depiction of what happens when physically/mentally damaging coping mechanisms mix with unacknowledged grief, Richter’s first fight gets the audience’s blood pumping, complete with a triumphant musical score and a showcase of his skill with the Vampire Killer. Richter is cocky, but not reckless. He’s sarcastic, but not sullen like Trevor was. Because of his upbringing after the death of his mother, filled with positive affirmations, he values the wellbeing of others along with their fighting experience. Yet his confidence does not overshadow his acknowledgement of the family burden. Richter is well aware of how heavy the Belmont legacy and duty can weigh upon an individual’s shoulders along with how closely it can tie itself around a person’s life and their death—a reminder as well as memory which haunts him for nine years.

When Nocturne begins, its first major fight sequence takes place between Richter’s mother Julia Belmont (an original character for the show) and the vampire Olrox, an enemy taken from Symphony of the Night now reimagined as a seductive, complex Indigenous vampire on his own path towards vengeance against the very person who took away the one he loved most in this world—just one of many thematic parallels to the first series, this time referencing Dracula’s motives and justification for his grief. Just when it seems like Julia has the upper hand thanks to her magical prowess, Olrox transforms and ends her life in a swift yet brutal manner. All of which happens right before ten-year-old Richter’s eyes.

Julia was simply doing her duty as a vampire hunter and her life as a Belmont ended the same as most of her ancestors did: in battle while fighting for the life of another. Why then did it hurt Richter most of all? Why does it haunt him well into his early adult years? And why was it seemingly more so than how Trevor’s trauma haunted him? There are two probable answers to this, one being that Richter was only a child, directly confronted by the cause for his mother’s sudden and graphic death with no way of fighting back despite being a Belmont.

In the case of Trevor, although he was a few years older than Richter when his entire family and ancestral home were burned in front of his eyes presumably by the same people they were supposed to be defending, the circumstances which followed them afterwards are vastly different. For nine years Richter was surrounded by those who loved and cared for him whereas Trevor only had himself and the hoards of average Wallachians who hated him because of superstitious rumours and the church’s condemnation. Trevor had over a decade’s worth of experience in becoming desensitised to his pain and trauma, masking it beneath self deprecation and numbing it with alcohol. He wasn’t even aware of the fact that he was a deeply sad and lonely individual until Sypha pointed it out to him.

Despite his bravado and brighter personality than his ancestor, Richter is also an incredibly sad, hurt person who suffers somewhat from tunnel vision. He obviously has empathy and wants to protect people from monsters, vampires, and the like. More so than Trevor did during his introduction before his moment of self-made rehabilitation. However, he doesn’t seem to care much about the revolution itself or what it stands for. He attends Maria’s rally meetings but he doesn’t take active part in them, opting to stay back and keep a watch out for any vampire ambushes. He admits that he doesn’t really listen to Maria’s speeches about liberty, equality, and fraternity. And in the most prominent example of his disillusionment with fighting for a larger righteous cause, when given a revolutionary’s headband, he shoves it into his pocket and mumbles about how tired he is of everything.

This could be interpreted as defeatist if Richter wasn’t already trying so hard to uphold his family duty and maintain a level head. He needs to have a sense of control and almost achieves it until Olrox so casually confronts him in the middle of a battle which Richter and his friends seemed to be winning until they’re forced to flee close behind him. When Richter runs away and emotionally breaks down the moment he’s finally alone, it isn’t because he’s weak or cowardly. On a surface level, it was due to his fear and panic over not being able to face his mother’s killer (someone who has proven to be much, much stronger and more powerful than any Belmont). Yet it was also a form of harsh admission to himself. He couldn’t maintain that aforementioned sense of control and perhaps he never will, not where he is right now at least.

It isn’t until he’s reunited with his grandfather Juste Belmont (long thought to have died, leaving Richter as the final Belmont) that this negative mindset brought on by unresolved trauma begins to shift. In many ways, Juste is another callback to what happened with Trevor. He suffered an immense tragedy in the past and has since spent his entire life drifting from tavern to tavern, avoiding his own grandson and instead leaving him in the care of people far more capable of raising him and instilling better morals within the youngest Belmont.

Other mentor-esque characters appear in Nocturne such as Tera who raised Richter alongside her biological daughter Maria. There is also Cecile, the leader of a Maroon group which Annette joins after escaping slavery. Despite their individual pains, these two women maintain the hope that humanity can be changed and the evils of the world can be defeated. Meanwhile, Juste has thoroughly lost his own hope. He reveals to Richter that “evil will always win” because of how it permeates everything and is far stronger than any Belmont, even the most magically inclined members. No matter how many Draculas, Carmillas, or Lord Ruthvens are defeated, it will always find a way to creep back to the surface whether through the upper class of France or through the very colonisation that nearly wiped out Olrox’s people or enslaved Annette’s family. 

