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mallowbees · 4 years

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i dont know much about TMA but ,, could you tell me a bit about avatars? I want to make a sona really bad because they look so cool haha

Oh heck YEAH I can!!

Right so!! Avatars are people who have had experiences with or behavior that aligned with one of the 14(15 kinda?) fear entities and end up serving them!! Throwing people to their, for lack of better words, god, to feed off of their fears and occasionally try to kick of rituals to make their god strong and getting some sweet powers as a reward!

!! It’s gonna be kinda hard to avoid spoilers with explaining this, so I’ll try to keep it to the minimum but some spoilers for avatar people’s stuff :’D !!

The 14 are as follows (I’m just gonna snag most of this from the wiki but anything not in italics is me):

The Burried :

Also called The Center, Choke, Too Close I Cannot Breathe.

The fear of claustrophobia, small spaces, of being unable to breathe and the underground and dust. Being at the centre of everything and it is all pushing down. Fear of being trapped without enough space.

Notable avatar person I can think of is 18th centry guy who worked in a grave yard and would nap in the graves cause it was quiet and when they installed bells incase someone was actually alive when they burried them they could ring it, so someone rang it and he cut the line because he thought they were nice and deserved to sleep, also early episode lost johns cave is a good example but doesnt have an avatar in it so hfgh

The Corruption :

Also called Filth, The Crawling Rot, or The Hive.

This entity is linked closely to our feelings of disgust, of feeling revulsion and fear of corruption, disease, filth. Manifests as mould, bugs, rot, decay, infection. The feeling of your skin crawling.

Jane Prentiss, she wanted to be loved and found love in a bunch of worms in a wasp nest in her attic, so she became their hive, she loves her worms and her worms love her, they sing

Also other guy I genuinely don't know his name he just made everyone sick at that retirement home with disease and hung out at hill top road a few times, got sealed in concrete and he always looked like he was skin and slightly rotting

The Dark :

Also called Mr. Pitch, The Forever Blind, The Sandman

A manifestation of our very primal fear of the dark, of what lies beyond what we can sense. What might be in it?

One of the oldest of the Entities.

Uhh cult kidnapped that one kid i think that was them, i dont know who the dark avatar is actually

The Desolation :

Also called The Lightless Flame, The Torturing Flame, The Devastation, Blackened Earth.

This entity deals in fear of pain, of loss, burning, fear of unthinking or cruel destruction.

Acolytes are enriched by destroying the lives of people who had things to live for, destroying things before their potential is realised. In exchange, the cult members can create heat--but not fire--and gain the ability to make their skin run like wax.

They burn from the inside and consume everything in flames, Jude Perry and Agnes Montague are the two i know, Agnes was born into it and died because of forbidden love and Jude set her girlfriends flat on fire so hgfhfg

The End :

Also called Death, Terminus, The Coming End That Waits For All And Cannot Be Ignored.

This entity deals in the fear of death itself, uncaring and unstoppable.

No known attempts at a ritual, presumably because it sees no need to, as Death claims all in the end.

Oliver Banks!! Had dreams of strings that tied people to their deaths, actual rational avatar, also didnt ask for this but he does pretty well. Also commited identity fraud

The Eye :

Also called Beholding, The Watcher, The Ceaseless Watcher, It Knows You.

This entity is fear of being watched, exposed, followed, of having secrets known, but also the drive to know and understand, even if your discoveries might destroy you. Fear that you’re suffering for the sake of something watching.

Elias!! Horrible man!! Can body hop! Just wants to watch the drama unfold and get more power. Knows lots of things and compulsion ! Also Jon because he reckless curiosity kinda screwed him over there and yeah. And that one security guy who got consumed by a watcher lietner watching other people via security camera, rip that guy

The Flesh :

Also called Viscera.

Born from the fear of animals bred for meat, and in the human realisation that we are just animated meat and bones.

Manifests as strange bodies being twisted, reshaped, and butchered.

Thought to be the newest of the 14, born around the time of the Industrial Revolution

Jared Hopworth! Got a Lietner, runs a gym to change bodies into what people want until they're practically not human anymore, likes most bones if they're good bones

The Hunt :

Hunting and chase and violence, this is an animalistic fear, very old and primal. Fear of being hunted, being prey.

Less able to affect people due to our self-removal from the food chain. Self-proclaimed monster hunters (and those who do the same without referring to themselves as such) run a strong chance of becoming Hunters and then having a need to hunt and kill monsters.

Daisy! Things get kinda messed up when you combine non-human impulses with a person so! Murder! violence!

The Lonely :

Also called Forsaken, The One Alone The fear of isolation, of being completely cut off and alone. Fear of being disconnected.

Peter lukas, Martin, grew up lonely and shunned idk what you expected, can literally vanish, cool aethetic- Also that one girl who married one of the lukas’, nayomi? But she wasnt an avatar just with one

The Slaughter :

This entity feeds off of pure, unpredictable, unmotivated violence. Strong ties to war. Fear of not knowing, where, when, how or if pain will come but that it will. Can be violent like a frenzied killer or calm and regimented like soldiers firing on the battlefield.

Melanie! Anger! Murder! Stabby stab! Justificated feeling that your anger is right!

The Spiral :

Also called Es Mentiras, It Is Lies, The Twisting Deceit, It Is Not What It Is.

This entity is fear of madness, of being lost, that your world is wrong, that your mind is lying to you. It deals with deception, lying, deceiving the mind and senses.

Michael! Helen! I don’t,, really know what to say on this one hgfhfg

The Stranger :

Also called I Do Not Know You.

Fear of the unknown. That creeping sense that something isn’t right. Also of unfamiliar people. Manifests as objects pretending to be humans, like mannequins and taxidermied people.

Theyre not people they arent who they arE

The Vast :

Also called The Falling Titan.

This entity deals in our fear of our own insignificance in this universe, of losing yourself in too much space. Its effects involve void, vertigo, and falling, but also anything to do with openness and open spaces, fears like Agoraphobia, fear of deep water.

Simon fairchild is honest to god just vibing hes having so much fun also reeeally long lifespan he likes watching people fall off this and falling off himelf, also mike crew who didnt ask for this but just kinda ended up there anyway cause he got struck by lightning on a hill and got a book

The Web :

Also called The Spider, Mother of Puppets.

Deals with fear of being controlled, entrapped, being trapped and not knowing it, and your will not being your own, of being manipulated. Manifests as spiders and spider webs and patterns like spider webs.

The Extiction :

Also called The Terrible Change, The Future Without Us, The World Is Always Ending

The 15th Entity hypothesized by Adelard Dekker to be currently emerging.

It is not yet confirmed to actually exist, if it is yet to be officially born, or if it is a combination of other powers and their overlap. It deals with the fear of catastrophic change, the destruction of humanity and its replacement by something different, especially via mankind's own causing.

Man-made elements are one of its hallmarks.

Avatars of other Entities would like to prevent it from emerging if possible.

Nobody on this one yet but yeah!!

