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onceonafullmoon · 1 year

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A Marionette's Ball

Yan! Chevalier x Fem! Reader x Yan! Gilbert

Tw!! Manipulation, threats of violence, implied captivity, period typical misogyny and Gilbert Von Obsidian himself

You didn’t tame shit; you were at best, a sacrificial lamb sent to curb the hunger of a ravenous tiger, only to end up becoming a plaything instead of a meal. And now you were here, having somehow fooled another apex predator into thinking you were some sort of beast in your own right.

-----

You need to stop fiddling with your necklace.

You know you need to calm down, but doing so is another story; you can practically feel the weight of everyone’s stares on you, not malicious, but prying still in their curiosity.

And it’s tough fighting the urge to snatch one of the champagne flutes off of the waiter's plates and down it in one gulp, but the subtle warning of Chevalier’s fingers pressing at your waist helps you forget the idea.

Right.

Just make a good impression and then you’ll get to go back to your own schedule with only one scrutinizing set of eyes on you.

It’s almost impossible to mess this up anyways, with all the effort Sariel has been putting into making you a “true lady befitting of a prince”.

Ha.

The audacity of that claim makes you laugh.

As if you had a choice in any of this.

As if you were something more than a puppet on a string pulled by the most powerful man in the kingdom.

Nevertheless, you pushed through the lessons easily enough, it was, at the very least, an escape from Chevalier’s smothering presence, although you would rather have buried your nose into a good book instead.

At any rate, it doesn’t seem like much of your work will be put into play considering the way that Chevalier has you glued to his side.

You suppose you get the hostility, he’s always been a touch smothering even before… this, and it doesn’t help that princes from other nations are currently visiting too.

Not that you would have the opportunity to meet any of them considering how anal Chevalier was about your “safety”.

In fact, if it were a year ago when you were still “unruly” he would have probably kept you chained in his room the whole time.

Well, if all good behavior amounted to was this then you probably could have thrown a fit to get yourself locked up again. Now it was too late, and you were stuck smiling fakely at some random noble who came to give his greetings.

“My, my, if it isn’t the mystery woman that everyone’s been wondering about. Everyone’s been wondering about the one who stole the Chevalier Micheal’s heart, it's a pleasure to finally be able to meet you.” The nobleman, who you recall vaguely being named Lord Wessley, greets you with a certain, subtle prying look on his face as he studies you.

“Oh, you flatter me, but I’m afraid I’m not much to speak of. Any compliments should be redirected towards my fiancé.” You smile, cringing at the use of the word fiancé but happy enough with the way Chevalier’s brow furrows ever so slightly in annoyance.

You can almost hear his voice ringing out in your ears.

“If you have enough time to dish out praise, then you have enough time to do something useful with yourself, simpleton.”

“Praise worthy indeed!” Another man cuts in, rudely, albeit he’s possibly a bit drunk already. “An arsenal of military feats, a genius intellect that only appears once a century, and now a bride to be, you’re truly something else Prince Chevalier!”

You have to try your hardest to bite back the laugh bubbling up in you and Chevalier slightly grimaces.

Wessley furrows his eyebrows slightly at the intrusion but doesn’t comment, or rather, doesn’t get the chance to comment as he’s interrupted again.

“And what a beauty she is, I can see why you’ve kept her locked up away from the rest of us!”

And now you are no longer smiling.

Karma really is a bitch.

The grip around your waist tightens and you find yourself conflicted about whether to celebrate the (hopefully only) verbal lashing this misogynistic bastard will get or to intervene for the sake of this very clearly drunk man.

Empathy wins out in the end, but also because you don’t trust Chevalier not to immediately jump at the chance to “incidentally” find this man charged with treason.

“I’m flattered by praise, truly, but you look a bit sickly to me, are you feeling alright?”

He opens his mouth to reply, but you cut him off smoothly.

“Poor thing, I bet you can hardly stand, much less answer coherently, but there are several couches in the foyer for you to rest at. I’d escort you myself but, considering the circumstances, perhaps Lord Wessley can escort you instead?”

Of course, Wessley himself isn’t too keen on leaving the conversation, seeing as he probably started it to discuss his own business. But when you phrase it in such a way of offering good will, he can’t refuse.

With a furrowed brow he replies in kind and leaves.

Perhaps Sariel’s lessons did come in handy, you think as you find yourself alone again.

A sigh from Chevalier has you mending your thoughts, not completely alone, unfortunately.

“How bothersome.” He grumbles, finally letting his arm drop from your waist.

“Yeah, being stuck around someone you can’t stand, tell me about it.”

He gives you a look which would scare the living daylights out of even a battle hardened soldier, to which you innocently smile at.

You know him well enough to know when you’re actually in trouble.

“What? Just offering some words of support in your trying times Prince Chevalier, now wipe that look of murder off before our guests get any ideas.”

Your smile dips into a frown when instead of falling for the taunt he smirks at you.

“Prince Chevalier? I recall being referred to as fiancé earlier.”

You narrow your gaze, regretting your earlier decision to speak.

“Don’t read much into it, you’ll strain your eyes trying to find nothing.”

He simply smirks again.

“Complacency is a dangerous thing isn’t it?”

He leans in closer, tilting your head up, sending roils of annoyance and slight embarrassment through you as you fix your eyes on his face, unwavering from his.

“...It’d be a shame for you, if all your efforts were for naught.”

He chuckles derisively, letting you go.

“Now, wipe that look of murder off before our guests get any ideas.”

You glare at him, annoyed that he used your words against you, before deciding to make a tactful retreat.

“Now that I’ve taken care of your nuisances, I’m taking care of mine for a bit and freshening up. Does that please your highness, or should I stay tethered to your side for another hour?”

He scoffs.

“Just don’t get lost, simpleton.”

To use Clavis’s terminology, the Cheva translation of that would mean: “Go ahead, but if you aren’t back in 10 minutes I will find you and there will be consequences.”

“...Whatever your highness wishes.”

—

You supposed Chevalier already knew that you weren’t going to the bathroom to freshen up, rather instead to find a private area to ruminate at being bested by him once more, and that almost made you even more upset.

It’s stupid that you’re even angry, you know that there's no winning a fight against him. It was already a given that he would twist your words around in an attempt to make you succumb to him, and yet…

You furrow your brow as you turn the corner.

It was all you could do, if you could annoy him, even just a bit then that would be victory enough…

At least it should be, if you didn’t get carried away with it.