One of the first things that Juste says to Richter directly references the sheer weight of the Belmont legacy, all of which culminates within the whip itself. This can also be a reference to the Vampire Killer carrying a living soul as Leon Belmont was only able to awaken its true power by sacrificing Sara Tarantoul. The whip has both a metaphorical and literal weight which the Belmonts must come to terms with.

Yet for Richter, family is maintained not through blood ties, which can easily die out or be abandoned because of generational trauma, but through the people we find and attach ourselves to. Under the immediate threat of losing his found family, all of Richter’s pain and anguish explodes when his magical powers violently return to him in one of the most visually impressive and cathartic moments of Nocturne season one, complete with an orchestral and operatic rendition of “Divine Bloodlines” taken straight from Rondo of Blood as he ties the same headband he nearly discarded earlier around his head. Then once the dust settles and Richter is asked by Juste how he managed to tap back into that great power, he simply responds with the most obvious answer he can come up with: there are people who love him and he loves them in return. 

This is reiterated when Richter is reunited with Annette and describes the same revelation when she asks how he was able to regain his magic. Not just a mental revelation but for Richter, it was a physical sensation as well. Just when he believed he had lost everything, something reminded him of all the things worth protecting in his life and all the pain he’s had to endure.

Richter finally donning his iconic white headband is symbolic of not only his decision to actively join the French Revolution but also his revelation that the love he feels for Maria, Annette, and Tera is his own righteous cause. That, to him, is worth defending just as much if not more than the concept of a centuries old curse turned legacy.

—

SLAVES TO OUR FAMILIES' WISHES: CONCLUSION

Richter, both his game depiction and his recent Nocturne iteration, acts as a reflection and subversion of what a Belmont is along with what that family duty means to different members. Trevor found healing from his trauma through his duty. Richter found his healing through love. Of course Trevor loved Sypha and Alucard in his own way, but throughout the entire first series, from the moment he removed his cloak at the end of season one to standing up against Death in the finale, his driving motivation was always to preserve his family’s legacy despite his own shortcomings. The Belmonts were all but gone and Trevor had been exiled, excommunicated, and turned into a societal pariah. Had he given into despair and continued with his vagabond ways, who else would wield the Morningstar, the Vampire Killer, or any of the knowledge cultivated by previous Belmont generations?

But for Richter, family legacy is more of a nebulous concept. It gets mentioned in conversations and we see its varying effects on individuals, but even when Richter is reunited with Juste, the immediate priorities of his found family takes the place of his blood family. This, according to him, makes him a Belmont. 

It is also important to consider that we are still only on the first season of Castlevania: Nocturne with season two having been renewed and in production merely a week after its initial premiere. With the reveal of Alucard as a last minute cliffhanger in the penultimate episode, it will be interesting to see how his own characterisation as well as his close tie with both the Belmonts and his own family burden will further develop especially after three hundred years within the show’s timeline. One of the biggest possibilities is that in contrast with his youthful brashness and instability that was the crux of his character in the first series, Alucard might serve as a sort of mentor figure or perhaps his own generational pain will bond him further to Richter and Maria, more so than he was in Symphony of the Night . Then there is the question of whether Richter in the midst of the apparent losses he suffered during the finale of season one will follow down the same path that his video game counterpart did.

In 2020, the author wrote another Castlevania -centric essay which detailed the visual, thematic, and aesthetical shifts of the franchise from its inception during the 1980s all the way to the 2017 adaptation through focusing on how these changes affected Alucard. By the end of that essay, it was mentioned that despite the show being renewed for at least one more season, the overall future of Castlevania remained unknown. This is still the case for now. 

Though one can make educated assumptions and theories, there’s no way of knowing what sort of direction season two of Nocturne will take with its themes and characters. This is doubly true for the games themselves. Despite the anticipated releases of the Silent HIll 2 and Metal Gear Solid Delta: Snake Eater remakes, as of now Konami has not revealed any official decisions to remake, rerelease, or produce new Castlevania titles. One can hope that due to the success of both shows along with the anticipation for Silent Hill and Metal Gear Solid remakes that something new will be in store for Castlevania in the near future.

Castlevania , both its games and animation adaptations, prove that there is a place in this world for every kind of story. In the last episode of season one airing in July 2017, Alucard states what could very well be the thesis of the entire franchise: “We are all, in the end, slaves to our families’ wishes”. Yet even if we cannot escape the narrative we’ve been latched onto or, for dramatic purposes, cursed with, there are ways in which we can combat it and forge our own healing process.