So!! Usually it’s either the thing you are scared of embraces you and flips your behavior on its head, (Scared of being alone? Make other people alone! Scared of falling? Make other people fall!) Or something you like vibe with embraces and justifies you even if it scares you (Want to know?? Huh?? Buddy? Wanna Know? Or you just want some love? Get u some worms) Like if your experiences fall under one of the categories you probably go there if you’re not afraid of it, or if something happens and you’re terrified of it but not dead you’ll probably end up there hfhghgfh

Oh also here’s a what entity are you quiz if that helps ghfhfgh: https://uquiz.com/quiz/zxE9GQ/which-tma-entity-are-you-aligned-with?embed=False

Basically, does it scare you a little? Does it vibe with you a bit? There you go! You have an entity now! Have fun! HFGhfh

#the asks #tma #tma entities

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mmmmalo · 5 years

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This is a (meandering, non-exhaustive) overview of Homestuck’s use of

by which I do not mean examples of psychological realism in a character’s words and deeds, but rather the various means by which characters’ psyches are expressed outside of themselves. I wish to elaborate on how thoughts, feelings, and desires may find expression in the environment, in the medium of the story itself, and in the form of other characters.

That’s perhaps a little vague, so here’s a ready example of what I mean: brainghost!Dirk. He talks with Jake, but since he is a construct of Jake’s mind, Jake is essentially talking to himself. Brainghost!Dirk is an alienated medium for voicing Jake’s own thoughts, irretrievably distorted through its intermingling with what Jake thinks/wishes Dirk would say (not unlike a puppet). I am claiming that this mode of characterization is not a unique to Jake; the blurring of inner and outer voices is omnipresent throughout the story.

Or, rephrased: what I hope to show is that a great deal of Homestuck is haunted with brain-ghosts, of one kind or other.

An early example of this kind of storytelling in science fiction would be the film Forbidden Planet (1956). The film contains a pair of conflicts which eventually reveal themselves to be one: the scientist Morbius wants some space explorers to get off his planet, and an immense monster (pictured above) appears during the night to attack the explorers. Morbius, it turns out, has been experimenting with a machine capable of turning thought into reality. So when Morbius sleeps, his dream of driving off the trespassers materializes in the form of beast that forcefully enacts the wish.

The beast is declared a “monster from the id”, the “id” being a concept borrowed from Freudian psychology, indicating the part of the mind responsible for the unfiltered generation of impulses, of urges. In the film, this passing mention of psychoanalysis precedes the revelation of Morbius’s link to the beast.

Homestuck hints towards its own mixing of thought and reality with a device similar to Morbius’s dream machine: Sburb.

A snapshot of Dave’s Sburb client (1519) shows that the final subprograms launched during the games installation make reference to terminology associated with Carl Jung and Sigmund Freud. The terms suggest that Sburb interacts with the ideas in the kids’ subconscious minds (archetypes) and brings symbolic representations of these ideas into conscious reality (manifests the ideas). The game alters the means by which reality is constructed. As with Forbidden Planet, a major result of this is id monsters.

When John slips on a staircase, he flips out (left, 560). And when he nearly launches himself into the abyss with the Pogo Hammer, he has to take a nap before he has calmed down enough to continue (center, 637). Immediately following both moments of vertigo, massive ogres appear. The eventual fight with the ogres begins after John looks over the edge of the platform above his house, into the abyss (right, 662).

All of this suggests that Sburb is reacting to John’s emotional state (fear) to produce in-game content. The game functions as a waking dream.

It should also be noted that Sburb provokes the reactions it elicits. Karkat once mentioned a nagging feeling that the game was mocking him by giving him a planet covered in the candy red blood he had spent a lifetime attempting to hide (2301). Karkat’s paranoia seems to be correct here, and moreover applicable to the cast in general -- John’s house was likely placed atop an immense spire /in order to/ bring John’s dread of falling into sharp relief. The suspicion can be substantiated with a few related motifs.

The story provides two likely origins for John’s fear of heights: his own fall from the slime pogo as a child (2626) and the death of Nanna, which John believed resulted from her falling from a ladder and being crushed by a book (52). What’s more, Sburb’s invocation of the Fall of Man (Adam and Eve being cast from the Garden of Eden) via biting into an apple hints that there is an allegorical significance to John’s more literal fear of heights.

We can apply these patterns to other characters in an attempt to learn more about them. LOLAR being covered in ocean suggests that Rose is afraid of water, with the likely cause of Rose finding Jaspers dead and washed up on a riverbank (presumed drowned). Dave speaks openly about how his sword fights with Bro left him anxious of metal sounds (7749), meaning the grinding gears of LOHAC were a personalized hell for Dave. Jade’s first imp manifests in response to the sight of a yellow aurora (2998), inviting the reader to investigate why that image invokes a fear response.

But we won’t get to into all of that, not for now at least. Let’s take a step back.

For my reading of the imps as manifestations I’ve been leaning heavily on a piece of film theory devoted to the effects of sequential images. The sequence above constitutes two observations. One, that by this arrangement the viewer will infer the old man sees and reacts to the middle figure. Two, that the viewer’s impression of the old man will change based on the content of the central image, even if his expression is the same. Is he smiling at Nepeta or warm embrace Marvus’s armpit? The answer may influence your interpretation of the little smile.

The neat thing about montage is that the interrupting frame need not bear any obvious relation to what precedes or follows in order to be subject to a causal reading. Moments that occur sequentially can be read as triggering one another, even if what follows any particular moment appears to be a break rather than a continuation.

Example: There’s a moment where Aranea walks into Jake’s dream, and brainghost!Dirk immediately starts razzing Jake about his attraction to the alien girl and threatening to give him a boner. The scene is interrupted by Jack committing a series of gratuitous murders. We then cut back to Jake, and bg!Dirk is now teasing him about his dirty thoughts.

DIRK: You have got to be kidding. Did you seriously just think something THAT dirty? DIRK: You must be doing this on purpose to spite me now. I mean, just wow dude. That was x-rated as fuck.

JAKE: (No no stop. See youre talking about it and now i cant help it!) JAKE: (You are psyching me into having dirty thoughts get fucking lost you interloping brain douche!!!)

DIRK: Don't worry, I'm gone. It's like a goddamn peep show in here and I feel like a sleazy piece of shit watching this from a dark corner of your mind. DIRK: You have a graphic imagination, English. I'm kind of impressed.

JAKE: (Shut up theyre just thoughts its not even like im trying to have them THEY DONT MEAN ANYTHING!)

The ostensible joke is that bg!Dirk is exaggerating or outright fabricating his account of Jake’s thoughts in order to hassle him. But by way of montage, one can infer that we /have/ seen Jake’s dirty thoughts, in the form of Jack’s display of overwhelming bloodlust. Violence is superimposed over the sexually explicit.

Whether the scene literally takes place in Jake’s mind is secondary (though such a reading would explain why Jake’s brain ghost is even aware of Jack) -- the use of montage allows Jack’s actions to function as a /metaphor/ for Jake’s thought.

Another example of Jack functioning as a murderous/libidinous avatar would be the death of Mom and Dad. At their little tea party, Dad spills some wine on Mom’s clothes and declares that she must disrobe immediately (so that Dad might launder the garment). Mom calls the aromas wafting from his pipe sensuous. The two clasp hands and declare that all they need is eachother. Then they die! The joke is that while Bec Noir is ostensibly an interruption to date night, he also functions as its culmination, with murder acting as substitute for the sex act.

The link between violence and sexuality is perhaps a hard sell, but I hope to convince you that the reading holds merit. Let me emphasize that the very act of Mom and Dad holding hands was itself sexually loaded.