But damn you for having a competitive streak and damn him for pointing out the one idea that would make you sick to your stomach.

(Although, maybe if you thought about it more, you would find it was only his own sick desires taking form in his words.)

“Complacency, my ass.” You mutter, as you push open the door to the library.

Despite this being originally Chevalier’s domain, you’ve also been quite the avid reader, and so any time alone with books was welcome. And even if you weren’t alone… well at least he had the sense not to disturb you, outside of his general presence.

Scanning the room when you enter, you find your eyes catching on the rows of bookshelves before halting when you see the shape of a figure, dimly lit by a candle.

You frown slightly.

While there were no set rules against entering a host’s library, it was still considered bad taste to enter rooms you weren’t explicitly given access to. Not that this person seemed unaware of it, judging by the lofty coat you could make out they seemed to be born into wealth.

Well, you weren’t exactly a shining beacon of manners either, considering that you were ditching your debut ball in order to sulk in the corner of a dark room because your captor/fiancé bested you in a game of wits.

Although, when you put it that way, your life does sound significantly more ridiculous.

You, albeit hesitantly, decide to give the person the benefit of the doubt and approach them to direct them back to the ball.

“Excuse me?” You call out, nearing the figure. “Are you lost?”

They turn around, and it becomes apparent that they’re a man. But not just any man, you realize, as a few more details come to light that have you suddenly freezing in place.

First, the dark crimson eye that gazes upon you while the other hides behind a black eye patch.

Second, the black cane who’s shiny finish glints in the candle light.

And lastly, the golden encrusted emblem, signature of an Obsidianite.

“Oh no, I’m exactly where I need to be.” Gilbert Von Obsidian responds cheerfully.

…

You suddenly have the sense that you’ve, to use words that Chevalier claims are “crude and boorish”, absolutely fucked up.

To be fair to you, you hadn’t been able to see even a glimpse of any foreign princes, much less would you have predicted that the damn Prince of Obsidian was going to be there, or more accurately here, in your lovely library safe space.

It’s not often that anyone other than Chevalier makes you stumped on what to do these days, but that goes to show how dangerous complacency really is.

“Prince Gilbert.” You finally manage to greet, falling into a practiced curtsey.

When you pull your head back up, he has an innocuous smile on his face, eyes crinkled slightly.

“No need to lower yourself, (Name) (Last Name), soon enough we’ll be on the same social standing won’t we?”

Oh, of course he knows who you are, couldn’t make it any less difficult for you could he? Still, the provocation (actually, whether he knew it as a provocation or not was a matter to be unseen yet) of your future engagement has you irritated as well as afraid.

“You never know what might happen.” You respond neutrally. “I’d hate to offend because I grew cocky.”

“Cautious, aren’t you?” He questions.

“That’s a good trait to have, although, I can’t say I would’ve thought the woman who tamed the Brutal Beast would be so meek.”

You want to laugh at his attempt at a jab, because he couldn’t be closer to the truth.

You didn’t tame shit; you were at best, a sacrificial lamb sent to curb the hunger of a ravenous tiger, only to end up becoming a plaything instead of a meal.

And now you were here, having somehow fooled another apex predator into thinking you were some sort of beast in your own right.

But even still, you couldn’t help the words that poured out of your mouth.

“I would argue that being meek and being cautious are entirely different, but it must be difficult to understand from your perspective.”

“That so?” He hums. “What’s your view then?”

“That you can’t tell the difference, because for you, someone who has been powerful and feared for so long, there’s hardly any need for subtlety when dealing with others. For people like me, discretion is a necessary tool.”

A tinge of bitterness seeps into your tone as you respond, or maybe it's jealousy; you can’t tell.

But it’s enough to make Gilbert pause, facing you, seemingly looking at you like he hasn’t seen you before, his eye glinting with something akin to interest.

Oh.

Shit.

You’ve always had a bad habit of overplaying your hand during your time with Chevalier, possibly because you were so used to a lack of consequences due to his soft spot. It would’ve been better and safer for him to believe you were Chevalier’s little trophy wife and suffer the stab it would take to your ego.

“...I suppose that “genius’s thinking alike” must be true, for you to be able to make such a succinct assumption about me.” He smiles, this time his eyes glinting with something darker.

“...I wouldn’t go so far as to imply that Prince Gilbert.” You say, desperate in your attempt to backtrack.

“Oh? Cowering now, are we?” He asks, the smile on his face growing more predatory. “And here I thought you’d be more vicious.”

He’s clearly trying to pry at you, to goad you into snapping at him, but you’ve since realized that the playing field had favored him from the start and you’d do better to avoid the trap he’d set for you.

“...I think you have rather high expectations, that you might think of me similar to the company I keep.”

“And you’d be right.” He says, drawing himself closer to you, even more empowering as he draws near, his red eye glistening like the blade of a knife.

You find yourself wanting to run, like the terrified lamb you are in the face of the threatening jaws of the beast in front of you.

But you don’t.

Because these damn beasts are always just toying with you, never daring to go for the killing blow.

He towers over you, clearly trying to get a reaction out of you, but you find that you can’t quite summon up the effort to change your expression.

“…”

Moments pass and his eye widens a bit, seemingly shocked at your lack of expression.

“You aren’t scared, are you?” He states, more as a fact than a question as he pulls himself away to an appropriate distance.

You shrug as if to say you don’t quite care, but you felt like laughing.

The truth is, he’s wrong.

You’re constantly scared, every single day of your life.

When you wake up, when you go to sleep, you’re filled with horror constantly, terrified by the man who lays beside you. Every move you make is calculated and stuff, made in fear of the blades, not set to cut you, but rather everything you know and love.

Even now you’re scared, not quite by the prospect of death, but by the fact that it doesn’t scare you.

The fact that you would rather accept freedom in the form of being removed from your earthly ties than to live another life being tethered to this life scares you, because you know death is the only way you’ll be safe from him.

It brings you only slight ease that despite his best efforts of chasing perfection, Chevalier still only amounts to a man.

Gilbert’s laugh snaps you out of your thoughts, bringing you back to the man in front of you.

“That’s excellent!” He says, toothy grin lighting up his face, eye lighting up like he’s a child who’s found a new toy to play with.

Somewhere deep down you can feel a familiar sense of dread forming in the pit of your stomach that only comes with Chevalier, almost like deja vu.

