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neon-junkie · 3 years

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Hey everyone,

This will be my final post addressing the fandom conflict that has quite frankly gotten out of hand. Although it’s very likely this post will be picked apart, no matter how well intended it is, I will no longer be addressing, interacting, or responding to any further accusations made against me. Of course, if people have questions from a genuine place of interest, I will be happy to clarify anything for you, either via DM’s or non-anon asks. I will not be answering anonymous asks on this, as I do not want anything else posted on this topic.

As a side note: For anyone tempted to wade into the debate, I sincerely ask you not to get involved. Do not make yourself a target, do not feel you need to ‘pick a side’, and please do not think you have an obligation to reason with either side. It seems to be well past the point of that, so please find people you get along with in this fandom and curate a space for yourself away from all this conflict.

Warning: This post will contain uncensored slurs, mentions of racism, paedophilia, transphobia, LGBTQ+ phobia, death threats, threats of violence, targeted harassment, and abusive language.

To start off, I want to apologise to everyone who has somehow gotten drawn into this mess by either defending me, following me, or interacting with my content. This whole situation with me began well over a year ago when I wrote a crack-smut fic featuring Javier/Micah, posted back in August 2019. A crack fic is defined as “a work of fan fiction that is absurd, surprising or ridiculous, often intentionally.” It was inspired by a camp interaction between Micah and Javier, and like many other fanfiction writers, I decided to write smut about it. The fic was titled ‘Dirty Fucking Greaser’, and if that shocks you, I’m sure you can imagine how shocked I was to be informed afterwards that ‘Greaser’ was in fact a very serious 19th century slur for a Mexican individual. My first encounter with this word as insult was via RDR2, where it was used like a very casual insult. My only prior knowledge of this term was in regards to the greasers youth subculture, so the severity was lost on me. This obviously does not excuse my ignorance, and I should have researched the term better, but this is just again to apologize for that oversight, the insensitivity, and to highlight that my use of this term was not meant maliciously. Following this being pointed out, I proceeded to make 3 separate apology posts [Unfortunately I can only find the third one: HERE], renamed the fic, and added slur warnings in both the tags and the fic description. When I continued to receive complaints and increasingly aggressive abuse (which included being told my apologies weren’t good enough and I should delete my account and even kill myself), I attempted to delete the fic and mistakenly abandoned it instead. I contacted AO3 to see if it could be removed, but they said there was nothing they could do. I contacted their DMCA takedown team, who also said they couldn't remove it. Please note that all this happened 7-8 months ago, and has been dragged on for almost a year.

So, from this one unfortunate incident, I’ve been branded a racist, and someone who attacks POC, when all I have done is tried to defend myself and correct my past mistakes. I could have done this more gracefully in the past, but frankly when you’re suddenly the target of unrelenting callout posts and nasty anons, it’s very hard to be open to criticism of this sort, but this is what I’m trying to move past.

Over the course of the year, this one mistake has spiralled, and the crusade against me has somehow coincided with moral conflicts over certain characters and ships. This has devolved into dehumanizing abuse, witch hunts, death threats, doxxing, anon hate, and much more unpleasant behaviour.

I have been in fandom for a very long time, and at the heart of all fandom circles is the fear of censorship and subsequent purges, so the ‘ship and let ship’ mentality was more or less the pinnacle of fandom philosophy. And yes, this can be problematic in some contexts. People have their right to be uncomfortable with content, have a right to be offended by content, but that is not content meant for you. This argument has devolved into ‘what material is morally right to engage with’ and that is a mentality in which fandom will not survive, because for every person who is telling me I’m an awful person for writing about Micah, there are three other people telling me how much they appreciate me making that content. For every fic in which I characterize Javier and Flaco a certain way, some people are made uncomfortable by it and others tell me they enjoy it. And this isn’t just white people, but POC too, which makes it very difficult to know whether I am genuinely in the right or the wrong, especially when it comes to the concept of ‘fetishization’ which I have been made aware I need to educate myself on. I intend to do so, but I disagree with the common accusation that finding non-white men romantically and sexually attractive is inherently fetishistic and makes me racist. It’s pushing a catch-22; don’t find POC sexually attractive? Racist. Find POC sexually attractive? Racist.

I am always willing to be (politely) approached about anything my readers may be concerned about, but if it’s something I’ve specifically tagged for (such as themes, scenarios, etc.) I’m afraid you consented to reading it and with that I cannot help you. You are just as responsible for curating your space and what you see/read just as much as I am responsible for tagging it appropriately.

On the topic of racism, I want to bring up my prior use of ‘white racism’ which has obviously been a point of contention among both white and people of colour. The (literal) black vs white concept of racism is incredibly American-centric, and as someone from Europe, which has a history of oppression against white cultures and those of people of colour, it feels inaccurate. However, this has recently been discussed with me and I came to the realization that while growing up, especially in the UK, ‘xenophobia’ and ‘racism’ were marketed as one and the same. So, with this little revelation in mind, I will no longer be using ‘white racism’ (Or ‘reverse racism’) to identify the abuse I have been receiving, but will instead call it by what it really is; dehumanizing, debasing, xenophobic, puritanical.