I owe to HS liveblogger elfstuck the insight that John’s linear 3 card sylladex is a reflection of his short attention span. Consider how John’s role as a game character means he is thrown all around his room, back and forth, as the player figures out what to make of the situation. If you ignore the fourth wall, you’re left with an extremely distracted person, who attention flows easily from one object to another. Accepting the object-in, object-out nature of John’s sylladex and the resulting shenanigans as a metaphor for this, it would follow that the sylladex in general can offer an abstract representation of thought.

In passing, I can mention how the enormity of Jake’s sylladex (it cannot even fit on the page, and contains an object that exceed most players’ size limits) would imply that despite evidence to the contrary, the boy likely has a big brain (and perhaps its being offscreen suggests Jakes own unawareness of much of his own thought). Dirk’s comment about avoiding items that are difficult to shoehorn into his mnemonic schema (4535) could be read as a difficulty maintaining information that doesn’t fit into his personal mental models. The sylladex becomes a metaphor for the mind that requires interpretation.

Under this mode of thought, the moments when Jade’s pictionary modus fails to correctly interpret her drawing become akin to a mental slip-of-the-tongue. For the Tanglebuddies to be misread as enmeshed hands implies an association, in Jade’s mind, of horny Squiddles and clasped hands. John affirms the association much later by miming Tanglebuddies as he attempts to grapple with the question of whether Jade and Davesprite are sexually compatible (5294):

JOHN: how do things even work if you marry a sprite?

JADE: what do you mean

JOHN: i mean... JOHN: ok, he has a ghost butt, for one thing.

JADE: uh JADE: so

JOHN: a GHOST BUTT, jade!

JADE: SO WHAT IF HE HAS A GHOST BUTT!!!!!

JOHN: i'm just saying...

JADE: WHATEVER YOURE JUST SAYING, JUST STOP SAYING IT! JADE: and whatever youre trying to gesture with your hands there, stop doing that too!

It should also be noted that before launching into her “daring dream”, waxing poetic on the miraculous union of the human and the animal with her hands clasped in wonder, Jade successfully captchalogued the Tanglebuddies (796). And more to the point, Jade’s pose in reproduced during discussions of cherub (5961) and leprechaun (6007) reproduction. Hand-holding becomes representative of an (oft-sexualized) union, underlining the euphemistic nature of Mom and Dad’s post-contact demise.

The next example of using montage to communicate thought requires a little more buildup.

There’s a gag in Rose’s introduction where the reader tells Rose to play with her writing journals, and scoots the journals under the bed and retorts that she would only do that if no one were watching (220). At first glance, the moment scans as a minor meta joke in a story filled with meta jokes -- but the trick is that Rose does not /know/ herself to be a video game character, her every movement controlled and observed. Rather, she /believes/ this to be true -- the joke about being watched establishes that Rose is paranoid, as will become apparent in the hostility she assigns to Mom’s every action.

The command prompt and narration are themselves brain ghosts of a sort: the voice deployed in them is always linked to the present point-of-view character. The insults that precede character introductions ( “Zoosmell Pooplord”, etc) become marks of anxiety, an intrusive proclamation of what the kids at times think of themselves (and/or what they think others think of them). “Nice time management skills, sweetheart!” becomes a bit of self-deprecation Rose as she procrastinates, which Rose experiences as having been voiced by some objective observer who judges her deficiencies.

A blurred line divides characters from the voice at the back of their head, belonging to the (presumed) omniscient, omnipotent author-god. This is why avatar!Hussie is dressed as Calliope when he is killed by Lord English. Both Calliope and Hussie are a voice in Caliborn’s head, and thus both present apparent obstacles to an unmediated self.

The left panel (3219) foreshadows the right (3358). Gamzee is not being declared the objectively most important character in Homestuck. Rather, Gamzee is declaring himself /to have been declared/ the most important character in the story. The line establishes that Gamzee believes himself to be in a story (with an author!) and that this author has declared him paramount. Furthermore, “fondly regarding creation” is an modus operandi of Problem Sleuth’s Godhead Pickle Inspector. Applying that turn of phrase to Gamzee’s actions further establishes that Gamzee believes himself to /be/ the god-author declaring his own importance. So it should come as no surprise that 137 pages later, Gamzee outright proclaims himself to be the god(s) he worships.

Going back to montage, it becomes interesting that this snapshot of Gamzee’s megalomania is inter-cut with the creation of Jadesprite -- the moment that dead!dream!Jade merges with Bec, forming a unity with a deity not unlike the unity Gamzee claims with his mirthful messiahs. The interweaving would suggest that Jade and/or Jadesprite experienced analogous thoughts of megalomania upon the moment of ascension.

This would be a good point to mention that not only imps and ogres, but trolls also function as manifestations for the people they impose upon. Karkat is not only an interruption here, but also a continuation. He points out that Jade’s self-loathing, that she cannot safely distance herself from the qualities of Jadesprite she finds distasteful. This is precisely why Karkat ends the conversation by telling Jade to turn off the fourth wall (which divides the self!), as well as the reason he imagines Jade making out with herself: Karkat is on every front presenting the prospect of union with oneself.

The notion of trolls as manifestations first emerges clearly when Rose and Dave receive their packages from John. As they finish reading John’s letter, each is suddenly contacted by a troll and greeted with the command “Answer.” Critically, by word alone it is ambiguous as to whether the command refers to answering the troll or the letter. And as it turns out, these answer occur simultaneously: Rose and Dave’s responses to the letters are embedded in the subsequent conversations.

Rose receives a letter poking fun at her pretensions, claiming that her attempts to hide her affections for people are futile. In response we get Kanaya, who imperiously proclaims her disdain for Rose, only to suddenly change tact and explicitly seek Rose’s friendship, an entreaty which the oft paranoid Rose accepts. Dave receives a letter imploring him to let go of his insecurities and express himself. In response we get Tavros, the very picture of insecurity, who is fixated on the idea of making Dave shit himself (as part of an ‘emotional constipation’ motif that follows Dave). And Dave complies, in a sense, by way of the quasi-ironic gay treatise that compels Tavros to block him. Each conversation addresses the issues laid out in John’s letter.

Examples can be found throughout the comic. Equius remarking that he talks to Gamzee every day (2220) establishes that Gamzee is regularly haunted by the thoughts of domination that Equius voices -- both in the literal and metaphorical sense. Erisolsprite referring to Dirk as a rock 2oliid piiece of a22 and then calling himself 2ociiopathiic for even thinking something so callous (5516) expresses a conflict already present in Jake’s own mind, echoing the frustration with his own dirty thoughts expressed by the argument with brainghost!Dirk. Feferi’s pronounced enthusiasm for the imminent apocalypse should cause you to question Kanaya’s seemingly neutral resignation towards the end of the world, since Feferi manifests for Kanaya (2328). And so on.

The person being trolled is always being confronted with thoughts or feelings or memories already present within themself. Alien contact always doubles as a brain ghost haunting.