It shouldn’t surprise you, after all it’s said that the prince of Obsidian is a genius only the likes of Chevalier could rival. It’s the type of gossip you used to absentmindedly listen to while busying yourself walking down the streets.

Still, you’ve survived Chevalier, albeit with your share of scars, you can handle at least one chance meeting with another snobby prince.

“Are you done threatening me then Prince Gilbert? I believe my fiancé is looking for me.” You say, keeping your tone neutral.

He chuckles, that wide, creepily childlike smile still on his face as he hears you speak.

“Of course. Tell Prince Chevalier that I congratulate him on finding such an interesting toy.”

“Of course.” You mimic, turning on your heel to leave. “Perhaps next time we can meet in a more fitting setting rather than the library, Prince Gilbert.”

Petty, yes, but he doesn’t seem affected by the rebuttal you throw his way judging by the small laugh he lets out as you leave.

Toy, huh?

You think, as you find yourself retracing your steps back to the ballroom.

More fitting than lover that’s for sure, but you doubt even a genius like Gilbert would understand from just a glance that that was the case, rather he meant it in a dismissive manner.

But still, you can’t help the bitter smile that appears on your face at the statement.

Because you would end up back at Chevalier’s side, and either through your expressions or through his own logic system that you couldn’t possibly fathom, he would understand everything that happened. And then, like always, you would end up locked up in a cage while, ironically, the beast who should be locked in there would prowl around, growling at anyone who came close, possessive of his toy.

And the worst part is, even though you could see the path paved for you, leading you to your own demise, you still had to follow it, like written in a story, like fate.

And maybe that’s why you smile instead of frown when you see your beloved captor’s face twist into a look of grim understanding as he sees you again, wordlessly gesturing you to draw nearer with his gaze.

Because ironically enough, the only person even close enough to understanding or even changing your situation was the same breed as the monster that possessed you.

And it’s an amusing thought to you.

But if you could see the expression of a certain dark haired man, thinking almost fondly on your interaction, you wouldn’t find it half as funny.

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driftwork · 1 year

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names, most surnames (2)

Allow me to apologize again for this partial list of names in the library, titles available on request…