Very briefly, I will also touch on the NewAustin situation, which has also been dredged into this. I did not ‘chase a POC from tumblr’. NA was a minor who for some reason was on my 18+ blog and took issue with me, likely from the ongoing discourse regarding my fic and initial mistake, as well as my interest in Micah. They were subsequently harassed into deleting their account by anonymous hate following various conflicts with other users for their support of me or their ships in general. I have never encouraged my followers to target anyone, and have always asked to be blocked and blacklisted by those who do not like me or my content. When NewAustin messaged me following the deletion of their blog, I was admittedly indifferent to the point of being unkind, and accused them of sending the hate themselves. This was based on the anon hate being racially-driven without there being any prior knowledge or publication that NA was a person of colour. This aside, I should have at the time, whether I believed it was my followers or not, condemned this behaviour. Regardless of the issues I’ve had with these people, it is never ever ok to send hate to anyone, no matter the motivation behind it, and that should have been stated at the time.

All I can do at this point is acknowledged and apologize for my past mistakes, and try to improve myself going forward.

It is not my place to dictate the morals of the character/ship-aspect of this argument, and I am not interested in waging a war of opinion. This post is simply to clarify how I am involved in this, and why I am so viscerally targeted. You can draw your own conclusions, but I am no longer interested in this endless back and forth.

To my mutuals/followers, I stand by my request to not interact and to block and move on, as this is what I’ll be doing too.

Thank you for taking the time to read this, and I hope it makes things from my perspective a little clearer.

-RAT <3

EDIT: Just after this post was made, the fic in question was finally removed. I had to go through a DMCA take down, which can take months, since I originally abandoned the fic, thinking that meant delete. I explain this in more detail above. Said fic is gone, and has been gone since this post has been around.

#the tea #apology #long post

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blackrosesociety-vampyres · 3 years

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WHAT WE ARE ABOUT – An Introductory Overview

You may have found us and equally found yourself at a loss to understand what exactly Black Rose Society is, what we are about, and where you might stand within all this. The purpose of the following texts is to give you a brief introductory overview of the central topics and avenues of exploration Black Rose Society focuses on. This way, we aim to provide you with a good idea of what you can expect to find in our community.

WHAT WE ARE

Black Rose Society is – first and foremost – a community of Vampyres, dedicated to Vampyre Identity and Vampyre Culture.

Black Rose Society is a place for serious exploration. We do not claim to possess all the answers, and we certainly do not speak for all vampire-identified people everywhere. Rather, we do our best to provide our membership with a conducive atmosphere to explore an extensive range of topics from within the perspective of Vampyre Identity and Vampyre Culture. We discuss how various groups of vampire-identified people arrive at expressing their varied experiences through self-identification with the vampire as a distinct category of person or archetype. We discuss how various groups of vampire-identified people have originated and shaped an authentic alternative subculture in the form of modern Vampyre Culture. We discuss the relationship between Vampyre Identity and Vampyre Culture – how one inspires the other, and how we in turn may be inspired as Vampyres.

Black Rose Society is also a social place of meeting. We provide our membership with a safe haven to gather, to mingle, to exchange news and information, to enjoy hospitality, to befriend, to learn on a basis of personal knowing. In this, Black Rose Society is explicitly open to all interested parties who might be sympathetic to us, both Vampyres and Black Swans, whether they seek closer affiliation with our sponsor in House Sauromatos or not, and indeed, whether they are familiar with the customs of Vampyre Society or still seek to learn more.

Lastly, we are about the celebration of being different, and we welcome all to have a good time in our spaces, as long as it is within the boundaries of our rules, guidelines and policies.

WHAT WE ARE NOT

Black Rose Society is decidedly not…

A roleplaying community Black Rose Society is a community of ‘Real Living Vampires’. This is not a game for us. While role players are indeed welcome to join Black Rose Society, we generally do not allow actual roleplaying in our regular community spaces. A dating community Approaching our community or any of our members with the sole intention of seeking a sexual or romantic relationship of any kind is firmly discouraged. Making another member feel unsafe or uncomfortable due to unwanted sexual advances or unwanted sexual comments may be considered harassment, and we will remove any offender from our community as soon as we become aware of any inappropriate behaviour. A provider of professional medical or legal advice Any information offered through Black Rose Society is considered to be for informational or educational purposes only, and is not intended as a substitute for, nor does it replace, professional medical advice, diagnosis, or treatment. Similarly, any information offered through Black Rose Society should not be in any way construed as professional legal advice on any subject matter. Should you decide to act or refrain from acting on the basis of any information offered through Black Rose Society, you do so at your own risk.

WHETHER WE ARE THE RIGHT COMMUNITY FOR YOU

Our community may not be the right fit for you, or it may indeed be the place you gladly call a haven.

You may have found the right place if you are at least one of the following:

– A Vampyre, someone who self-identifies as a Vampyre, or as Vampyric, or in any way identifies with the vampire as a category of person or archetype. – A Black Swan, someone who is a trusted friend to Vampyres and fully participates in the community, but does not or is not ready to identify as a Vampyre or Vampyric. – A Seeker, someone seriously questioning whether they are Vampyric, or whether they want to participate in Vampyre Culture in general. – Someone involved in consensual human blood-drinking between risk-aware adults, either as an active participant, blood drinker or blood donor, or as a close friend or family member of one, wishing to be supportive of them. – Someone engaging in advanced energy work, or Energy Vampirism, within the boundaries of Vampyre Identity and Vampyre Culture. – Someone pursuing Vampirism from the perspective of the Occult, open and sympathetic to Vampyre Identity and Vampyre Culture. – Someone with a genuine and enduring interest in all things ‘Vampire’, open and sympathetic to Vampyre Identity and Vampyre Culture.