Another example, with some buildup: Karkat invokes the phrase “PERFORATE MY BONE BULGE WITH A CULLING FORK” to express his contempt for Vriska, and on subsequent pages we see Feferi pointing her culling fork at a cuttlefish (2181), as if to suggest that the creature symbolizes the bone bulge. Fast forward to Kanaya, who has just gotten through a conversation with Vriska and finds herself haunted by Eridan, who keeps going on about his romantic desperations and insisting (correctly) that Kanaya’s crush on Vriska is itself romantic. That his notification erupts from an image of cuttlefish held at Kanaya’s waist adds to the air of yearning, as though her own bulge is rumbling. The scene is capped off with a double entendre: “its hard and nobody understands” is playfully poignant jab at an inability to understand one’s own desires (among other things).

And Homestuck devotes a lot of attention to desire.

It’s long been acknowledged by the fandom at large that Kanaya’s attraction to Light players functions as a joke on the proverbial moth-to-the-flame. As reconciliation with the fire destroys the moth, there’s a morbid tinge to the attraction, as though it doubles as a death wish. And the wish is granted -- when Kanaya dies in Homestuck, she dies to light, either from Eridan’s wand or the laser blasts unleashed by HIC. Even the death of Kanaya’s lusus pertains to light -- the matriorb ripped from her innards is shaped like a miniature sun, as if to establish some loose link between the notion of motherhood and the incandescence Kanaya eventually achieves.

This can be generalized into a principle wherein lusii (and the circumstances of their deaths!) can functions as analogies for the desire of the wards.

Vriska, for example, desires execution. When offering Terezi a flimsy apology for crippling Tavros and proxy-murdering Aradia, Vriska offers to slam her head against her desk in penitence. This moment should be read against Vriska’s addiction to breaking 8 balls, and leaving the broken shards lying around as though she’s inviting the “bad luck” of stepping on them. It /is/ an invitation. Vriska seeks love via violent retribution against herself. This is why in the right panel, Vriska’s blood-spattered head is juxtaposed with a broken 8 ball: the blood came from Spidermom’s execution (which characterizes Vriska’s desire), and motif of 8R8K H34DS connects the moment to Vriska’s idea of apology.

Like Kanaya, Vriska (to a degree) seems to structure her love life along these lines. In the words of @azdoine:

like ppl are actually out here writing Vriska as the top as if her entire Act 5 character arc isn’t about bratting out until Terezi has no choice but to punish her

“oh noo, I, the thief of light, stole all of your luck, and made the coin land on the scratched side! now you have to kill me! but I’m probably going to get away with everything, because you don’t have the guts to stab me with that sword of yours!!!!!!!! if only there was somebody, like you, who could prove me wrong!”

EXTREMELY SUBTLE THERE, VRISKA

Vriska’s approach to wooing Tavros also revolves around baiting execution:

The scene: Tavros leads a horde of imps and ogres into a mystery cave, the top of which is adorned with kissing lizards and an alchemical symbol. Tavros is putting a puzzle of a frog together, but Vriska has already pieced together the puzzle: making a frog universe is, in part, a cipher for personal reproduction. The Ultimate Alchemy is making a baby! And as Vriska says, “real gamers cut to the chase. They power through all the nonsense and go for the gold.” So she brings Tavros to LOMAT and makes the moves on him.

Tavros is equated to a treasure chest by the repeated use of framing and Vriska is GOING FOR THE GOLD, like a WINNER. Tavros later reaches into the same chest for his lance before heading off to attempt to kill Vriska -- affirming that the treasure Vriska seeks here is Tavros’s “lance”.

This setup was suggested by the conversation accompanying the kissing salamanders: Vriska gives Tavros a map with a big red X, saying he should take his legion of imps through the gate and go defeat his denizen. The gate actually leads to Vriska, but she isn’t lying. She is positioning herself to be Tavros’s final boss. The imps are manifestations of Tavros’s pent up rage (much of which was generated by Vriska’s harassment), and Vriska wants Tavros to take that anger out on her. Hence the later panel which uses Vriska’s boots to place a big red X directly over her groin, making explicit the implicit goal of Tavros’s trip to the windmill X-gate.

This pursuit of love through violent comeuppance may have something to do with Vriska’s bitter disappointment that ghost!Aradia did not seem to hate her.

An intermission/introduction of sorts, as we bridge from one discussion of desire to another: did you know that Michael Bay’s Armageddon (1998) structures itself in part around Freud’s Oedipus complex? I say this in total sincerity.

The plot: a meteor the size of Texas bears down upon the Earth, threatening armageddon. Luckily, a crew of rough-and-tumble oil drillers are ready to fly into space and split that mother in two. Oh HELL yeah.

Except, wait, the movie’s actually about family drama: Bruce Willis finds Ben Affleck sleeping with his daughter Liv Tyler; Willis proceeds to chase Affleck around the oil rig with a shotgun, bang bang bang. Not Allowed. The Protective-Father-Hates-Your-Boyfriend dynamic is presented as an Oedipal triad of sorts: although Tyler is not literally Affleck’s mother, she performs the mom-function of “forbidden object of desire” -- and Willis opening fire is equivalent to the castration said to await trespassers onto maternal soil.

The above reading is buttressed by jokes: Armageddon appears to function within an implicit dream machine, such that the characters’ thoughts and fears can become manifest in their environment. So when it comes to pass that whenever Affleck climbs into a hole (heehee), a pipe breaks (hoohoo), and suddenly everything goes boom, I read that as Affleck reliving the consequences of boning Tyler, packaged in such a way that the Freudian fear of castration is more explicit. (The relevance of Oedipus to the proceedings adds some humor to Steve Buscemi declaring the entire disastrous situation a “Greek tragedy”)

At any rate, after some shenanigans, Willis comes to accept Affleck’s claim to his daughter and confers the deed, as it were. Willis gives the young couple his blessing and they get married. Hooray!

Except, wait, the movie’s actually about the perpetuation of the oil industry: the dream machine was declared at the beginning of the movie when a petty street-side argument triggered the first barrage of meteors. The meteor the size of Texas (aka Dotty) is triggered by conflicts that haunt the central cast -- namely Willis, who enters the film hitting golf balls at a Green Peace boat. On a metaphorical level, Dotty is a golf ball the size of Texas, striking directly at the Earth instead its self-declared representatives. There’s a certain irony here: the film lampshades that the men who are destroying the world have been tasked with saving it.

The family drama folds into the environmentalist angle: Liv Tyler is a symbol of the earth (which gets drilled). This is the joke when Affleck is bouncing animal crackers around on her belly like she’s host to the Savannah: she kind of is! It’s no coincidence that Willis confers ownership of the oil rig at the same moment that he offers his daughter’s hand in marriage: the motifs are being discussed simultaneously.

But enough of all of that: back to Homestuck.

Armageddon’s simultaneous casting of Liv Tyler into the roles of earth and mother offers a glimpse at the interpretive possibilities made available by Hussie’s statement that Homestuck is in a way a synonym for Earthbound (an RPG in which “homesickness” is a status ailment which can be cured by calling your mom). Stuckness or boundness can be deployed to communicate a sense of longing for “home”.