amis, acker kathy, ackroyd peter, abbey edward, aldiss brian, alcott louisa, m. anonymous, aldiss brian editor, ackroyd peter, allende isabel, acker kathy, adair gilbert, adams richard, asimov isaac, alcott louisa m., austen jane, azhayev vasili, asimov isaac, austen jane, ableman paul, amis martin, atwood marga,ret adams richard, abish walter, burroughs edgar rice, benn melissa, butler samuel, blyton enid, beckett samuel, beckett samuel, blyton enid, billington rachel, burnford. sheila, burroughs edgar r,ice bentley phyllis, burney francis, burroughs edgar rice, burroughs edgar rice, compton-burnett ivy, bryant arthur, burchard johann, bryant arthur, brame charlotte, bryant arthur, boll heinrich, buckeridge ant,hony boston l.m., buchan john, brightwen mrs illustrated by f carruthers gold, bronte charlotte, bradbury ray, banks lynne reid, barr pat, betto fre,i baxter stephen, banks iain, bronte charlotte, bryant arthur, banks iain m illustrated by nick day, bradbury malcolm, bell adrian, ballantyne r,.m. balzac honore de, benson e.f, barth richard, barrie j.m, bainbridge beryl, bronte emily, ballard j.g, bronte charl,otte borden mary, black lionel , bellow saul, introduced b,y j. michael walton wilde oscar, salgado gamini, ready stuart, besier rudolf, salgado gamini, euripides, euripides, williams t,ennessee sophocles, ionesco. eugene, ibsen henrick, marillier chri,stabel jonson ben, bennett alan, ionesco eugene, brenton. howard, stoppard tom, pinter harold, aristophanes, arnold mathew, daisenberger j.a., stoppard tom, eliot t.s., creeley rob,ert chaucer geoffrey - edited by walter w. skeat, cronin a. j., carr j. l., cooper edmu,nd colette, chevalier tracy, cosse laurence, christopher joh,n chatwin bruce, collingwood h, cather willa, cattieuchlan, crane stephen, calvino italo, collier eric, cela camilo c,ela crichton micheal, carpino f. brancaccio di, comrie margaret s., chabon michael, crofts freeman wills, carre john le, crace jim, michael co,x and r. a. gilbert cheever john, cardetti raphael, coolidge clark, chevallier gabr,ial coxe harmon george, cronin a. j., cheyney peter, conway hugh, cullum ridgwell, christian catherine, crace jim, crace jim, dickens charles, dickens charles, dunn nell, defoe dani,el bernheim emmanuele, doctorow e.l., chesterton g. k., donleavy j.p., bronte charlotte, duggan alfred, delany samuel r. - petaja emil, durrell gerald, dallek robert, dickens charles, dickens charles, dalby richard ed,. dickens charles, chang jung, delacorta, dickens ch,arles dickens charles, conan-doyle arthur, du maurier daphne, dostoyevsky f.m, durrant valentine, durrant valentine, donoso jose, delillo don, delillo don, defoe daniel, defoe daniel, duke neville, colette, camus albert, cheever john, egan frank, eastwood helen, england barry, duke of windsor, eden emily, egan greg, edwardson ake, franken rose, fowles john, frzer douglas, fielding henry, frankau gilbert, featherstone don,ald fyson j.g., fitzgerald f. scott, fyfield francis, fletcher h.l.v., ford madox ford, fuentes carlos, fuentes carlos, fossum karin, fielding henry, fielding henry, fox gardner f., forester c.s., flaubert gustave, forsyth frederick, fitchett w.h., faulkner willi,am gallico paul, garfeld leon, galsworthy john, gaskin catherine, goldring douglas, greene graham, fletcher j. s., goldsmith olive,r grey zane, faulkner william, grisham john, greene graham, green f.l., delany samuel r, fenn george manville, gide andre, grimwood jon courtenay , gordimer nadine, grisham john, greene graham, greene graham, grass gunter, galsworthy john, gray malcolm, gou xiaolu, goldsmith oliver, greene graham, harsch rick, hill weldon, hall radclyffe, hibbert christopher, hanley james, hemingway ernest, hardy thomas, horvath odon von, conan-doyle arthu,r scott-giles c.w., kollings ken, herbert a.p., houellebecq m,ichel hawes james, holt anne, hopkins r. thurston, huxley aldous, hawkins paula, holwell william, indridason arnaldur, inoue yasushi, ishiguro kazuo, houellebecq michel, hesse hermann, hemingway erne,st hamilton peter f., howard cecil, hyland ann, jewett sara,h orne - with a preface by willa cather joinville & villehardouin, jelinek elfriede, james m. r., jonke gert, moyle j.b. (translator) - justinian, johns capt. w.e., jerome jerome k, jenkins elizabet,h jenkins elizabeth, james m. r., kipling rudyard, kipling rudyard, kipling rudyard, kipling rudyard, kerr j. lennox, kipling rudyard, kilvert rev francis, kipling rudyard, kipling rudyard, kent nora, kipling rudyard, king stephen, kipling rudyard, kipling rudyard, kipling rudyard, khadra yasmina, khadra yasmina, kipling rudyard, kipling rudyard, lovell ann, koontz dean, lucas-philli,ps c.e. kafka franz, leyner marx, linklater eric, kipling rudyard, kipling rudyard, kennard mrs. edward, kipling rudyard, kipling rudyard, kipling rudyard, kipling rudyard, kipling rudyard, leskov nikolai, leyner mark, lewis norman, carre john le, lee laurie, kilver francis - edited william plover, leyner mark, laver james, lear edward, lever charles, laing e.t., carre john le, longmate norma,n lane jane, lewycka marina, baker margaret, llwelyn davis w,eeks forestier-walker and bor wenstrom o. edmund and harlock walter e., rensschler eric, st. claire byrne muriel, day mabel (edited by), linklater eric, linklater eric, linklater eric, martel yann, lewis c. s., lee laurie, longford elizabeth, lewis c. s., mason a.e.w, maupassant guy de, maclean alistair, masters john, reich-ranicki marcel, melwood mary, mathews basil, mackenzie fait,h compton maxwell w. b., macleod m kathleen, mcwilliam candia, mee arthur, marquez gabriel garcia mendoza plinio apuleyo, maurois andre, maclean alistair, mankowitz wolf, masefield john, marryat captain, macnamara brinsley, morris william, murdoch iris, mandelstam. osip, morris william, murdoch iris, mustoe anne, morris william, morris william, bradbury ray, gifford barry, miller henry, maturin charles, millet lydia, mitchison naomi, michener james, mcewan ian, miln lousie, jordan mitford mary russell, menglong feng, munthe. alex, moran lord, nicholl charles, new yorker the editors, oppenheim e.phillips, o'neill jamie, oppenheim e.phillips, nin anais, nairne a, hughes-pa,rry j. powell anthony, ponsonby d.a., price anthony, pangborn edgar, pollard velma, priestley j.b, barry n. malzberg & bill pronzini, powell anthony, nabokov vladimir, porter sheena, peacock thomas love, pratchett terry ian ,stewart and jack cohen powell anthony, percy w. s., needham violet, raymond diana, russo richard, rice margery spring, rabelais, reed thom,as baines russ joanna, remarque erich maria, pearson hesketh, rezzori gregor v,on rolfe fr- frederick baron corvo, sayers dorothy l. sayers (translator), renault mary, raphael frede,ric phillips adam, robertson e.arnot, pavic milorad, robinson heath, rendell ruth, read miss, robinson heath, rice elmer, rackham arthur, rutley c. bernard, renault mary, steinbeck joh,n smith alexander mccall, spyris johanna, sabatini rafael, spalding francis, stables gordon, camus albert, sinclair upton, stowe harriet b,eecher shem samuel, sienkiewicz henryk, swift jonathan, samuel maurice, scott