We especially want to welcome you if you are at least one of the above and also:

– Someone passionate about furthering Vampyre Identity and Vampyre Culture, and ready to make meaningful contributions. – Someone intrigued by the aesthetic and mystique of Vampyre Culture, who wishes to actively explore its lifestyle aspects. – Someone with good questions.

You may want to look elsewhere if you are one of the following:

– A journalist or media worker seeking interviews. – Lacking the necessary maturity to deal with our topics. – Solely interested in hooking up. – Just curious for no particular reason. – Seeking to become a vampire in the hopes of gaining supernatural powers, lasting youth, increased lifespan, or things similarly fantastic. – Unwilling or unable to respect Vampyre Identity and Vampyre Culture, for whatever reason. – Unwilling or unable to comply with Black Rose Society’s rules, guidelines and policies, for whatever reason. – Scared of reading.

If you are unsure, you are most welcome to talk to our members on our Discord Community Server and have your questions answered in our #support channel or have a friendly chat in our #lobby, both of which are open to non-members.

BLACK ROSE SOCIETY ON VAMPYRE IDENTITY – There are no vampires in the Vampire Community

We begin with the Vampire Mythos. Vampyre Identity and Vampyre Culture are inevitably tied to the Vampire Mythos. We, Vampyres, are a people of the Vampire Mythos, in that our self-identification and our cultural self-expression as Vampyres will in some capacity reference the figure of the vampire from popular culture.

A vampire in the most common understanding of the word appears as a creature which drains the life (often in the form of blood) of humans to sate their own needs, enrich or prolong their own existence.

Vampyres do not believe that they are literal vampires as they appear in popular fiction or folklore. While some Vampyres might believe there to be some hidden truth to vampire stories, namely historical ‘Living Vampires’ who have passed into myth, Vampyres generally do not make any fantastic claims of possessing qualities commonly associated with the vampires of popular fiction or folklore. Vampyres are perfectly able to distinguish fact from fiction.

Indeed, the reality of Vampyres as a modern cultural phenomenon is a fact that is beyond any doubt. Since at least the latter half of the last century there are people like us – people who name themselves Vampyres for a wide variety of reasons.

What is commonly known as the ‘Vampire Community’ is in fact not a unified community but a collection of networks, groups and individuals who are associated with each other by virtue of their shared self-identification with the vampire as a category of person or as an archetype.

For our own purposes, we define Vampyres as individuals who are part of the Vampyre Subculture, or Vampyre Culture, and who identify as ‘Real Living Vampires’ specifically.

Note that we are observing the anachronistic spelling with a ‘y’ when referring to our kind, emphasizing and affirming our belonging to Vampyre Culture, with the benefit of helping to distinguish our kind from the vampires of fiction and folklore, spelt with an ‘i’ in the conventional way. (While not all vampire-identified people participate in Vampyre Culture, many are familiar with or adopt certain cultural ideas, customs, symbols and terminologies of Vampyre Culture.)

THEORIES ON VAMPYRE IDENTITY

Both outside of as well as within the ‘Vampire Community’ one will likely encounter arguments that Vampyrism may be a health condition or disorder, a sexual fetish, an escape fantasy, or a religious belief. We believe that Vampyrism understood as the phenomenon of modern ‘Real Living Vampires’ is severely misrepresented by completely reducing the whole diversity of Vampyre Identity to any one of the aforementioned explanations or rationalizations.

Despite unfortunately sounding like one, Vampyrism – as we understand it – is NOT a medical condition or psychological syndrome in the sense that Vampyrism cannot be sufficiently represented by completely reducing it as such, although attempts have been made to link certain facets of Vampyrism to various physical or psychological conditions, suggesting that there may be an empirical condition underlying some cases of Vampyrism.

Likewise, Vampyrism – as we understand it – is NOT a sexual fetish in the sense that Vampyrism cannot be sufficiently represented by completely reducing it as such, although there can be sensual, erotic aspects to Vampyrism, and individuals may experience excitement or receive gratification from or during certain Vampyric acts or complement their practice of Vampyrism with participation in fetish, kink or BDSM activities.

Further, Vampyrism – as we understand it – is NOT an escape fantasy, in the sense that Vampyrism cannot be sufficiently represented by completely reducing it as such, although Vampyrism has been proposed to be a reaction to trauma, abuse or feelings of isolation, and some individuals who regard themselves as outsiders or outcasts might be attracted to Vampyre groups, which in some cases can take on the role of surrogate pseudo-families.

Lastly, Vampyrism – as we understand it – is NOT a cult, religion, religious belief or religious practice in the sense that Vampyrism cannot be sufficiently represented by completely reducing it as such, although Vampyrism can have religious or spiritual facets, which can be studied in the context of alternative spirituality or new religious movements.

In Black Rose Society we prefer to regard the phenomenon of modern ‘Real Living Vampires’, or Vampyrism, to be primarily a matter of identity – personal, social and cultural. Approaching Vampyrism this way – as a social phenomenon and culture – allows us to appreciate a wider range of complexity and diversity of perspectives found within the different strata and subsects of Vampyric communities without confining us to a too narrow definition of the nature of Vampyrism, or – more precisely – of Vampyre Identity.

What makes one a Vampyre is – to the best of our understanding – ultimately tied to the very individual reasoning leading one to name oneself a Vampyre, to adopt the Vampyre Identity, and to participate in Vampyre Culture. Put more simply, a Vampyre is potentially anyone who chooses to name oneself a Vampyre for one reason or another. The individual reasons for why a person might identify as, or express themselves as a Vampyre, or as being Vampyric, are many and varied.