—

MEDIA REFERENCED

Castlevania (1986)

Castlevania II: Simon’s Quest (1987)

Castlevania III: Dracula’s Curse (1989)

Castlevania: Rondo of Blood (1993)

Castlevania Legends (1997)

Castlevania: Symphony of the Night (1997)

Castlevania: Aria of Sorrow (2003)

Castlevania: Lament of Innocence (2003)

Castlevania: Curse of Darkness (2005)

Castlevania: Lords of Shadow (2011)

Castlevania (2017—2021)

Castlevania: Nocturne (2023—)

[phoenix-king-ozai]

Why the Live Action Netflix ATLA shouldn’t had Zuko fight back in the Agni Kai duel!

Apparently, the Live Action Netflix Adaptation had decided to have Zuko accept and fight back during the Agni duel between father and son. This I believe was a major narrative mistake that shouldn’t have been changed from the original animated version.

Ozai became infuriated that Zuko was a “coward” that would not defend his honor and pride in front of his father and the entire royal court. Which is why Ozai demanded Zuko to get up and fight him or he would be “taught” respect. This is also connected to other “macho” bushido beliefs and attitudes that firebending men and boys are encouraged and expected to fulfill in the Fire Nation’s violent, authoritarian, fascistic militarized society and culture corrupted by Sozin’s militarism and imperialistic ideology. We see this with Zhao when he insults Zuko for sparing his life and calling him a coward. “ Your father raised a coward!” Commander Zhao B1 E3 The Southern Air Temple.

Zhao would rather get burned, scarred, deformed and possibly killed than have his face and possibly life be spared by Zuko’s compassionate actions. Both Ozai and Zhao were disgusted and disappointed by Zuko’s belief and attitudes toward empathy, mercy, and surrendering. This also explains why Zhao refused Zuko’s help during the fight with Tui and La Avatar State empowered Aang! Fighting a glorious battle to the death even when outmatched and showing no mercy but ruthless is honored and praised in Elite Fire Nation society and culture.

The point that I’m trying to get at is! Zuko not agreeing to the Agni Kai and kneeling infuriated Ozai which led to Zuko’s scarring and banishment because of Ozai’s dissatisfaction, disappointment, and disgust in Zuko’s fear, terror, and unwillingness to duel his father aka a member of his family. Zuko’s terror and desire to not fight his father also conflicted him in the Agni Kai causing him not to act against Ozai. This is the main reason Zuko’s fight with Azula was so impactful. Zuko didn’t want to fight his family yet had no choice regarding his father and sister.

I glad that despite Zuko fighting back in the Agni Kai in Episode 6: Mask of NATLA. That the showrunners stayed true to the characters: Ozai and Zuko along with the themes of the Agni Kai. I’m also glad that they didn't make Ozai have a favored child. Ozai wants Zuko and Azula to both prove themselves. Ozai doesn't favor Zuko or Azula. It is about which child will succeed Sozin, Azulon, and his legacy as future Fire Lord. In fact, Ozai doesn't want Zuko or Azula to think that they are the “favorite” child. He wants Azula and Zuko to improve through competition. Because of “steel sharpen steel” mentality. Ozai has the mentality of an imperialist warlord. I think Ozai, Zuko, Iroh and Azula’s characterization were well done and faithful! Iroh being confronted over Ba Sing Se was amazing as well and tied to his grief of Lu Ten’s death.

[elfilibusterismo]

obsessed with the christian references in sfh. mrs eom as a corrupted version of god, who created a gosiwon named after the garden of eden. she adopts children and takes in residents and strives to, if not kill them, make them just like her (Genesis 1:26 Let us make man in our image, according to our likeness; Genesis 2:8 The Lord God planted a garden toward the east, in Eden; and there He placed the man whom He had formed.).

moonjo is often understood as the devil but i also like viewing him as both adam and eve. moonjo is adam as in mrs eom's primary son who is lonely and seeks accompaniment just like adam. he also molds people (kihyuk and jongwoo) to reveal the truest parts of themselves, but it's prefaced by having something in common with them, particularly in jongwoo's case. so that even if he dies, that person will always carry him with them because he is part of them. meanwhile in the story of adam and eve, eve is fashioned from one of adam's ribs, making sure that a part of adam is always in her.

but again moonjo is also eve in the way that with every new tenant he feeds them human meat (kihyuk, jongwoo, seokyoon) just like how eve was the one who made adam eat from the tree of good and evil. it's an inverse story of eve, where an innocent eve gets tricked by satan; in moonjo's case he is a willing and conscious participant in the temptation of others with the taste for human meat being somewhat of a rite of passage for them. however instead of being banished from the garden of eden like adam and eve are in the bible the people who eat it instead never leave with the exception of jongwoo. even then, metaphorically he never does leave eden.

[gayboysteve]

It makes such perfect sense to view Marmalade as a manifestation of her wild youth whereas "Baron" is the simple dreamer she wishes she could've been. His being naive and his misusage of words are SO important. He's the person that could've been. And then the "Baron" we see after leaving the prison is the grounded mature version of both mixed together- calculating but also kind, a man but also a woman. Marmalade created Baron to protect her from her trauma and to control her more wild impulses; while in kinda Baron created Marmalade to protect his inner softness that wasn't able to be beaten out of them by a cruel life. "I just want to be with my one and only. She's my girl to protect."