sir walter, scott paul, stowe harriet beecher, scott sir walter, skinner john, sterne laurence, sewell anna, stevenson d.,e. sitwell edith, strang herbert, surtees r. s., sidney sir phi,llip stout william, sigurdardottir yrsa, solzhenitsyn alexander, scott sir walter, stephenson neil, self will, styron william, scott sir walte,r scott sir walter, scott sir walter, slavicsek bill, sebold alice, smith f seymour, slaughter frank, seth vkram, trollope jo,anna henry fielding, trevelyan g. m., thelwell normal, trevor elleston, thompson flora, thompson flora, tey josephine, tyler j.e.a., tutton diana, tuchman barbara, tolkien j.r.r, duke of windso,r wheatley dennis, wilkinson gerald, wells h.g, rawnsley c,.f. and wright robert white patrick, winchester simon, waugh evelyn, wodehouse p.g,. walsh j. m., welles orson, wood mrs henry, wren p.c, waugh auberon, white. t. h., white t. h., westo kjell, webster jason, wain john, quin b. g., westall rob,ert white t.h, wodehouse p.g, wodehouse p.g, westerfield sc,ott wodehouse p.g, zweig stefan, wodehouse p.g, urquhart r.e., wyndham john, wodehouse p.g, wodehouse p.g, waugh evelyn, wallace edgar, vine barbara, white patrick, virgil, vesaas tarjei, varesi valerio, vine barbara, updike john, young francis brett, vaizey george, wilde oscar, verne jules, wheatley dennis, updike john, markham mrs, vine barbara, vine barbara, kilvert rev francis, kilvert rev francis, new towns act 1946 -, leyser henrietta, perry anderson malcolm bull jan breman rob lucas david simpson rachel malik alexander zevin marco d'eramo, shaw george bernard, shaw george bernard, shakespeare william, shaw george bernard, shakespeare william, shaw george bernard, shaw bernard, shakespeare william, shaw bernard, shakespeare w,illiam shaw george bernard, shaw bernard, shaw george bernard, shaw george bernard, shaw bernard, sturgess keith (edited), euripides, matsumoto ,seicho lewis naomi, lang andrew, goethe, aristop,hanes pevsner nicholas, alvarez a., de la mare walter, larkin phillip, townsend sue, kyd thomas, euripides, 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beckett chris, roth philip, marshall smith michael, armesto felipe fernandez, almond david, bolano robert,o goscinny f - uderzo a, goscinny f - uderzo a, lowe helen, arnott jake, reynolds alaistair, frith r. j., lena levinas ousmane sidibe gabrial piterberg kristen surek franco moretti tom mertes jan breman emilie bickerton, anderson perry, anderson perry, watkins susan, watkins susan, watkins susan, watkins susan, watkins susan, watkins susan, watkins susan, watkins susan, higgins jack, hoban russell, rolfe fr- fred,erick baron corvo busby f.m, kepler lars, barnes julian, machiavelli ni,ccolo sebald w.g, priest christopher, martin sean, gibson gary, banks iain m, gibson gary, gibson gary, gibson gary, gibson gary, gibson gary, mclellan david, grady james, tilley patrick, van vogt a.e, boyd william, swartz richar,d bennett alan, cortazar julio, anders charlie jane, lowe helen, stagg guy, banks iain, banks iain m illustrated by nick day, banks iain m, banks iain m, flint james, larsson stieg, anthony piers, mcdevitt jack, lostetter marina j., richardson dorothy m., scott m. k. c., gaskall mrs, talbot-booth e. c., whitman walt, le carre john, shelley percy bysshe (introduction phyllis hartnoll ), holt tom, tett gillian, shepard luciu,s grimwood jon courtenay, proust marcel illustrated by phillipe julian, fenn jaine, caldecott a,ndrew caldecott andrew, harvey colin, mcauley paul j., mcdonald ian, mcdonald ian, linklater eric, pliny, nesbo ,jo mcauley paul j., brown eric, backman fedrik, de la motte and,ers galbraith robert, dahl arne, watkins susan, anderson perry, watkins susan, watkins susan, watkins susan, bull mccormack, badiou hart blackburn therborn sarfattio watkins susan, watkins susan, watkins susan, watkins susan, susan watkins benedict anderson franco moretti, hallward collini 'retort' bickerton, jean baudrillard giovanni arrighi richard gott rgis debray, watkins susan, anderson perry, anderson perry, watkins susan, watkins susan, tom mertes peter gowan gerad dumenil & dominique levy, watkins susan, watkins susan, watkins susan, blackburn ronin, watkins susan, watkins susan, watkins susan, watkins susan, perry anderson darko suvin lucio magri carlos prieto, watkins susan, watkins susan, watkins susan, watkins susan, blackburn robin, watkins susan, watkins susan, watkins susan, blackburn robin, watkins susan, watkins susan, anderson perry, watkins susan, watkins susan, blackburn robin, blackburn robin, blackburn robin, peter hallward t,om nairn jean baudrillard sabry hafex watkins susan, watkins susan, blackburn robin, watkins susan, watkins susan, watkins susan, watkins susan, watkins susan, watkins susan, watkins susan, watkins susan, watkins susan, watkins susan, watkins susan, watkins susan, watkins susan, moravia alberto, tolstoy leo, busby f.m, marquand j,ohn p. airne c. w., haldeman joe, oçonnor richard, hardy thomas, rhys jones griff, butcher jim, harper david, larsson stieg, joslin edward c., furnival kate, eastland sam, eastland sam, kadare ismail, hertzberg max, grancsay stephen v., mcintyre vonda, kafka franz, piketty thomas, greene harris, butcher jim, ordnance survey, brodie bernard and fawn, kornbluth c. m., bull emma, seigel martin, imlah mick, thomas edward, maclean alista,ir de giovanni maurizio, banks iain m, banks iain m, banks iain, corey james a., corey james a., carver raymond, mason paul, reynolds alaistair, lagercrantz david, lagercrantz david, shakespeare willia,m brooks rosetta , brooks rosetta , grant richard, scudder bernar,d (translator) bull emma, eliot george, kadrey richard, lowry malcolm, de la motte anders, aaronovitch ben (cartmel williamson renne), dick lesley, herbert fran,k setterfield diane, lyall gavin, carr caleb, mcintyre vo,nda groening matt, groening matt, dark horse comics, groening matt, greene graham, gunn kirsty, klein rachel, bussi michel, wiltshire professor patricia, collins bridget, ford ford madox, bishop micheal, brandao ignazio de loyola, kube-mcdowell michael p., pratchett terry, anderson kevin j, mitchell david, barnes john, barnes john, marion jean,-luc marin louis, marion jean-luc, marion jean-luc, horner robyn, zizek slavoj, goscinny f - uderzo a, goscinny f - uderzo a, zizek slavoj, zizek slavoj, powers richard, nietzsche, zizek slavoj, rorty richard, marion jean-luc, monbiot george, zizek slavoj, zizek slavoj, litvinoff emanuel, williams raymond, williams raymond, williams raymond, fabre dominique, zizek slavoj, stiegler bern,ard knight renee, painter sarah, north claire, upson nicola, wesley mary, hogan ruth, jones ruth, brookmyre c,hristopher evanovich janet, dabos christelle, greene joshua, bullmore edwar,d upson nicola, gardener graham, honeyman gail, evanovich jane,t kadrey richard, vonnegut kurt, pratt tim, thomas d. ,m. liminov eddie, liminov edward, dahl roald, banks iain, vickers sally, zahn timothy, vonnegut kurt, bassini giorgi,o eastland sam, bainbridge beryl, hill susan, golding wil,liam chen da, tey josephine, reig rafael, lawrence d. ,h. vinge vernor, brown