VARIETIES OF VAMPYRE IDENTITY

In Black Rose Society, you will encounter very different and sometimes seemingly conflicting perspectives being discussed – why one Vampyre might drink human blood, why one Vampyre might feed on human life-forces or subtle energies, why one Vampyre might do both or neither, ranging the more traditionalist to the more modernist, from the more materialist to the more spiritualist – as well as be offered some insights into the cultural development of the presented ideas and perspectives.

Black Rose Society is a community dedicated to the whole complexity and diversity of Vampyre Identity, and Vampyre Culture. In principle, Black Rose Society does not discriminate against and welcomes any individual expression of Vampyre Identity, so long as it does not conflict with Black Rose Society’s rules, guidelines and policies.

‘Real Vampires’

Some Vampyres practice consensual human blood-drinking between adults. Also known as ‘Sanguine Vampires’ or ‘Sanguinarians’, they often, but not always, claim to have an affinity or need to feed on human blood and that this practice is of some benefit to their physical, emotional or spiritual well-being, or that they experience some other form of relief due to this practice. Please note: In Vampye Culture the practice of consensual human blood-drinking often, but not always, happens within the bounds of a committed intimate relationship, but always strictly consensually between risk-aware adults. Black Rose Society explicitly distances itself from any acts of blood-drinking or bloodletting that involve and/or in any way abuse unconsenting persons, minors or animals.

Some Vampyres who are better known as ‘Psychic Vampires’, ‘Energy Vampires’, ‘Psi Vampires’, or ‘Pranic Vampires’ believe they have an affinity or need to feed on subtle life-forces which they believe they are able to draw or gather from another person or a group of persons by means of their innate nature or learned abilities. Similarly, they claim that this practice is of some benefit to their physical, emotional or spiritual well-being, or that they experience some other form of relief due to this practice.

‘Sanguine Vampires’ along with ‘Psychic Vampires’ are often categorized as ‘Real Vampires’.

‘Living Vampires’

Other Vampyres embody the archetype of the vampire by expressing it through facets such as Lifestyle, Aesthetics, Philosophy or the Occult, often, but not always, complementing the practices previously mentioned.

These individuals are known by many different terms and distinctions, but are sometimes categorized as ‘Living Vampires’.

‘Real Living Vampires’ or Vampyres

Be advised that any such categories are not necessarily mutually exclusive. Vampyres who – by virtue of their individual identity – may find themselves in both categories, and would be considered ‘Real Vampires’ as well as ‘Living Vampires’, we call ‘Real Living Vampires’, or just Vampyres.

Black Rose Society Vampyres are Sanguines and ‘Real Living Vampires’ in the majority – but we welcome all vampire-identified people and all those who may be sympathetic to Vampyre Identity and Vampyre Culture, provided they comply with our rules, guidelines and policies.

BLACK ROSE SOCIETY ON VAMPYRE CULTURE – What it means to be a Vampyre

Vampyre Culture, also called the Vampyre Lifestyle or the Vampyre Subculture, is an alternative subculture, meaning it exists as an alternative to – and apart from, yet within – larger society. Vampyre Culture in its current modern form originated with and is influenced by other alternative subcultures, alternative lifestyles or alternative spiritualities, and is often more closely associated with the Gothic Subculture, as well as with elements of BDSM, Paganism or Satanism respectively.

Although not all vampire-identified groups and not all vampire-identified individuals necessarily consider themselves part of Vampyre Culture, many groups of Vampyres or individual Vampyres follow their own authentic expression of Vampyre Culture. Vampyre Culture is often that which connects the various communities of vampire-identified people.

Vampyre Culture has its own complex heritage, with its own traditions and authentic lines of transmission. Prior to the advent of the internet, communities of Vampyres and groups of the Vampyric Heritage were – compared to today’s standards – relatively isolated from each other. This resulted in several more or less distinct traditions of vampire-identified people arriving to exist side by side in the current modern ‘Vampire Community’ with the turn of the century, each possessing an authentic history, each having an equally legitimate claim to what it means to be a ‘Vampire’, sometimes complementing each other, sometimes contradicting each other. Today there are multitudes of different Vampyre Houses, Covens and Clan-Families preserving, refining and transmitting their own piece of the Vampyric Heritage. Black Rose Society itself was founded as a Protectorate-Partner and functions as an Outer Court for House Sauromatos, a traditional Vampyric Household based in Germany.

MAKINGS OF VAMPYRE CULTURE

In Black Rose Society we are dedicated to the study and the discussion of Vampyre Culture from within the perspective of active participation in Vampyre Culture. We see Vampyre Culture expressed in our own ideas of social organization, in customs, in codes of behaviour, in etiquette, in philosophy, in spirituality, in our symbols, language and terminologies, as well as – to a limited degree – in our aesthetics, style, fashion, music, art, etc.

What makes up Vampyre Culture, and what Vampyre Culture means for us as Vampyres are among the most important questions Black Rose Society is exploring. According to our patron and sponsor in House Sauromatos there are certain traditions, fundamental ideas and concepts that one might consider to be essential to Vampyre Culture – its character, its values as well as its aesthetics and mystique: Feeding, Naming, Speaking the Language, Wearing Black, Secrecy, Education and Family

Feeding

For most outsiders and indeed for many Vampyres their interest in Vampyre Society begins and ends with Feeding. Although our words for and our ideas surrounding the practice of Vampyric Feeding may certainly differ, Vampyres as a category of person are nearly universally defined by the fact that we engage in certain Vampyric acts, or Vampyric behaviour, generally understood as a Vampyric person actively feeding on another person’s life-forces, often in the form of blood. The varied practices of consensual human blood-drinking between risk-aware adults, or the arts of feeding on life by certain subtle means are the most commonly expressed forms of practised Vampyrism. This is what we call Feeding. Our ideas of what it is Vampyres feed on, how and when Vampyres feed, why Vampyres feed, if there is a need for Vampyres to feed, of which nature this need might be and what it means for us as Vampyres will differ from place to place, group to group, individual to individual. Regardless of the variety of ideas present and expressed in Vampyre Culture, the concept and practice of Vampyric Feeding is central to Vampyre Culture anywhere. This is part of Vampyre Culture.