And Baron is talking about themselves. She is her own protector. He has his own plan for justice. Not just for himself, not even just for their mother, but for other abused kids who were failed by a corrupt system and other old people who were failed by an entirely different corrupt system. (Both are represented by the same CEO.) To do so he must let that part out of herself again- that rage-filled impulsive girl stunted by her abuse. It's not a coincidence she appears just after Baron gets news about his mother's medication rising. She is his protector as much as he is hers.

It's important that Baron describes Marmalade as his dream girl to Otis. It's just not the kind of dream that Otis interprets. She basically "arrives" ( maladaptive coping mechanisms reemerging) to plan out the heist. It isn't just that Baron is the person Marmalade wishes she could've been in another life (naive and kind and part of a community), it's that while Marmalade is also a representation of their wild youthfulness she is also now the person that the present "Baron" (recently presented with the rising cost of his mother's medication and medical bills) wishes he could embody again despite having grown out of it because of his loving mother's influence.

I think it's very important that the almost sex scene after they get the masks but right before Mama Eda "dies" is shot almost like a horror sequence with discordant music and quick flashes of Marmalade on top of Baron in their respective masks. This happened just after the heist of the thrift shop where they stole the masks, Marmalade pistol-whipping the cashier before fleeing. An old woman staring up at Baron in fear on her knees.

Whether this is the reality of how this played out (with obviously just Marmalade there) is unimportant. Baron and Marmalade are the same person and when she looks into that mask and sees herself she's horrified at what she's capable of, the kind of harm she can inflict even when her intentions are at the end of the day pure of heart. That her letting back in her past negative impulses makes her a worse person than she is as the adult "Baron" who has repressed his trauma but matured because of their loving relationship with their mother.

Mama Eda's "death" comes quickly after and Marmalade's culpability is called into question narratively. She increasingly answers that she doesn't know what happened and that she was in the other room. She wasn't present. Nor was Baron. This, I think stems from Marmalade's manifestation of her guilt over Mama Eda being in a home where they can't actually care for her directly- and as a manifestation of any potential fears he might have at the idea of attempting to do so. As well, it's just a very real fear of her mother's inevitable death, especially as the heist has already commenced and now the final act is in motion.

If her plan fails then he won't be there for Mama Eda. There won't be anyone there to deliver the pills she (and others need) and thus if the plan fails then any deterioration in her mama's health is her fault. Her culpability for the plan. For not being there. For being in another room when/if/should the time quickly come.

Which is why I think the confrontation between "Baron" and Marmalade is so important. It isn't Baron being unable to trust Marmalade it's Marmalade being unable to trust herself. Trust in her plan and so the two sides of herself stand against each other in a kind of opposition. Self-blame and doubt, rage all in response to the fear she feels at the final leg of the plan.

It's important that this is the last time that we see Marmalade as she appears in the physical manifestation of "Baron's" story. The music goes dreamlike and ethereal as they speak. "You are the man of my fucking dreams. I love you like I've never loved anyone and I've never been loved."

Marmalade is speaking to herself. The version of the man that she's become and the person she is now; it's representative of Marmalade reconciling his past trauma while preparing for the final play in her plan- enacting revenge against those that caused her trauma. Marmalade as the wild youth she was before meeting Mama Eda was someone who never felt like she was loved, and that part of herself is now looking at the grown version of her that loves her back and accepts herself for all her faults. Her parting words are, "Dream big or don't dream at all".

And then we're thrust into the action from the start of the story with "Baron" getting arrested. And so she has now fully become one with herself. Both facets of her life are on the same page, reconciliation of the self. Acknowledgment of that trauma and the plan to enact in order to move on from it.

And then the final piece in her puzzle- Otis. She obviously had been keeping tabs on him. The comment about keeping his hair long because of a show he watched about Rastafarians tells us that he already knew about Otis' mother being from Jamaica. Baron had to sell Otis on Marmalade, he had to make Otis fall in love with her and trust what Baron was telling him was true about their love for each other. Baron needed to truly love Marmalade in order for the story to sell and the plan to work. And by embodying that she finally learned to fully love and accept herself.

"I just want to be with my one and only. She's my girl to protect."

[theology101]

Galicaea murdered Cassandra and Sol murdered Ankarna - which is why Kipperlilly Did That

We learned in Revelations and Revivifications (Episode 11 of Season 2) that it was her Clerics from Fallinel who murdered Cassandra. That's just straight up a fact. Now, we don't know exactly what her role in this is but, "As Above, So Below." If Galicaea's top priests are making this move, then Galicaea was down with it.