eric, grimwood jon courtenay, stross charles, maddox tom, ellis bret easton, de teran lisa st aubin, aldiss brian, fleming jim and wilson peter lamborn, kepler lars, roslund and hellstrom, kepler lars, cartmel andrew, ripley mike, lyotard jean-francois, stross chalres, kristjansson snorri, king laurie r, powell gareth l., costantino maria, various, mosley walter, brown eric, brown eric, nespolo matias, king laurie r, le carre john, cheever john, campbell john w. , ferman edward l. , oatmeal matthew inman, le carre john, niven larry, zetford tully, ripley mike, le carre joh,n boardman tom, candlish louise, gombrich e.h., shaw george be,rnard jones diana wynne, kennedy emma, jones ruth, gardiner be,cky wainwright martin , bates stephen , meer malik, sylvain dom,inique paolini christopher, bourdain anthony, horowitz anthony, hugo victor, hesse hermann, tolstoy leo, hawtree christopher graham greene, hilbig wolfgang, barnes julian, kundera milan, zafron carlos ruiz, grimwood jon courte,nay bellow saul, isherwood christopher, clark alan, dahl roald, lotringer sylvere, pullman phillip, galgut damon, paolini chris,topher cresswell helen, jones sadie, christie agatha, doyle a.conan, robinson geoffrey, hodges andrew, sylvain dominique, dostoevsky f.m, martin george r.r., moore christopher, hacker katerina, o'flynn catherin,e cervantes miguel de, kavenna joanna, one direction, austen jane g,rahame-smith seth conan-doyle arthur, lessing doris, wakeman rick, conan-doyle a,rthur conan-doyle arthur, gaskall mrs, hansen essa, trapani gina, lore pittacus, upward edward, lively penelope, morrison grant, ennis garth, ellis warren, morrison grant, ennis garth, moyes jojo, simsion graeme, shea dave and holzschlag molly e., cederholm dan, martin george r.r., macdonald kyle, feist raymond, upward edward, levi primo, stross charles, sjowall maj and wahloo per, krauss rosalind, bataille georges, queneau raymond, blackwood algernon, arnold n. scott, leckie ann, cobley michael, levy david, bywater mic,hael brennan marie, fuller steve, fuller steve, fuller steve, tom taylor , jeremy rapack , mik s miller, tom taylor , bruno redondo , ball philip, morden simon, conan-doyle a,rthur pratchett terry, lovegrove james, sartre jean-paul, simenon georges, allan nina, plato, brown eric, cumming cha,rles moore christopher, mieville china, genna giuseppe, aldiss brian, davidson lionel, adams douglas, russell eric frank, vance jack, cobley michael, cobley michael, furst alan, judd alan, king laurie r, gaiman neil, saint-exupery antoine de, aldiss brian, acker kathy, woolf virgina, mordern s. j., meaney john, anthony piers, christie agatha, smith cordwainer, smith cordwainer, dickson gordon, brin david, davidson lionel, cottrell leonard, rushdie salman, le carre john, brown eric, sayers doro,thy l. brown eric, szerb antal, szerb antal, von schrirac,h ferdinand barthelme donald, shakespeare william, jerome jerome k, kipling rudyard, duras marguerite, pavese cesare, ackroyd peter, tilly charles, thorton tim, reynolds alaistair, von arnim elizabeth, land nick, mackay robin, gould stephen jay, gould stephen jay, mackay robin, veal damion, wolfendale peter, ball philip, castoriadis ,cornelius chomsky. noam, dyson freeman, waldrop n. mitchell, wyatt sir thomas, watson james d., macrae donald g, larsson stieg, noon jeff, rowbotham sheila & segal lynne & wainwright hilary, carrion jorge, hilbig wolfgang, fermor patrick l,eigh parveeb adams beverly brown elizabeth cowie, parikka jussi, pelevin victor, kurkov andrey, introduced by j. michael walton, jones steve, russ joanna, bennett jane, morgan dan, hannah dolan elizabeth dowsett emma grange, judge dredd!, sayers doroth,y l. sayers cox edward, vickers sally, nykanen harri, matheson richa,rd jenkins martin and swift jonathan, fleming ian, o'brien flann myles na gopaleen, gieysztor aleksander et al..., de beauvoir simone, sayers dorothy l., sayers dorothy l., de la mare walter, marnham patrick, cumming charles, enger thomas, sayers doroth,y l. lebor adam, dick philip k, naylor doug, amis martin, priest christopher, makine andrei, pratchett terry, carofiglio gianr,ico s. c. kaines smith, grenier jean, lessing doris, pratchett terr,y vickers sally, pratchett terry, pratchett terry, pratchett terry, pratchett terry, pratchett terry, pratchett terry, pratchett terry, akerman chantal, kevin eastman peter laird dave sim, tremain rose, hustvedt siri, evanovich janet, nesser hakan, cage john, van vogt a,.e karlsson jonas, lethem jonathan, singer peter, tuck rchard, leach edmund, floridi luciano, floridi luciano, rose mark (edito,r) skolimowski henryk, kunzru hari, sexton ed, arden kath,erine milanovic branko, helen pluckrose and james lindsey, pinker steven, brooks rosetta, zizek slavoj, keene jogn, fox jeremy, collins jef,f myerson george, fox dominic, pallant kathryn, haggard william, haggard william, haggard william, henshaw lee, golumbia dav,id dawkins richard, dawkins richard, dawkins richard, kaplan robert, balestrini nanni and moroni primo, watkins susan, watkins susan, barry max, weir andy, kadrey richard, mcauley paul j., mcauley paul j., mcauley paul j., mcauley paul j., mcauley paul j., mcauley paul j., mcdonald ian, mcdonald ian, mcdonald ian, cavanaugh wil,liam t. corina john, lee yoon ha, unt mati, simcox ad,am ripellino angelo maria, morgan richard, setterfield diane, morgan richard, stross chalres, garner alan, bassini giorgio, jennings luke, jennings luke, jennings luke, mordern s. j., novick naomi, novick naomi, macleod ken, reynolds alaistair, reynolds alaistair, afary janet and anderson kevin b, quignard pascal, queneau raymond, arrighi giovanni, niffenegger audrey, quignard pascal, conklin groff, gibson william, quignard pascal, quignard pascal, atkinson anthon,y b zelazny roger, karl frederick and hamalian leo (edits), modiano patrick, foer jonathan sa,fran chekov anton, garnier pascal, thiongó ngugi wa, crussi f. gonzale,z forrest richard, delany samuel r., cadigan pat, damasio anto,nio damasio antonio, ackroyd peter, evans i. o. (editor), mcdevitt jack, van vogt a.e, stross charles, hamilton edward, pratchett terry, herbert frank, appia adolphe, king laurie r, brown eric, clifton mark and riley frank, mordern s. j., russell eric frank, kuttner henry, robson justina, tchaikovsky adrian, robson justina, mattelart armand and michelle delcourt xavier, dick philip k, cherryh c.j., pohl frederick and kornbluth c. m., graeber david, graeber david, robin blackburn, stiegler bernard, stiegler bernard and derrida jacques, llansol maria gabriela, benkler yochai, robinson kim stanley, anderson poul, jeter k. w., king lily, moorcock michael , leon donna, silverberg ,robert pratt tim, mcarthur maxine, moorcock michael , stephenson neil, carver jeffrey a., van vogt a.e, wollheim donald a. (editor), simenon georges, clarke arthur, mossman keith, okuda michea, and denise, gibson william, daly mary, sterling bruce , rankin ian, evans peter, j. coleman gabriella, edmund spencer, edmund spencer, patrick hamilit,on alexander moszkowski, jane austen, alexander moszkowski, christine brooke rose, helmuth plessner, zubrowsky