Naming

Names have power. At the beginning of one’s journey, one often chooses a dedicated name to be used for any coming interactions within Vampyre Society. Taking on a new name – a Vampyre name – can be considered an individual rite of passage in Vampyre Culture. It signifies a dedication or desire to be known and recognized by that name as a part of Vampyre Society. A Vampyre’s chosen name is often highly meaningful and should reflect one’s personal identity and journey as a Vampyre. Therefore, care should be taken when choosing a name for oneself. Under certain circumstances, a Vampyre may accept a name chosen by one’s mentor or a person of similar standing. It is commonly permissible to change one’s chosen name when one has outgrown it. For some, taking on a new name can mean the freedom of leaving the past behind to begin anew, discovering or re-inventing yourself, to seek out new experiences, to forge new bonds, to choose a new family. Indeed, when joining a traditional group of Vampyres, one might, in addition, take on the name of the House, Clan, Coven or Family in question, or a name honouring one’s mentor, signifying individual belonging and lineage. Among traditional groups, one’s naming is often accompanied by certain rites and ceremonies. While naming customs may differ from place to place, a Vampyre’s chosen name is generally an important expression of one’s Identity as a Vampyre. This is part of Vampyre Culture.

Speaking the Language

Belonging to Vampyre Culture is distinctly marked by the correct usage of specialized terminologies. While a complete Vampyric language never reached widespread use in Vampyre Culture, its specialized terminologies are similar to an argot, or cant, a type of secret language which can be employed to protect a group’s spoken or written communication from outsiders, establishing a subculture existing separate but within a larger society. To learn this secret language present in Vampyre Culture one would commonly access and study word lists, or learn directly from other Vampyres within an established group. This is part of Vampyre Culture.

Wearing Black

Subtle and elegant, black is the preferred colour of Vampyres according to tradition and suitable for any social occasion or function of Vampyre Society. To complement a classic black attire, silver jewellery is often preferred by Vampyres, as is the wearing of certain signets and symbols associated with Vampyre Culture. Traditional groups are known to recommend stricter dress codes depending on various factors – yet, the colour black enjoys almost universal acceptance in Vampyre Culture anywhere. This is part of Vampyre Culture.

Secrecy

Secrecy and confidentiality are paramount for Vampyres. From the earliest beginnings of what would become Vampyre Culture, our communities have relied on secrecy and mutual discretion. It comes with the territory, the deviant nature of our interests and activities, which are largely – and perhaps rightfully – considered to be taboo in larger society. Originating in traditional codes of silence, the importance of secrecy is near-universally recognized in Vampyre Culture, and it often is among the first lessons to someone introduced to Vampyre Society. Vampyres must ever take care not to disclose any information that could be in any way construed to threaten other Vampyres, their families, their friends, or themselves. The same applies to our trusted Black Swans, who know of us and keep our secrets. Do not seek the attention of the mundane. Especially avoid the sensationalist media like the plague. Do not misrepresent yourself as speaking for all Vampyres, or for any Vampyre groups you are not sanctioned to represent. When possible, entrust any outside public relations to those with more experience. Protect each other’s personal information. Keep your Vampyre life and mundane life separate. Do not reveal a person’s mundane name or any other aspects of a person’s mundane identity to anyone without explicit permission. Indeed, it is good etiquette not to inquire about a person’s mundane identity at all within Vampyre Society. Always keep the secrets entrusted to you personally. This is part of Vampyre Culture.

Education

With knowledge comes responsibility. In Vampyre Culture knowledge is traditionally passed on personally – from person to person, from mentor to protégé – forming traceable lines of transmission. Being of the Vampyric Heritage, it is a Vampyre’s duty and responsibility to share one’s knowledge with others and impart them with the necessary skills to feed responsibly, to instruct them in the language and traditions of Vampyre Culture, and to prepare them to serve as leaders and guides for the next generation of Vampyres, passing on the legacy so that it may endure. In a traditional mentor-protégé relationship, a mentor is called to protect, to guide and to correct any missteps of their protégé – always leading by example. For the duration of a traditional mentorship period, a mentor is – to a limited degree – responsible for the behaviour of their protégé. A good mentor will provide access as well as personal insight by introducing their protégé to relevant texts and resources, teaching them protocol and proper conduct, and inviting them to attend gatherings and social functions with them. A good protégé will demonstrate an eagerness to learn by asking questions and show respect by being attentive and valuing their mentor’s time. By tradition, it is the mentor’s responsibility to assess whether their protégé has acquired the necessary level of experience, self-control and knowledge to stand on their own and be formally recognized as a member of Vampyre Society. The successful end of a mentorship period will often be marked by certain rites and celebrations, depending on ruling customs. Vampyre Culture’s distinctly personal approach to the transmission of knowledge often stems from an appreciation of the living Vampyric Heritage and the desire to keep the flame alive by passing it on from one person to another, one generation to the one following. Our Tradition is not the worship of ashes, but the preservation of fire. This is part of Vampyre Culture.