I've heard a lot of people refer to the wolf aspect as if it was some 'real' version of the faith that's been corrupted. It isn't, it's an Older aspect and its one that Tracker and Co. love a lot more but both of them are a result of worship.

We learned about this 'Last Great Sylvan War' around 900 years ago about the proper way to worship Cassandra. While the High Elves who settled it went with "Erase the goddess - to understand mystery is a heresy," I'm guessing they also heavily influenced the Wood Elf/Non-High Elf variant of Galicaea into being more in line with their version. Obviously a remnant survived in folk religion like with Tracker and other Werewolf communities, her revival reveals that prior to her, there hasn't been any serious challange to Falinel statement.

I think that then Sol started marching North. Gallicaea had claimed Night as hers and hers alone, by deceiving their shy and naive sister and then went to finish the job with Ankarna. But her? No way they could convince Ankarna to kill herself, especially now that her sister was 'dead' (Cassandra technically managed to live via the Quasi-Reality inside of Sylvaire, Kristen more redefined her and allowed her to be alive outside of the Nightmare Forest).

So I think that the Human Priests of Highcourt and the Elves of Fallinel agreed to wipe them out. Sol's paladins burnt their way up the coast and conquered it - we know that the land of Elmville is native Halfling territory, but right next to it is the Mountains of Chaos which was, in my opinion, their true target. Sol wanted the aspects like Conviction, Fire, Rage, Etc. while he gave Helio Summer.

Meanwhile, Ankarna? Her turning Infernal wasn't something done to her, it was something she/her priests did. Why would they do that? Because they're being invaded. The Giants probably took on a more leadership based roll compared to the far less capable to defend themselves Halflings, Goblins, Aaracockra, arguably even Orcs. Turning more and more evil, brutal, and extreme is a result of her being back further and further into a corner. It was a defense of the other races and for her own life.

I think that, while adventuring in the Mountains of Chaos for Spring Break, the Rat Grinders found out about Ankarna's priests and believers being wiped out, maybe one of her ancinet and long forgotten temples. That was it and it would have been it, if Kipperlilly didn't learn about Cassandra. I think her sheer, burning jealousy made her want, above anything else, to bring back a Goddess herself.

And her solution was going to be Lucy Frostblade. And for about two weeks, Ankarna was brought back with Lucy being her sole worshipper. And this is what I think happened next: sweet, kind, Lucy Frostblade's Ankarna wouldn't be the warlike aspect. She'd be like how she was before the Humans and Elves attacked, a kind and loving goddess.

Except there's a problem. There's another worshipper - just one.

Jace Stardiamond, draining power from the corpse of the long dead war goddess.

So, he and Kipperlilly somehow get in contact (my money is through Oisin secretly being a sorceror the whole time and just Acing wizard classes with 0 effort) and together they agree there's only one solution - kill Lucy Frostblade so their version of Ankarna can remain. The High Five Heroes kill Lucy and all begin worhsipping Ankarna (all under the influence of Devil's Honey.) Kipperlilly, Oisin and Mary Anne are all in on it (symbolized by their Blue backgrounds) but Ivy and Rueben refuse to go along with the murder but, since they're not in the way, they're able to be devil's honeyed into not knowing (Symbolized by their red background).

Ivy's weird reaction to Fig? She always 'knew' that Lucy was alive - she's not important to the plan anyways, so she doesn't need to be included. Some random lie is fed to Ivy to explain why Lucy isn't recognized as 'dead.' Reuben though? Kipperlilly can still use Reuben - use him to proselytize and spread the word of Ankarna - so not only does he need to be aware of the details around Lucy's death and all the Ankarna stuff, he also can't know the Ratgrinders killed her. He clearly still thinks highly of her - I think that vomitting the 'blood' in his dream was Fig breaking the Devil's Honey barrier in his mind.

Which is why, as Gertie told us, Kipperlilly ordered two bottles RIGHT after break. They need to keep him in line with the plan.

Jace changed the records in the school so that Yolanda never realized that she switched gods from Ruvina, and used his own spells to fuck with the name and hidden it (clearly there's a difference between the rune on the paper, which no one could read, and the translated version in Fallinel which has been sat for a thousand plus years), and did the same to the body. Yolanda, trusting him as Vice Principal, tells him about her fears, he goes with her into the woods and then instantly kills her in the clearing.

The plan is to take Ankarna from the Dead/Undead form (but now conscious thanks to their efforts) back to being actually alive via a Cleric believing in her.

Of course, in the mean time they need a Cleric. Make him expendable, but still useful. Make the cleric be a Priest of Helio or Sol so that they can kill him, immediately planeshift into Heaven behind him, eliminate his soul and then Oisin and Kipperlilly sneak into the office and bring back the Goddess. In fact, I bet they're gonna fling Buddy Dawn's soul into the void and using the death of a cleric of Helio, Ankarna will return. Killing Buddy was the act of Conquest they needed.