A good chunk of Homestuck is built upon feelings of nostalgia, taken to mean a sort of intense separation anxiety with the past. John speaks about this when he watches Con Air with Jade – John wants the movie to feel like it did when he watched it with his Dad long ago, but the feeling from when he was a kid is gone. This upsets him. Moreover, John’s freakout starts at the moment Cyrus puts a gun to the bunny’s head (5286): Con Air itself is partly about Nic Cage trying to return to the life he lost when he went to jail, and ‘putting the bunny back in the box’ is a metaphor for the attempt. Cyrus, in threatening the bunny, is highlighting his role as a force preventing things from going back to how they were. Thus, if we are to believe that John is responding to the movie thematically, Cyrus confronts John with his own inability to go back to a happier past – his inability to go home -- and this recognition is met with anger.

In making the leap to the psychoanalytic motifs, it helps to recall the part where baby!Dirk responds to being born by cracking open his ectotube and crawling back inside. Dirk, who aspires towards his “ultimate self”, illustrates here that he envisions his ascension as a return to the ‘essence’ of Dirk from which he (and all other iterations of himself) arose, as represented by the ectoslime. Baby!Dirk gestures at unity with his ectoslime/essence by crawling back into the place from which he was born, which I’m basically claiming is a “return to the womb” on a symbolic level, or at least that this is a useful parallel to draw. (A related motif to think about: Dirk decapitates himself by sticking his head inside a box, which as per Con Air symbolizes the place you wish to return to)

[Hella Jeff sez: “i took (my pants) off because i was banging your mom for a minute there..... AND NOW YOU ARE BANGING HER”]

Castration becomes unavoidable as you try to relate all of this to Dave, whose occasional references to banging hot moms are part of an ongoing reference to the Oedipus Complex. Critically, the complex is not /just/ about wanting to bone your mom, but also fear that your dad will chop your junk off if you do. The breaking of Dave’s sword on the rooftop is a realization of this fear (yes, we’re doing the “swords are phallic” thing). But Dave has no mom that he knows of, so what gives?

The answer is in the way Bro inexplicably breaks the record emblem on Dave’s t-shirt, as though he has introduced a fissure into Dave’s very identity. Life with Bro has made it very difficult for Dave to be honest with himself, which is to say, Dave pictures Bro’s abuse as having divided him from an ideal “true self”, which can feel emotions without all the anxious ironic detachment. I mentioned before that seeking unity with that from which you came is a “return to the womb”. This is the sense in which the Oedipal mom attraction becomes relevant: the return to the past is sexualized. The ‘home’ Dave wishes to return to is /himself/, and in this sense Dave is his own hot mom (which is related to how often Dave compliments his own looks, as well as the above gif suggesting Dave’s boner – he is literally/metaphorically “attracted” to himself).

(Incidentally: this model of desire, in which a broken subject attempt to become whole again by seeking out its lost half, is basically the concept of the soulmate, as laid out by Plato. Cherub reproduction turns the metaphysical pursuit of one’s lost half into a plot-level objective)

John’s entry item (apple) was linked to fear embodied in a childhood trauma (the Fall), and the same can be said of Dave. Hatching from the shell that contained your primordial goop (Dirk) is analogous to being violently separated from yourself (Dave), which is why Dave’s entry item (an egg) hatching coincided with Bro slicing the meteor in half: the abuse that divided Dave from himself, his “castration” by Bro, is simultaneously the “birth” that separated Dave from his “mother” (which is also Dave).

The general idea is that birth = self-alienation = castration, insofar as all are depicted as modes of being separated from oneself.

The broad motif of ‘being separated from oneself’ can be very useful for identifying brain ghosts in unexpected places. Take for example, Roxy’s fenestrated planes: when they are introduced the narrative is quick to tell us that if someone were caught half in/out of one of the windows when the power cuts out, they would be sliced in half. By the rule of Chekhov’s gun, this introduction should mean we should eventually see someone get gorily bisected by the window, but alas we never do.

Instead, when Gcat warped the panel away, trapping Roxy between the windows, we were shown the image of a bisected horse puppet in Dirk’s apartment, This signals that Chekhov’s gun has indeed gone off. But rather than splitting a body, it split a soul: Meenah’s introduction follows the sequence because Roxy has generated a shadow of herself, a doppelganger. This is not without precedent: an earlier portion of this post was devoted to exploring the fourth wall as a mode of self-alienation. Roxy’s panel mishap can be considered part of that pattern.

If Meenah functions as an extension of Roxy, all of her actions can be read as bearing some relations to Roxy’s own latent thoughts and desires. Prior to the epilogues, for example, Meenah imploring John not to give her the ring seemed to be yet another Fuck You to the late Chekov: the issue never comes up again. But a psychic link between Meenah and Roxy would suggest that John broke his promise to Meenah by giving the ring to Roxy, and that whatever motivations compelled Meenah to make her request in the first place would also apply to Roxy.

Decapitation is yet another mode of self-alienation, and thus can be construed as a mode of birth. Hence the image of Lil Sebastian hatching from his shell of taxidermied man meat. That’s a motif unto itself, but what I wish to call attention to is the match-cut from John’s broke body to Jake’s broken tower. The juxtaposition collapses the images into metaphor, such that Jake’s loose dome in the woods becomes a decapitated head -- an appropriate addition to the pumpkin patch it rests in, given all the Headless Horseman jokes. We can look to Dirk for for another example of a headless horse-man of the house echoing the head: for a guy who idealizes decapitation to such a degree, it is striking that Sburb aims to provoke him by reattaching his beheaded apartment to its underlying units.

Houses act as metaphors for heads, then “Homestuck” could also interpreted as “head trapped” -- like the title emphasizes confinement within one’s own mind. Such a reading offers up Failure to Launch and Arrested Development (posters on John and Jane’s walls) as alternate synonyms for Homestuck, as each satirizes (or outright mocks) potential failure states in the process of inter-personal and mental development (ie “growing up”). Like Earthbound, both lean on a sense of homesickness in characterizing despondency, as though characters are haunted by the needs that defined their childhood -- or else find themselves needing that childhood itself.

But collapsing nostalgia into infantile regression is far from the only way to approach the house/heads equation. One might read the transformation and growth of houses with Sburb as metaphors for expanding the mind. One might infer that the choreography of events within houses can map out thoughts like dancing bees. One might take the metaphor as a foothold for interpreting the significance of the Sburb logo being at once a house and a window. \I have my own thoughts about Homestuck’s brain-ghost haunted house-minds, but for now, I only hope that this document has raised some interesting questions -- and ideally, that the interpretive approaches I’ve described might be useful in seeking answers.