Family

Blood is thicker than water. Vampyres traditionally organize themselves into clannish, close-knit groups of like-minded, kindred spirits. Traditional Houses, Clans, Covens, or Families of Vampyres often emphasize their familial nature as part of their self-image. Indeed, traditional groups of Vampyres can at times resemble surrogate families, providing safety, stability and support – a life among your own kind, where other support systems might have failed you. Someone’s Vampyre Family is a true family of choice, often just as important to the individual as someone’s original family – if not more so. For these reasons, belonging and loyalty to one’s Vampyre Clan-Family or Vampyre House are valued highly in Vampyre Culture. Vampyre Houses, or other equivalent traditional groups, form the backbone of Vampyre Culture, and are typically, but not necessarily, headed by one or several influential matriarchal or patriarchal figures, with a close inner circle of Family members and retainers, attracting an outer circle of prospective members and hang-arounds as well as various supporters and sympathizers. While a certain level of stratification is traditionally upheld, it mainly fulfils a need for stability and security, which is ceremonially reproduced by hierarchy and ritual. In reality, there is often a striking difference between the formal stratified structure and the informal familial nature of this type of group – even in the most traditional of Vampyre Houses. Apart from providing their members with a family-like network of support, mutual loyalty and trust, Vampyre Houses, or other equivalent traditional groups, serve Vampyre Society in various other ways. Depending on the group or organization in question, Vampyre Houses, or other equivalent traditional groups, may be actively involved in the preservation and furthering of knowledge, in structured education and teaching, as well as in organizing events and social functions for their local communities. While the vast majority of individual Vampyres does not belong to a group following a more traditional model, their ideas and values of Family are deeply embedded in Vampyre Culture in general. Without the bonds of Family, we are nothing: Loyalty to each other, to Vampyre Society, to Clan and House – honouring the Ancestors, in Life and Death. All this is part of Vampyre Culture.

IDEAL OF VAMPYRE CULTURE

In Black Rose Society we customary refer to the utopian ideal of a community envisioned by Vampyre Culture as Vampyre Society.

Vampyre Society is perhaps, above all, a community of shared values. Vampyres often believe themselves to be in some way different from other people within larger society. Many Vampyres have experienced or continue to experience alienation due to their unique experiences. Vampyre Society is a place where all are valued and embraced for who they are, and where to be different is celebrated and cherished. Vampyre Society is a place where all are largely free from judgement imposed by larger society, heeding only Vampyre-specific codes of behaviour, more appropriate to their way of living. Vampyre Society is a place of belonging, which – fostered by the personal relationships found in real community, strengthened through facing shared adversity together, and heightened by the very mystique of the vampire archetype – may engender genuine feelings of pride and awaken true solidarity with other members of Vampyre Society.

To make Vampyre Society a lived reality, whenever or wherever possible, at social gatherings, or in any interaction with other Vampyres and Black Swans – this is the meaning of Vampyre Culture.

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penske-slut · 3 years

Note

“some of y’all talk about f1 drivers is literally no different from frat bros” fuck man there really needs to be a phrase for the types of straight girls that fetishize gay men (none of the drivers have publicly stated their sexuality at all) through their own fantasies and covers it up by saying ‘representation’. Have you noticed how the couple almost always becomes one dom and one sub, one masc one fem.....straight girls can’t conceptualize gay couples any other way. Plus I think that there’s something....that they’re taking advantage of when drivers don’t explicitly state their sexuality which 99% of people in a professional context just don’t do. Last summer there was a post asking ppl not to make F1 pride edits with drivers as LGBTQ members seeing as the drivers themselves bar Lewis have never stated any sort of support for the LGBTQ+ community or identified as part of the community.....and people ripped into her saying ‘well you don’t know that they’re not they never said anything!!!!!’ Like they know damn well that most of those drivers are straight, I’ve seen Carlos fan fiction who is a literal fascist, you think he’s not also a homophobe??? Like I feel for the people who want representation but this ain’t the way, show your support to out athletes instead!! There are out women in the W series!!!! Idek where I went with this, it does hurt sometimes because I know who some of these drivers support politicians that are actively far right (Carlos, Max, Kimi) and probably couldn’t give a crap about people like me who suffer under those politicians if they get elected, and it doesn’t matter to the straight girls who write that fan fiction either because it’s just a fetish and a game to them

shit when did tumblr do away with the character limit for asks fugsdhifug but thank u for giving me an opportunity to further “pop off” as the youths say

first of all i believe the correct term for girls (whether they’re straight or not) who fetishize gay men is “creeps” <3

anyway i’ve said it before and apparently i’ll have to say it again: drivers’ sexualities are absolutely none of our business. if any of them are gay, they are under no obligation whatsoever to come out. yes representation in the pinnacle of european single seaters would be great, but at what cost? since several of these drivers allegedly support far right ideologies, there’s no way an LGBTQ+ driver would feel safe being out in that environment and i personally would NEVER want someone to put themselves in danger for my own benefit. i have a hell of a lot of respect and appreciation for queer athletes who are out, but especially in motorsports, i completely understand and do not blame those who stay closeted for their own safety & peace of mind.

and on that note: why the fuck would a queer driver come out knowing how fangirls treat gay men in fanfiction lmfao. and if you think drivers aren’t seeing your shit, or don’t even know about the concept, you’re a damn fool.