Rueben is obviously in doubt, trying to get help from his Uncle (skipping Forest Animal Murdering and asking for a ride home?), but I think Oisin is in it for the power. Mary Anne is a Kobold, and I think Oisin's Grandma is the dragon her tribe is sworn to so she just follows him around.

I don't think any part of Jace Stardiamond's section of the plan, the bit about the return of Ankarna, has anything to do with Kipperlilly running for preisdent or their quest against the bad kids. Killing Buddy in the Last Stand was just a conveint series of events but as Brennan said in the adventuring party - it looked like killing Buddy was already on the table. That wasn't a freak out move, it was on the agenda, she just wasn't there yet.

For the Presidency, unlike the Ankarna plot where only Oisin and Stardiamond are conspirators, all the Rat Grinders are in on it because they all seem to have personal beef. Except for Oisin and Mary Anne, who seem to be fine with the Bad Kids as a whole, just still on Kipperlilly's team for the race.

For that, Kipperlilly frames the Loams for embezzling, pocketing the money, and then using Ankarna's nightmare king form to kill the Loams when it looked like she was being to thoroughly looked at. Now she has money for both Schemes and the Campaign. Stardiamond tells Reuben to move Frostfaire to the Thistlepsing Tree (just to fuck with the ground and, if I had to guess, be the reason why Gorgug has been getting angrier and angrier as the season's gone on. Specifically, he seemed to really 'Get Mad!' when fighting Grix).

Kipperlilly knows about Buddy's grandpa so after Yolanda gets killed by Jace, Kipperlilly tells Buddy to ask his grandpa to apply while Jace puts the question to Mazey (a decision he should've made himself, to be honest). Bobby's here just to get Kristen expelled, and when they they decided to take the last stand, she grabbed a Rage Shard, strapped it on an arrow, and aimed it at the proctor.

I think that, as the ultimate 'fuck the bad kids' move, the Proctor would go angry and huge and the party would be forced to kill him. Not only does he die, but they were the ones who killed him which would MURDER their grade. I would guess.

But Kristen saw her, and could prove that another student directly interfered with the test (via undergoing a zone of truth). So instead, Kipperlilly indirectly interferes and puts the 'lets kill Buddy' part of the Main Plan into effect. Probably would have happened anyways (they're in a pocket dimension alone, great time to kill a man tbh)

[saintsenara]

Are Lily and Petunia working class? I feel like they’re coded more like lower middle, with parents who are very class conscious in the way that people who’ve only relatively recently inched their way into respectability can be - Lily and Petunia both have classist insults on the tip of their tongue when they’re done with Snape and that had to be a deliberate invocation of the attitudes inside the Evan’s’ home considering they’ve got basically no other personality traits in common - and who hope their daughters marry up, which they both do. They don’t really seem as kids to speak or act in the way that the few unambiguously working class characters in the books do. She can’t be raised middle middle, because she’s far too obsessed with the performance of it once married to be comfortable that status won’t be taken from her, but her dad was like…a bank clerk. Or a council worker. Not a lawyer, but not a working class factory guy or tradesman either. Cokeworth reads to me as split by the river, with Snape’s condemned Victorian slums in the shadow of the mill and then Lily and Petunia over a bridge in the nicer part of town on one of those endless 1930s estates with a gated playground that are all over the country. Sometimes it’s hard not to read an uncomfortably condescending undertone into JKR’s words about Lily’s goodness that a key part of that goodness in the author’s eyes was her ability to overlook the class disparity with Snape. Would love to hear your thoughts on this because you usually spot much more going on in the text than I do!

(also, what working class family names their first child Petunia???)

so, i certainly think this is a fair reading, anon - which definitely works with snape and petunia and lily's canonical... vibe.

i just prefer the class divergence between the snapes and the evanses to be smaller in real terms - and, therefore, more profound in imagined ones.

by which i mean that i like the tension between the two families to be intra-working-class beef between a "respectable", "aspirational" working-class family and the feckless delinquents it considers beneath them.

this is because it always strikes me that so much about petunia's relationship with snape is based in her fear of the mirror he holds up to her, and the inadequacies she's terrified it will reveal. the main one of these - obviously - is that snape's continued existence reminds her of her desire to be magical [and shocking, bohemian, unconventional etc.], but i also think that snape works well as someone who reminds her that all the affectations of middle-class respectability she puts on are mere fiction. she's just a working-class lass from cokeworth, no better than he is...