#homestuck #homestuck meta #this is basically the contents of the stream #movies #john #rose #dave #jade #jake #dirk #roxy #gamzee #vriska #4th wall #psychoanalysis #house as head #plato

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blookmallow · 4 years

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im starting to realize there’s a bunch of connections going on between tma episodes.. i dont know what it Means yet and dont tell me!!!!! ill get there!! but. hmmm. im going through the transcripts after i listen to them to make sure i didnt miss things/checking the details and i just. Keep Finding More Shit, it’s all connected, i feel like there’s something huge going on behind all these and i Do Not Know what it is yet

this is. very long and disjointed i went through all the transcripts for every episode ive listened to so far and kept noticing more things

like Don’t Tell Me if im right or wrong ill find out im just gathering thoughts. setting up my little conspiracy board. red strings everywhere

- firstly theres an obvious running thread going about the cursed jurgen leitner books, gerard keay, the. worms. and jane prentiss

- carlos vittery in Arachnophobia mentions offhand that his complex had an infestation of “small, silvery worms” which passed right over my head the first time but looking at it again thATS THE FUCKIGN WORMS!!!! and martin found. Probably Jane in the basement of that same complex. so. well, (that also means like Who Knows how many people in that building might have gotten infected) (i also wonder whether the spiders might actually be Good, if the worms are hideous parasites maybe the spiders are showing up to eat them/get rid of them, martin says he likes spiders, the spiders almost definitely killed vittery but he was violently trying to wipe them out so maybe it was a greater good kind of thing) (or they’re just spiders and dont have that level of comprehension and like the nasty silver worms. either way)

- there’s also a lot of Foretelling Of Death but i dont want to go through and list all of those rn

- in Anglerfish, there was some kind of. shadowy hand thing beckoning people into the darkness. Amy Patel in Across The Street describes seeing a similar shadowy hand thing reaching into Graham’s apartment before his. replacement. both of these are described as “folding” in on themselves/moving in a really unnatural way. smoking was also mentioned in both but i havent really been following that as a symbol very closely. possible link with Fire? i dont know

- Repetition. Graham was obsessively filling hundreds of notebooks with the words “Keep Watching,” mary keay’s skin was completely covered in unreadable script tattoos, the paper found by the garbage men was the Lord’s prayer written in latin over and over again, ivo lensik’s father became completely obsessed with fractals and couldn’t stop drawing them. the unnamed burned man in First Aid repeats an unclear phrase over and over again. gerard keay is also covered in tattoos of eyes in First Aid, which was not mentioned before (though probably wouldn’t have been visible before)

- Graham was convinced he was being watched/followed by Something, harriet was concerned about being followed after she was attacked by prentiss (which. matches with martin’s experience too, though he was much more fortunate), vittery was followed by The Spider, lensik’s father also believed Something was coming for him (and “all the bones are in his hands” sounds very. leitner), and there was. whatever approaching darkness was coming after robert montauk, as well

- Graham has a weirdly hypnotic table, the first Leitner book found by dominic swain had oddly vertigo-inducing woodcuttings, gerard keay’s eye painting is similarly hypnotic, lensik finds a box in the old tree with the same hypnotic carvings on it

- not sure if the Spider Apple has any relation to the Arachnophobia episode, but, there’s that, also

- swain’s book had an image of the sky, which he described felt like you would “fall into it” if you looked at it for too long, and robert kelly sort of “fell into the sky” in Freefall. laura popham describes a sense of being swallowed up by the earth in Lost Johns’ Cave, as well

- same theme of becoming “lost” in Lost Johns’ Cave and in Alone, similar concepts of being consumed by the earth

- i dont think its necessarily related to anything else as far as i know but just wanted to mention also i didn’t process the... extra audio recording in Lost Johns’ Cave correctly, i thought she was saying “help me, help me, please help me” which was unnerving, but didn’t really seem all that critical to add, until looking at the transcripts i realized it was “take her, not me” which was a HUGE punch to the gut when i discovered it lmao. dont ask how i managed to mishear that badly but i am very very bad at auditory processing which is why im reading all these scripts to make sure i didnt process them wrong

- Graham mentions he’s gay, and the man who had the dream about gertrude mentions having broken up with his boyfriend, Graham. jon doesn’t comment on this and it’s not necessarily the same graham, and im not sure what the significance is if it is, but it seems like an odd coincidence if it isn’t. “antonio” doesn’t go into detail about why they broke up, but mentions they had been living together

- the name Joshua Gillespie stands out to me for some reason, like I’ve heard “gillespie” somewhere before, but I haven’t noticed it coming up again in any of the transcripts unless I just missed it. could just be that my brain decided to Remember that name for no reason though. he’s the guy with the coffin

- jon mentions this, but Breekon and Hope deliveries were responsible both for the weird coffin and the yellow stole from the incident with father burroughs

- there’s a major ongoing theme of Fire and Burning, both just in general, and a more specific Fire With No Apparent Source thing continuously happening. the prayer paper in the trash had been burned, timothy hodge burned his apartment after the Worms Incident (and martin mentions noticing one of the worms looked slightly burnt - maybe it survived the fire and returned to jane?), sgt. berry was “distinctively marked” by an incident with a flamethrower, the vampires are supposedly very very vulnerable to fire, raymond fielding’s house burned down and his. ghost? disappears with a burning smell and a burnt spot on the floor, lensik experiences an intense, unbearable heat with no clear cause soon after the encounter with raymond, which father burroughs also experiences in his account. the mysterious coffin in Do Not Open had an unnatural heat to it. gerard keay burns the leitner book and picks up the still-smoldering ashes but isn’t concerned with the heat, and then appears again as one of the burned men in First Aid, having apparently experienced second-degree burns on every inch of his skin, but had completely undamaged clothes. the nurse describes feeling a burning sensation when the chanting starts, but dismisses it as a nervous reaction, then experiences the. boiling drink bottles and the burning hot door handles. she says she could feel a burning heat from gerard’s hand. the burned man’s body immediately self-cremates when gerard kills him. lee rentoul also gives specifically a lighter to angela for her Piecemeal curse, though that might be coincidental. he does burn the first box after he discovers it, though

- the garbage man describes the last Weird Trash as “tied off with a dark green ribbon, arranged in a bow like an old-fashioned Christmas present” - which contained a copper heart, possibly symbolizing alan’s real heart, with the rest of his body never being found. this matches both with robert montauk’s killings and the cursed boxes from angela’s curse- “brown paper and string, like an old-fashioned Christmas present.” there was also the weird thing with raymond’s hand, but im not sure that’s related

the vampires’ victims bodies also seemed to disappear, not sure that’s related either

- jon confirms that the pendant julia describes (the one belonging to her mother and also her father’s last victim) is a symbol of the People’s Church of the Divine Host cult. wondering if this is related to what father burroughs experienced. gerard keay is searching for a lost pendant in First Aid, but its design is unclear, and he describes it as brass. unsure if related. the fact that gerard’s tattoos/etc were of eyes, and the other pendant is of a closed eye, while one is made of brass and the other of silver seems like there might be some connection though even if it isn’t the same one. there didn’t seem to be any burning involved with the montauk case, anyway

then there’s. this entire thing im just gonna paste it here, from sebastian adekoya in the Boneturner’s Tale:

“Books are amazing, aren’t they? I mean, when you think about what they really are. People don’t give the actuality of language the weight it deserves, I feel. Words are a way of taking your thoughts, the very make-up of yourself, and giving them to another. Putting your thoughts in the mind of someone else. They are not a perfect method, of course, as there’s plenty of scope for mutation and corruption between your mind and that of the listener, but that doesn’t change the essence of what language is.