#Anonymous #f1 #long post #sorry it took me a minute to respond #i initially typed this up at like 3am #and had to wait till morning to reread it to make sure it's coherent lmfao

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beclynn-herondale · 4 years

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What annoys me is that the people hating on Jace aren’t thinking about the society he grew up in. The shadowhunter society is so corrupt it’s crazy and they definitely don’t make an effort to make sure their youth knows what they’re doing is right and what they’re doing is wrong. Young shadowhunters have to depend on the people they meet and their life experiences to stay “woke” but Jace literally grew up alone in the institute with three other siblings and no friends. (1/2)

Hi anon, so first

(The Tea is piping Hot, and thank you for bringing this up )

I honestly agree with you, and this is actually something I have thought on a lot and yes it was written so many years ago that yeah of course some things we aren't going to agree with cause it's 2020 and things are different now. And the traits Cassie wrote in Jace were popular back then and Cliches were too and we need to keep this in mind.

And yes the Shadowhunters are terrible with educating their own, most shadowhunters have not been educated in mundane history and terms and other Mundane things, Diana herself said she didn't know the term Transgender until she met Catarina I think right?

And Jace was not educated in what was right to support Alec and that is not his Fault cause the Clave don't allow Mundane education so how exactly would Jace know 100% what was homophobic and not or what fetishization is??? Cause he wasn't educated in mundane terms and something you need to look at is that that truly is on Cassie she should have known that that would be offensive and never had him say some of these things, but also that was years ago.

Also erasing his character development to hate him is wrong and unfair, how about instead we appreciate how he has grown, like how much he loves kids and his family, how he was nervous to meet Kit cause he wanted to make a good impression, how he wants to be a dad, how he wants a big family cause of how close the Blackthorns are and cause he wants his kids to be like them. Or how he loves with his whole heart, also lets not forget that if not for Simon, Clary and Jace, Jem wouldn't have been cured and would still be a silent brother and our precious baby Min Min wouldn't exist and how after the whole Heavenly Fire incident Jace was worried he hurt Jem and went to check on him before anyone, someone he didn't know really.

And how he said to Clary until she came along he didn't feel like he belonged anywhere, and boy do I relate to that, and yes he had the Lightwoods but he didn't truly know how much they loved him until Clary came along, cause Jace was afraid to open up until she came along. And he was told at Six years old that if he loved he would destroy and would be destroyed, he was manipulated, he was abused, he was tortured, he was neglected, he was used and he was used by others not just Valentine, Luke Garroway said himself that he wasn't surprised Jace didn't trust the Adults around him cause they have used him, and so he put walls up cause being used is one of the worst feelings and he had been before he was even born.

And he was lied to about himself pretty much his whole life and during TMI he had been lied to his entire life. He literally went through an identity crisis several times, also he never thought he would have a best friend/Parabatai aka Alec, he never thought he would have a family aka Isabelle and Maryse and Max, and he never thought he deserved or would find love aka Clary Fucking Fairchild, and then later on he got more family aka Blueberry and Rafe and Magnus and Simon as a good friend. He never thought he would be happy, he thought he would be an angry and broken boy all his life. And why do you think Clary and Alec are so protective of Jace cause they know who he really is and know he is fragile and can get hurt easily, that's why Clart is described as his Shield and why it is mentioned several times that she saved him, also he was suicidal when we first met him, even Alec said he was always rushing towards death and reckless decisions and that he is thankful that Clary came along cause she made Jace want to live and now he doesn't have to worry about Jace wanting to get himself killed, and he has mental issues ( yes I am mentioning this again). Also you say he didn't apologize but we truly cannot be 100% sure of that cause for all we know he did and it wasn't in the book and again that's on Cassie cause she didn't give us a proper scene. And you say he doesn't give a shit about Alec, well how about that scene in TDA when Magnus is dying and Alec is saying he wishes he told Magnus how much he loved him and Jace tells Alec he knows and then Alec says he should go on a watch so he doesn't let anyone down and Jace thinks to himself how could Alec let anyone down and tells Alec his watch is taking care of Magnus and I quote "this is your watch brother". Or the scene in Heavenly fire when Jace tells Alec that Alec is a better person then he could ever be, that he has the most faith in people and that he is kind and that there is no one else with more of that then Alec, or again in TDA when he was the one who sat up as soon as the words were off the consuls mouth and Said Alec for the new Consul cause he knew how much Alec wanted it. How about in Tales of the Shadowhunter Academy when Simon is feeling like his Falling is Bad and he tells Simon he did good. Also how about how he went to talk to Tessa and yes Simon encouraged him but Jace had the willpower to do it, past Jace wouldn't have. And how about in City of Ashes when Maia who hated Jace, saw through his mask and saw herself in his eyes.

And he had to fight two wars at the age of 16/17 he wasn't even an adult, and had to help save the Shadow world and had to help clean up mistakes of parents and then finds out that also Valentine killed both his parents, and so not only did Valentine steal his childhood but also stole his chance at having a Mother who would have loved him more than anything cause she never had that but also a father who was going to change for him and most likely would have loved him deeply. Like I can't imagine the grief even though yes he did/does have a family but imagine still. He lost so much before he was born and afterwards, and how about the people who are always telling him he is Valentine's son so he may be like him and his Mother was said to have killed herself ( she didn't Valentine killed her as well btw ) and people probably have said he is Crazy like her and will do the same, guess what the Clave is Toxic and that's why Alec is going to change it cause it needs to be. And I know what it's like to be said to be a crazy bitch cause of your mental illnesses and cause of other things, to have things consistently whispered behind your back.