[which offers an explanation for her terror as an adult that her solidly middle-class lifestyle will be snatched away from her - this fear is connected specifically to harry's magic; magic is what took lily away from her; lily was introduced to magic by snape. she has escaped him by ascending into the middle-classes, but the frightening, corrupting influence he represents - which threatens to unmask who she really is and where she really comes from - stalks her still...]

i certainly agree that her and lily's parents would be incredibly class-conscious, but i see it as the adult evanses looking to receive recognition which would allow them to distinguish themselves from the lower orders in a way which might help them advance in terms of class status, rather than allowing them to retain a previous ascension up the greasy pole.

and this will obviously have involved the demonisation of members of the working-classes they believe to be letting the side down - petunia clearly being desperate to call snape whatever the seventies version of a "chav" was during their first meeting can definitely be read as having that "it's people like you that give people like me a bad name" flair. and i think that's more potent - and would bother petunia a lot more - if it's something she thinks from within the same social class as snape, rather than [however tenuously] from a bracket above him.

the evanses house and mr evans' job would absolutely play into this intra-class divide. i agree that they probably lived on a housing estate built between the 1930s and 1950s - but i think it's also entirely possible that the estate they live on was council housing. the housing division in cokeworth might be a smaller-scale version of that seen in other post-industrial cities in the north-west, such as liverpool and manchester - policies intended to move families out of unfit victorian stock into new-builds, which came with things like indoor toilets and central heating.

[in reality, these policies rehoused a lucky few in nicer estates within their original communities, displacing many onto estates miles away from where they'd started and leaving others stuck in condemned slum housing.]

i think it's worth noting that - while the perception of someone who lives in council housing has become exceptionally negative since the 1980s, in the 60s it was still considered perfectly respectable to live in council housing which might have looked like this:

[none of which, i imagine, are still in use as council stock...]

certainly, it was considered infinitely more respectable than living in the slums.

the sorts of council tenants who would end up in these houses often had a reputation for their own version of "keeping up appearances" - tidy gardens, community interaction, not behaving in "rough" ways - which is very similar to how this is performed by the middle-classes, but which still has a distinctly working-class flavour - particularly when it comes to the perception of jobs, education, and what one receives from the state.

mr evans could, for example, have a trade and still think of himself [and expect to be perceived in society] as meaningfully more sophisticated than a low-skilled and frequently-unemployed mill-worker, like tobias snape - especially if he was something like a plumber, electrician, or gas-fitter. this would be the case even though both of these jobs can be described as "blue collar".

and i like these really minor distinctions because they play up just how petty the performance of class is in britain - but they also reveal just how thorny and multi-layered it is at the same time. this really vibes with how i see petunia: petty and competitive and obsessed with rules which people outside of her class bracket don't care about [i.e. how marge doesn't give a fuck about the prim middle-class manners the adult petunia will come to pride herself on] and worried about the fragility of her position and very much faking it until she makes it - and also complex and multi-layered and inextricable from the long and complicated history of social class in the twentieth century.

two final points: on the names, i basically think that the fact she's called petunia is a little wink to the camera for the mams and dads in 1997 reading the books at home with their children - "petunia dursley" is absolutely intended to remind you of "hyacinth bucket", the social-climbing protagonist of the bbc sitcom keeping up appearances. that character was also a working-class lass who ascended to the middle, and who went to extraordinary lengths to keep that hidden from the upper-middle-class circles she was desperate to access...

and the main thing which i think "others" the snapes? religion. i am wedded to the idea of tobias as a catholic of northern irish extraction - which would have been accompanied by all sorts of stereotypes about fecklessness [drunkenness, having too many children who can't be paid for, violence] which, when compounded by him living in a slum and being unemployed, would have turned him into someone the evanses would have seen it as entirely appropriate to define themselves against even if they nominally shared a social class.

this would only have got worse as the 1970s began...

[jamsofdeath0]

Wheres the Dp x Dc Aus Where Danny HATES The Justice League.

He think they're a bunch a boot licking government dogs. Like he respected when Batman was a vigilante but the fact he just used his power and money to make what he was doing legal. Danny doesn't like that. He's had zero positive interaction with rich adults and government body's. He's leaning full on anarchist.

Green Lanterns a space cop? Space is cool and all but the cop part of the that equation. It's a no go.

Superman seems cool but he knows, knows in his bones, no ones perfect and anyone who makes their brand "I may be one of the most powerful beings on this planet but trust me because I'm nice" is hiding something.

He doesn't like Wonder Women's lasso or how ok she is with using it. He's took away peoples freewill through overshadowing and has decided he's against it. He understands that sometimes you need to use your full kit if worlds are in danger but over all not even the vilest should lose the right to control.

Aguaman is flat out a king and while he doesn't have anything strictly against the man he's against royalty on principle.

He doesn't have anything to big against Flash or Martian Manhunter other than they are a part of the Justice League but he still doesn't like them for that reason.

He figures they're all a bunch of power hungry people who named themselves the protectors of earth for fame, fortune, and government power. Or they're a bunch of a bunch of ppl who do want to help but decided they should pretend to bend to the laws. They despite being government now still operate like vigilantes and the fact they get away with so much law breakage just screams corruption. It doesn't help literally all of Amity Park sent distress notes and signals to the Justice League and they didn't even show up when the city got stolen into another dimension.