Spoken aloud, though, the thought dies quickly if not picked up. Simple vibrations that vanish almost as soon as they are created, though if they find a host, then they can lodge there, proliferate, and maybe spread further. Still, it is not a reliable method in terms of a thought’s endurance, as humans are fragile creatures, and rarely last a century.”

this definitely seems relevant to jurgen leitner (and this is. one of the episodes about a leitner book, so) it definitely seems likely that he’s spreading some kind of.... Belief or Self or Power or Something through his books, possibly even his own consciousness is within them somehow, or at least the consciousness of Something or Someone. the man with all the bones in his hands. taking bones and warping them. bones appearing in the pages but Wrong. might be related to the bag of teeth, too, hundreds of All The Same Tooth

definitely something to the... immortalization of thoughts/memories/Consciousness through written word, especially when we consider the words literally tattooed into mary keay’s skin/the book possibly bound in her skin. i cant put a coherent thought together on this but its definitely... important, i think

sebastian also for some reason specifically mentions he was holding a copy of Stephen King’s Misery in the confrontation with Jared’s mother, which is a story about an author being forced to write something against his will/words that aren’t really his own, to appease someone else, which. seems like it might be relevant somehow too, maybe. the fact that it was named specifically when it wasn’t apparently relevant to the story seems interesting

#lucy liveblogs tma

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71tenseventeen · 5 years

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Take My Hand (Take My Whole Life Too)-16

1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15

Warnings for sexual content, male pregnancy, non-hockey Sid. Sid and Taylor’s ages have been altered to fit the story.

Perpetual credit to my betas, @queen-alia and @icosahedonist as well as the GC and @ljummen.

When Sid wakes sometime later, it’s slowly, his brain foggy. He slowly realizes Geno isn’t there anymore but he’s too tired to go looking so he stays and dozes on and off for awhile longer. Eventually he wakes enough to realize he’s parched and the water bottle on the coffee table is empty so he pushes up with a soft groan and slowly makes his way to the kitchen.

The lights are on and he calls softly, “Geno?”

“In here,” comes the reply from the kitchen and then Geno pops up in the doorway.

“Is it okay if I stay tonight? I—” Sid freezes, words dying in his throat as he spots a familiar looking man sitting at Geno’s table, staring at him wide-eyed.

“Of course you stay. You okay? Feel sick? Need drink?”

Sid shakes his head. “No, I—just tired but... “ He looks up at Geno, eyes filled with worry.

“Is okay, Sid. This Flower and he know. He my friend, can trust, you know?”

“Oh. Yeah. Yeah of, um, of course,” Sid fumbles his words before looking nervously at the goalie, cheeks getting pinker with every word. “Hi, um, Mr. Flower. Mr. Fleury.”

Flower grins and crosses the kitchen to extend his hand. “Mr. Flower has a nice ring to it—OW!” He rubs the spot on his arm that Geno just punched and rolls his eyes. “Call me Flower.”

Sid shakes his hand briefly, still glancing around nervously and Geno clears his throat. “Flower just leaving, yes?”

“I—Yeah okay,” he says, narrowing his eyes at Geno. “We’ll talk tomorrow after practice.”

Once Flower is gone, Sid looks at Geno. “I’m sorry.”

“Hey,” he says, gently catching Sid’s chin with his fingers. “Nothing be sorry for, you not do anything wrong.”

“But you had to tell him.”

“Was going to tell him anyway. PR think maybe I should wait so I do but then he come in and pretty obvious something up.” Geno shrugs. “I’m not worried. He’s my best friend on team. I trust him.”

“Okay,” Sid says, taking a deep breath. “Okay.”

“Now, how you feel? Shouldn’t be up so much, need rest to feel better.”

“I was just coming for another bottle of water and to ask if I can stay.”

“Sid,” Geno looks at him with an expression that falls somewhere between frustration and fondness as he pushes Sid’s hair back gently. “Of course you stay. Never have to ask.”

“Okay,” he replies softly. “Thanks.”

The next morning Sid still isn’t feeling great. He’s foggy and tired even though he slept so much but he has class so he drags himself to the kitchen and does his best to choke down a few bites of toast.

He knows Geno is watching him so it’s not entirely a surprise when he suggests Sid go back to bed for a little while. “I can’t. I have class.”

Geno frowns. “What time classes done?”

“3:30.”

That makes Geno smile. “How about I drive you to class and then pick you up after. Bring you back so you rest some more.”

“That’s really nice G, but I can’t do that. I have to work at 5.”

Geno’s frown gets deeper. “You work late?”

Sid shrugs. “Til close tonight.”

Geno doesn’t look thrilled but he just takes a breath and nods. “Make sure drink and eat, okay? And take break when can.”

“I will, G. I promise.”

“Okay. When you come back?”

Sid thinks for a moment before answering, “I’m done Wednesday at 2.”

Geno lights up at that. “I have meeting until 3 but you come and I meet you here when I’m done?”

“I can wait until you’re here.”

“Whatever you want, Sid, but you can come if want. Swim.” Geno grins because he knows he’s got Sid now.

Sid turns away, trying to hide his smile. “We’ll see.”

Sid still isn’t feeling great by Wednesday. He’s been busy with school and had two long shifts and not enough sleep. He threw up again yesterday but hasn’t told Geno because he knows what the response will be. It’s just because of the heat and exhaustion, he tells himself and thinks once he gets a good night’s sleep he’ll feel better. He always does.

So he has every intention of heading for the pool except he decides to sink down on the couch for a few seconds to cool off and that’s the last thing he remembers until he feels a warm hand gently pushing his hair back and Geno’s soft voice. “Sid? Sorry to wake you but you been asleep a long time. Think maybe I check to make sure you okay.”

Sid nods and sits up, slowly stretching his arms out. “I guess I fell asleep.”

Geno nods. “Find you like this when I get home earlier, figure you probably worn out.”

“What time is it?”

“Not late—little after six.”

Sid’s eyes shoot wide. “What? I slept that long? Why didn’t you wake me up?”

Geno smiles fondly. “Because if you asleep, you need sleep. I not mind. But do want to check on you now. Maybe you can eat and drink something?”

“Yeah. Yeah for sure. Sorry.”

“I already tell you, it’s okay. Stop apologize. Come, I made dinner.”

It isn’t until Sid is sitting in front of his plate that he realizes he’s famished and digs in. He has hopes that he can still take a dip after dinner but even as he’s rinsing his plate, his head is starting to feel heavy. He takes a few deep breaths but before he can turn to head back to a chair a wave of vertigo hits him so fast he barely has time to grip the counter for balance. Geno is at his side in a second, worry all over his face. “What happen? You okay?”

Sid nods but he’s really not. “I think I just need to sit down.”

“Okay. Come on. I got you.” He slips a steady arm around Sid’s waist, helping him to the table.

Sid puts his head down and the dizziness slowly subsides until he finally looks up, flashes a sheepish grin at a very worried looking Geno. “Sorry.”

“Maybe should take you to doctor. Scare me, Sid.”

“No, I’m okay; just got a little dizzy. It’s just been really hard to handle the heat this week but I don’t need to go to the doctor. It happens sometimes.”

Geno frowns; Sid knows he doesn’t like it but he finally nods. “Don’t think you should swim tonight.”

Sid nods. “Yeah, I think you’re right.”

They settle together on the couch but within minutes Sid’s having a hard time keeping his eyes open so Geno gently ushers him up to the guest room he’s been sleeping in.

“It’s too early,” Sid complains, even as he’s shucking most of his clothes and climbing into bed.

“Not too early. You need rest.”

“Sorry,” Sid mumbles. “Not very good company today.”

Geno smiles. “You always best company.”