#names #ideology and discourse

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auselysium · 2 years

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Decided I needed to come up with my top ships of all time tonight.

It was a long process and there were lots of different considerations: how much have I consumed the OG media, how much fic have I read, how much fic have I written, how much of an emotional impact has it had on my life, what social impacts have come from the ships (ie Fandom friends)

From this original list of lucky 13, I have my 5.

Top 13 Ships:

Chrolli - Christian/Oliver. Verbotene Liebe

Chryed - Christian/Syed. Eastenders

Wilmon - Wilhem/Simon. YR

Drarry - Harry Potter/Draco Malfoy

Elio/Oliver - Call Me By Your Name

Evak - Isak/Evan. Skam

Britin - Justin/ Brian. QAF

Robron - Aaron/Robert. Emmerdale

Stendan Ste/Brendan. Hollyoaks.

Stony -Cap/Iron Man. Marvel

TomGreg - Succesion

Monchevy - Philippe/Chevalier. Versailles.

Malex - Micheal/ Alex. Roswell New Mexico

Top 5 - in no particular order

Elio and Oliver

Isak and Even

Harry and Draco

Wilhelm and Simon

Brian and Justin

#just me wasted time #fandom #I'm multiship trash

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mevanamatar · 7 years

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Halloween: un machismo silencioso

El filme de Carpenter, Halloween, es un catalizador del subgénero slasher que generó subsecuentes secuelas como otros filmes de culto dentro de este subgénero tales como: A nightmare on Elm Street y Scream de Craven, Friday the 13th de Cunningham, entre otras. La definición general del subgénero se caracteriza por la irrupción de un asesino en las vidas de un grupo de jóvenes o adolescentes a quienes acosará, perseguirá y finalmente exterminará uno a uno de forma violenta mediante el uso de armas blancas. En sus películas, las víctimas suelen estar alejadas de todo adulto que pueda socorrerlas, alejamiento que propicia que se encuentren habitualmente inmersos en situaciones que involucran consumo de drogas, alcohol y/o relaciones sexuales. Clover (1989), a su vez establece que en las películas slasher, el público, masculino y femenino, está "forzado" estructuralmente para identificarse con la ingeniosa joven (la chica final) que sobrevive al atacante en serie y generalmente termina la amenaza del asesino (hasta la nueva secuela). De modo que, si bien el punto de vista subjetivo del asesino narrativamente dominante puede ser masculino dentro de la narrativa, el espectador masculino sigue arraigado a que la chica final venza al asesino.

Esto conlleva a un tipo de empoderamiento femenino por parte del personaje principal. Aun así, Clover (1989) comenta que los filmes de terror proporcionan destellos inmediatos y vívidos de miedos y deseos inconscientes, especialmente de la diferencia sexual. El asesino es invariablemente masculino, en este caso Michael, y sus víctimas, que son mujeres “jóvenes, bonitas y sexuales o sexualmente transgresoras”. Y si bien la que destruye la amenaza es una mujer, esta “masculinizada” en el nombre, la apariencia o el comportamiento (e.g. Sidney, Scream) o bien la heroína permanece virgen, y de algún modo se le permite matar al asesino porque todavía no ha descubierto el poder más perturbador que corresponde a su propia sexualidad adulta, como en el caso de Laurie. Así ella establece que los filmes que rodean al género de terror, incluido el slasher, proponen un discurso masculino donde viene siendo la chica superviviente un punto de identificación para el espectador adolescente masculino. Aunque en filmes más contemporáneos estos errores a veces se logran corregir en cierta medida, generando «un potencial para la apropiación femenina y feminista» donde el personaje de la chica final logra redondearse más.

Varios críticos y analistas de cine hacen marcas importantes para el filme de Halloween. Y es que la película refleja un movimiento de sentido puritano; un principio psicopatológico donde la supervivencia de uno es directamente proporcional a la experiencia sexual que uno tuviese. También se afirma que la idea alegórica de que el despertar sexual a menudo significa la muerte literal de la inocencia (o de uno mismo). La primera parte lo establece Carpenter y Hill en el guion; también Hill comentaba que se trataba de relatar a los personajes como regulares con sus vicios y virtudes que estas generarían una gravedad a los trágicos acontecimientos que los visitarían sin razón aparente. La segunda parte, aunque Hill y Carpenter negaran que existía una lingüística narrativa puritana, esta se refleja con que el personaje principal Laurie (Curtis), la virginal, que es capaz de escapar casi ilesa (así como un asexual Dr. Loomis, un preadolescente Tommy Doyle o una infanta Lindsey Wallace), pero los otros personajes más promiscuos y sexualmente activos son los menos afortunados y sufren consecuencias mortales. En el filme suelen ocurrir después de los encuentros sexuales (Bobby y Lynda) o en vía de ellos (Annie), y la muerte sucede cuando los personajes se encuentran distraídos o con la guardia baja. Y confirmando a Clover, establecen un machismo pasivo alrededor del filme, sin que realmente Hill o Carpenter quisieran conscientemente narrar. Y esto puede ser porque la sociedad estaba segmentada tanto por la fuerza que se tomó por la segunda ola del feminismo en los sesenta por parte de la literatura feminista de Simone de Beauvoir con El Segundo Sexo y la revolución sexual iniciada en los años cincuenta que estaban apoyados a base del humanismo de Foucault y Sartre, pero por otro lado estaban los boicots de grupos religiosos como conservadores en el cine que iban en contra de la homosexualidad y de la sexualidad liberada, que se vio repercutida sobre todo en el cine queer de los años ochenta. Aparte de la epidemia de VIH que se empezó a propagar en Nueva York a mediados de la década los setenta y que llegaría a un punto clímax nacional en los ochenta. Además, que el gobierno estadounidense estaba a cargo de Nixon en los principios de la década que era un ultraconservador y ultraderechista.