Even Sam isn't as against the league as Danny and Tuckers abit of a fan boy. Neither bring up the league to Danny bc they know if he gets started he could go on an hour or longer rant.

When Dani flew of into the sunset the first time Danny warned her against trusting any "superheros" that were legal. That the Titans seemed better than The Justice League but to still be weary.

This au could be phantom planet compliant or not but think about just how much worse his hatred would be if he had to wrangle his rouges, freind's and reveal himself to the the world all bc the "planets protectors" couldnt protect it. In the complaint au he fully blames them for any human experimentation that happens bc people know about half ghosts now. And when they show the Amity Park after the asteroid he's like "Anyone in the Justice League or associated his banned from Amity Park." And they're like "You can not do that" and he's like "Batman gets to! He gets to ban all meta's with no regard for the consequences! He gets to despite the spike in meta hate crimes it causes. Try and stop me!" (The meta hate crime is just fanon for this specific au) the league respect the ban bc they want to become ally's with this VERY powerful and VERY angry kid.

In the non complaint version the banning still happens but the league doesn't respect it. This causes lots of problems. In both of them discovering Amity's problem is what sparks the plot.

(he doesn't have a protection obessetion and he is trans in this au.)

[marvelstars]

Anakin origin

Anakin´s story is one of dissapointment, he expected the Republic and the Jedi to be different to Tatooine but the truth was that the power plays that are obvious and often brutal on Tatooine are the same in the Republic, just covered under a false pretense of politeness and worse than that they are also involved in slavery and support it either by innaction or active action, there are Senators involved in slavery and the Jedi Order don´t involve themselves there because their authority is the Senate and during the clone wars they made the active decision of supporting Jabba´s rule just so they would get acess to his territory and keep the separatist out of that area, recognizing Jabba´s non official authority over Tatooine.

So Anakin was told to do everything in his power to support a power structure that by all intends and purposes was even more corrupt than Tatooine, because they tried to hide it and he was made also an instrument to support it´s existence as a Jedi and later as Vader.

He does exactly that, he protects the republic, he actually becomes loyal to the Republic as a Jedi, the apparent reckleness the Jedi see isn´t about him personally, it´s about him going outside his usual orders to attend something or someone, be it save Ahsoka from being executed, Plo Koon from being left behind after a battle, investigate who wants to kill Padme in AOTC, investigate if Obi-Wan was still alive after the battle of Jabbin, training defendless citizens in self defense so they can protect themselves from bounty hunters and separatists, him freeding a group of slaves, etc the jedi thought he was arrogant but the main reason why he goes besides or outside orders is because is trying to make a difference within the parameters of his role as a Jedi.

Because being a Jedi came at a price for Anakin, being a Jedi cost him his mother, as a Jedi he was asked to forget and leave behind his mother as a slave on Tatooine, cutting all comunications with each other which lead to her kidnapping, torture and death.

The death of the woman who teached him how to have compassion, how to give without expecting recompense, how the biggest problem in the galaxy was that no one helps each other. Anakin learned his compassion from Shmi despite the fact they were both slaves, she gave them both dignity with those principles despite being aware of their situation.

Part of the reason he supported and admired Padmé and Palpatine so much in his early years was because he genuinely thought they could make the changes neccesary for the system to work in the way Anakin thought it worked, it wasn´t just his madness and love for Padmé the thing that drove him to give her the title of Empress, it was also a recognition of her being someone who actually cared about the people even during his biggest emotional break down and dissapointment on Palpatine for what he had shown himself to be.

So unlike Luke and Leia, Vader doesn´t see much of a difference between the Empire and the Old Republic, he simply sees a more honest version of what happened behind curtains on the republic in the brutality of the Empire, that ressembles Tatooine and at that point in his life, he lost hope of making any substantial changes to the system, his hope died with Padme, his role is bassically to be the "Jedi Order" to the Emperor´s Empire and he has decided that maybe justice is not possible but Order is enough for the galaxy to work better than it did when he was young and certainly a lot better than a civil war like the clone wars, you know, he isn´t a friend of "destructive conflict" as he told Luke. This is how a good person becomes evil, when the ends justify the means.

But Luke gave Vader his hope back, for himself as the good person he used to be, that the dark side and his master didn´t need to have the last word but also hope that maybe, just maybe, things can actually change for the better if the rebellion counts with people like Luke and Leia.

This is one of the reasons why I love Anakin´s/Vader character so much, he brings the complexity of reality to the fairly tale that is star wars with his tragedy, because he truly was a great, wonderful person who lost his hope and sanity, became the instrument of evil but he redeems himself in the end thanks to his Son giving him hope again, Luke was Anakin´s New Hope and it works when you see his complete story.