Part 17

#Take My Hand #my fic #sidgeno #rpf #mpreg #16 #some fluff and some....other stuff

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strongwilltm-archive · 5 years

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@luthortm | continued

– A strobe of sunlight against his eyelids. Spinning, both from the hangover and from an ill-timed episode of vertigo. A ringing in his ears and he shut his eyes tighter. The pillow was cold and gave him comfort, darkness and softness to help the pounding in his head.

Another morning spent checking on the remnants of Lexcorp that Lionel let him pretend to control. Then back to the bottle, the needle, whatever he felt like he needed today.

At least in his wild youth it had been for the excitement of it all. A middle finger to the phallus that had borne him. But now it was just a way to hide. To replace the stinging pain and ache and empty feeling with something, anything.

He tried to roll out of bed, into a robe. At least go through the basic routine of a shower and hygiene and dressing. Even in the depths of depression, presentation was a reflex. One thing he could thank his father for, anyway.

Something held him. A solid wall against his back, familiar. There was a sob immediately tensing in his throat. He slid his eyes open. Slowly, afraid that he might scare the lingering hallucination away, he looked over at the sleeping lump curled around him. Holding him tight, caging him in. No, no, protecting him.

It hadn’t been a hallucination. Somehow, some new alien power. Some miracle from the firmament, like the one that sent Clark and Lex in that same diner.

The sob escaped. Clark’s eyes opened at the noise. A sleepy smile turned thousand-watt in a blink. Those strong and warm (and alive, alive, alive!) arms pulled him closer, tucking Lex’s head against Clark’s chest.

His heart thrumming away. So inhuman, but so alive. Healthy.

Lex pushed against Clark, wrapping legs around him as he shoved at the wall of muscle. Laying on top of him, possessing him again. Needing that reassurance that he was alive. Brought from the grave and into his bedroom again.

He pressed against Clark, not out of sensuality but a simple need to feel that he was whole and alive. Solid, a gently swaying mass of muscles beneath him as Clark breathed in and out.

Tears, like the first time they had kissed. A deep kiss, putting everything he could into it. Pushing all of his darkness away, burying them in the grave that Clark had just flown out of.

Lips and hands and breath all mingling. Clark’s hands cradled his face as he pulled away, whispering I love you, which Lex met him word for word.

He tried not to let the specter of his confession linger too long on his mind. If it were for Clark, to have Clark back in his life, he would try to change. He could find a way to step from that ledge that was Lionel’s darkness. The more you try to fight him, the more you become like him. This is the only way this can end.

But he had Clark back on his side. But oh, he had spiraled back into his addiction. Clark had never had to wrestle with that before. Would it survive? Would they survive? And Clark having to deal with Lex’s darkness rearing back up again.

Clark was just a man, the past few months of his absence had shown that. Lex wanted nothing more than to shut him away and keep him for himself. But Clark would never have that, always going off to face the next new danger.

In fact, as it turns out, that was exactly why those strangers had even brought him back to life. And Lex tried not to let his resentment show at that. He hadn’t been brought back out of love, he had been brought back as a last resort, as a weapon.

And Lex hadn’t been the one to do it! For all his skills and powers, in this respect he had been one-upped.

“You can’t leave,” Not a request, because Luthor’s dont beg. Oh, hell with it. He was begging. He would grovel if he had to.

That damned blue suit. It had once brought Lex such joy and pride but now it was just garish. “I have to, I can’t leave them alone. I need to stop Steppenwolf.”

“What do you owe them, Clark?” Lex was curled up on the bed, a stubborn refusal to face the day if Clark was just going to leave him. Clark was going to make him watch as he went off to die again.

Clark had simply stared and Lex pulled him into another kiss, angry. Betrayed. His obsession taking over. An abused and unloved child that he often ignored and shoved down, finally finding common ground with the darkness his adulthood brought him. Scared, alone, his life was falling apart and he couldn’t lose Clark.

His eyes were dark, stoic and narrow as they looked at Clark. He pulled Clark farther, chancing the lust-addled alien reflexes to pin Clark to the mattress. Staring up at him, hands clenching at his shoulders. White knuckles against red cape. The red fabric pooled around Clark’s back like blood.

“You can’t leave me again. I won’t let you back in if you do. We decided together that this wasn’t some on-again off again thing. I’m tired of watching you put your life on the line, Clark. That’s not fair to me. That’s not what our deal was.”

“Lex, the entire world is in–”

Lex dove down, bit at his neck. Anger and fury and rage and his teeth didn’t even scratch the surface. “The world can fucking burn. I lost you, Clark. I lost you. It can’t happen again. And I don’t forgive people who betray me like this.” And then that shadow fell over green eyes, damning him. Sealing his own fate.

If Clark walked out that door, he would not be forgiven. He was Lex’s, body and soul. He didn’t belong to the world, he was never meant to be some icon. He was supposed to be Lex’s secret, living as a human with only Lex really knowing who he was. Something that he could own and fawn over. A unique specimen. But now he was out playing hero once again! The world didn’t need him. Lex needed him, and that came first, dammit. Hadn’t he done everything for Clark?

Hadn’t he earned this one favor? For his loved one not to go marching off to his death a second time?

Clark had listened to Lex’s confession the night before and it wasn’t hard to understand taht Lex had thought him an hallucination. He man was a wreck. Alcohol. Drugs maybe. He didn’t ask but he had seen a few bags in the office with his X-Ray vision. So he listened and it hurt his soul. And as Lex fell asleep, Clark brought him in their bed and hugged him all night long. Lex’s smell was comforting and calming him after the way the Justice League brought him back from the dead.

He fell asleep, listening to Lex’s beating heart and only woke up once Lex did, when he heard the sobs. He wanted for Lex to stop crying. Maybe it turned out in some sort of cry of happiness as they kissed. Clark was just kissing back because he wanted to and knew Lex needed to. Things were good for a moment until he had to leave to stop Steppenwolf.

Lex had struck hard with the owing question. It was true. Clark didn’t owe the world anything. They had requested his help. They had watched him died. They had mourned him. And they had moved on. But Lex clearly didn’t. Clark didn’t owe them anything, yet it was the right thing to do. And before he could give an answer, Lex kissed him again. This time not out of happiness and love but clearly out of anger and possessiveness.

You can’t leave me again. I won’t let you back in if you do. We decided together that this wasn’t some on-again off again thing. I’m tired of watching you put your life on the line, Clark. That’s not fair to me. That’s not what our deal was.

They did agree it would be a long run between the two of them. But that didn’t mean Lex could tell him to stop. He understood that Lex was hurt by the turn of event but he couldn’t dictate Clark’s life.

The world can fucking burn. I lost you, Clark. I lost you. It can’t happen again. And I don’t forgive people who betray me like this.

And I wo don’t forgive people who betray me like this.

This sounded like it was the end of them. “I’m not betraying you, Lex. I’m doing what is right. And if you can’t accept that, that’s your problem not mine. When I come back, we need to talk.”

And Clark flew into the next danger. The team managed to stop Steppenwolf and save everyone, even the citizen of the east european country. But when Clark came back, he found a drunk Lex waving a glass of scotch at him, saying he wasn’t sure he’d come back.

“You can’t continue like that, Lex. You need help. I’ll get you help and we’ll get a relationship conversation once you’re sobber for good.”

#threads | clark kent #luthortm

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gothamincarnate · 5 years

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💋💋💋💋💋 clark

[ @strongwilltm // a lifeless face that you’ll soon forget ]