Por otra parte, el desarrollo de la psique de los personajes confirma la tendencia de la represión sexual del asesino, mostrada en sadismo y misoginia, que contrasta directamente con los actos de los adolescentes asesinados. La metodología de asesinar las mujeres y hombres por parte de Michael, hace más hincapié en el machismo pasivo del filme; como lo establece Foucault acerca de la racionalidad hombre que es el deseo sexual y supremacía de un único sexo (el varón), así también Butler considera que mediante el lenguaje existe una cosificación sexual femenina dada por la visualización de la mujer en los medios y como se estereotipia su imagen. Por ejemplo, cuando el asesinato de su primera víctima, después de su huida del sanatorio, es un hombre que se encuentra en su camioneta vestido, aunque no se muestra en escena el hecho, se puede suponer que sí, ya que aparece muerto y desnudo en los matorrales, al igual que Bob cuando va a buscar cervezas a la cocina de la casa de los Wallace. Pero en el caso de las mujeres si no están desnudas, están semidesnudas, que según las teorías freudianas es un reflejo de la castración emocional y/o sexual por parte de la figura materna. Hay otro factor que genera más este intento de matar a la figura materna del sujeto reprimido, en este caso es la ausencia parental que se refleja en estos filmes y que Scream se mofaría años después. Karlyn (2003) comenta que las películas slasher según las figuras paternas se focalizaron en la preocupación en la violencia, en el caso de los chicos, y en el sexo, en el de las chicas. Esta sexualidad reprimida de Micheal, no solamente contrasta con la libertad sexual de sus víctimas, sino que también es un motor de búsqueda de nuevas potenciales víctimas que vaya encontrando en el camino. Pero no solamente la metodología del personaje y su psique dañada que refleja problemas familiares. Aparte se puede poner a consideración que Micheal tiene una tendencia a la homosexualidad y en menor medida a la pedofilia, como se puede dar entender cuando sigue a Tommy cuando sale de la escuela. Adicionalmente a estos puntos el uso de ciertos elementos que el mismo Michael utiliza ayuda a generar cierto lenguaje sobre las patologías que tiene Micheal.

La máscara

El uso de máscara es un elemento que se utiliza efectivamente, no tanto en la generación de tensión en el filme si no en algo más simbólico. Según Chevalier (1986) nos ofrece una significación a la máscara, la cual «opera una catarsis. No esconde, sino que revela por lo contrario tendencias inferiores que trata de poner en fuga.» así también menciona que «La máscara es también un instrumento de posesión: [...] La máscara transforma el cuerpo del danzarín que conserva su individualidad y, sirviéndose como de un soporte vivo y animado, encarna a otro ser: genio, animal mítico o fabuloso que queda así momentáneamente figurado y cuya potencia se moviliza.»; la máscara en este caso posiblemente representa a un individuo incapaz de enfrentarse a sí mismo ni a su propia hermana a quien intenta arrebatarle la vida. Aun así, logra externar sus intenciones mediante las acciones que tomo y que reflejan su infancia dañada y permanente, así como se comentaba anteriormente. Además, por la fecha en que suceden los actos (Halloween) y su capacidad de encajar en la situación social, el de estar disfrazado y pedir dulces, que es algo que refiere a la niñez. Adicionalmente la maldad misma que tiene Michael, como decía el Dr. Loomis cuando describe al personaje, parecería poseer o controlar al mismo, adicionando el reflejo puritano y conservador que nos muestran desde el principio de la película, el uso de la máscara es necesario para atacar a sus transgresores. Que en un principio es transgredida por su propia hermana por mostrarse potencialmente sexual, y esto genera la desconexión del sujeto de la realidad. A su vez, que Micheal no puede actuar sin la máscara, como se muestra cuando Laurie se la logra quitar casi al final del filme revelando la identidad del asesino y que este mismo se la vuelve a colocar para poder seguir con sus acciones. Además, la acción deshumanizadora que hizo Carpenter a llamar a Michael como La Cosa genera una cosificación crítica hacia lo machista opresivo y no solamente a lo que corresponde lo feminista al mostrar las muertes de las jóvenes transgresoras.

La relación Psicópata-Víctima

Otro punto importante son los contrastes y la generalidad absoluta entre la víctima y el asesino. Que según los modelos lacanos y la otroriedad, las vidas interiores de estos personajes se complementan por el mismo contraste y se generan al gran Otro dentro de los personajes haciendo una semiosis infinita dentro de ellos. Habitualmente cuando la chica final es una representación de lo transgresor es cuando este ciclo semiótico es completamente infinito. Por lo tanto, sí es necesario que exista este machismo por parte del victimario, para que la víctima con su estilo de vida pueda generar una acción narrativa, en este caso el asesinato. Porque si el asesino no tiene su contraparte, este no podría generar las acciones narrativas que se establecen. Pero el uso del mismo machismo como motor del victimario, con tintes religiosos de santidad, pueden generar ciertas incertidumbres en los espectadores e inclusive una preocupación de que algunos consumidores quieran imitar las acciones de estos victimarios, como ha ocurrido con muchos personajes políticamente incorrectos que se idolatran como el caso de Tyler Durden (Pitt) en Fight Club (1999, David Fincher).

Algo a recalcar es la supuesta mistificación de Michael, que parece inmortal, porque aún que cuando Laurie le haya encajado una aguja en la garganta, y después un cuchillo igual en la garganta y por último que el Dr. Loomis le haya disparado 6 veces y haya provocado que este se cayera por la ventana, este finalmente haya sobrevivido. Esto genera una alusión a un sistema donde Michael, como ya se ha dicho varias veces que es una figura machista, que esta opresión al género femenino; es en si la opresión que se podrá atacar más nunca se podrá destruir por completo. Y que, ayudado con la incompetencia de las autoridades, en este caso el escepticismo por parte del sheriff o con la policía en general al creer que el Dr. Loomis está loco, o también los vecinos de la casa de los Wallace que ignoran a la solicitud de auxilio de Laurie; u otro ejemplo serían los intentos de socorro de las autoridades que son inútiles, como sucede con el sheriff que no llega a tiempo de salvar a su hija. Ayudan a evocar a la segregación femenina del área social.

Conclusiones

Por un lado el filme sí representa un machismo pasivo desde la psique de los personajes, la trama, la subtrama, pero por el otro se puede agradecer a que este filme ayudo a la formación de nuevos conceptos de femineidad o inclusive nuevos arquetipos femeninos en los medios audiovisuales en los años noventa, casi una década después, por la creación de una crítica más social y humana, tales como las series de Buffy la Cazavampiros o Xena la princesa guerrera que cuestionan las representaciones familiares de la feminidad, afirmando la amistad femenina, la agentividad y el poder físico. Que con los elementos del postfeminismo de los años noventa y la tercera ola del feminismo lograron generar que el termino Girl Power o empoderamiento femenino ganaran una popularidad en las mujeres. Y, por ende, las audiencias adolescentes femeninas emergieron como uno de los factores demográficos más poderosos de los últimos años para consumismo de medios.

Filmografía

Carpenter, J. (Dir.). (1978). Halloween. Estados Unidos: Compass International.

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