And this is getting long but bottom line is Jace is so much more then an ass and sarcastic, he has giving me the strength to get through my current life situation and gave me the strength to save myself recently, and has encouraged me to be a better version of myself, he has taught me that love is strength and will heal and change me if I let the right love in, he is there for me at 2 am when I am contemplating giving up and throwing it all away, he is there telling me look how far you have come, don't give up. He is there telling me your scars show how strong you are and all that you have survived and you should be proud of them, he has taught me that my abuse doesn't define me and that the manipulative adults in my life won't always have control over me. He kept me from trying to kill myself again, he gave me the strength to say that something that has happened recently is not my fault, he gave me the strength to own my confidence and my gentleness and fragilety cause that's me.

And I mostly ignore the hate or at least try to but it keeps getting thrown at me and other Jace Stans and it's time to stop.

SO IF YOU ARE GOING TO POST HATE DON'T TAG IT.

Cause tumblrs tagging system sucks and guess what us Jace Stans and Clary Stans and Clace Stans have just as much a right to enjoy ourselves and be here, as much as you haters do, and you not liking him or hating him isn't going to change my mind or make me stop loving him and also WHY ARE YOU USING THE SHORT TIME YOU HAVE FOR HATE, WHY NOT USE IT TO SPREAD LOVE FOR YOUR FAVORITE CHARACTERS INSTEAD????

How is it fair for us Jace/Clary/Clace stans to deal with your hate be told it's just an opinion, well guess what it's not just an opinion, when it's messing with my mental health. So please just stop and yes he's fictional so 1. Why does it matter so much. 2. Why do you care so much? 3. Why do you care so much about us liking him then? 4. Is hurting people in real life really worth it? 5. Is spreading so much hate in this world really what you want to be known for? 6. JACE is not the only problematic character for Angel's sake, there are many many others so that Is no reason to hate him.

Conclusion please stop, we just want to enjoy ourselves, hell we don't even have to interact ever and just stay in our own lanes, also TSC fandom has become the most toxic fandom I am in and that's saying something cause I have been in toxic fandoms, is this what we want to be known as? A toxic fandom who you should avoid? Cause let me tell you I don't, so why don't we just respect each other and stop being hateful. I have kept quiet about this for months and I am tired of holding it in, you say you respect opinions but if you say that If we stan Jace/Clary/Clace then we don't have rights even if it's joke, guess what it isn't a joke to me and I don't laugh at it, and if we really want to criticize and have equality then we need to judge all of them and Jace isn't the only one who as you say has made homophobic and fetishization comments and he isn't the only one who has done problematic things.

Bottom line I want to enjoy myself and lately the only thing I have had is hate and hurt and getting upset cause I like a character who is actually a good example on growing as a person because of a few scenes how is that fair, basically you are saying you made some mistakes and don't deserve to have your growth acknowledged and you don't deserve second chance cause well you're evil, guess who has been told that many times in her life, me, so it's very triggering for me, the words I hate Jace are triggering for me and I don't say this lightly at all. And don't tell me I haven't thought this through or haven't looked at the bad parts and the cons cause I have but I also look at the good parts and the pros so that is why I love Jace, cause I love his good and bad parts and I acknowledge his growth and change. So to put it simply he is not who he was in TMI, just like Alec is not who he was in TMI.

I am working on a post to clear more of this up but all I am asking is for you to not hate especially in a time that is already stressful and hard for me and everyone else, you aren't doing good and it doesn't make you cool. SORRY but it's the truth, you are hurting people, Imagine if it was your favorite character(s) and how would you feel??? So just stop.

( this is my view on things and my opinion and if you have no intention of being civil then don't interact, I am not interested in a fight with you. Or throwing hateful comments at each but know that I will also not take your hate and will defend myself)

So yeah Anon I agree with you and let's spread positivity cause I would rather this end here and spread love and positivity.

Thank you for coming to my Ted talk.

#jace herondale #jace lightwood herondale #jace lightwood #jace has too many last names #clace #tsc #the shadowhuter chronicles #tmi #the mortal instruments #clary fray #clary fairchild #my opinion #tw hate #tw mental health #tw mentions of suicide #tw mental disorders #tsc fandom #fandom #tw fandom

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girlonpanic · 4 years

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1-100 👉👈 radio nell FM i want it 🙌

HANNA!!!!! because it’s you, i will give you the entire list 💜 you’re lucky i love you so much

without me | halsey

good for it | vérité

on&on | jj project

stand still | sabrina claudio

if you let me | sinead harnett

take me apart | kelela

내일, 오늘 tomorrow, today | jj project

icarus | jj project

don't wanna know | jj project

youth | daughter

truth | tvxq!

#bad4me | etta bond

look | got7

movement | hozier

bad guy | billie eilish

bloodstream | stateless

why | got7

dive | jooyoung

fade away | jb

bad (feat. jinsil) | tablo

find you | jj project

cringe | matt maeson

honey | raveena

안 보여 come on | got7

poison | brent faiyaz

through a glass | henry jamison

medicine | daughter

누난 너무 예뻐 replay | shinee

blue | lolo zouaï

sooner than later | tvxq!

lullaby | got7

tell me what to do | shinee

그날 the day | 진영 jinyoung

city lights (u-know solo) | tvxq!

bibouroku | got7

fetish (feat. gucci mane) | selena gomez

할렐루야 (hallelujah) | jonghyun

innocence (feat. aquilo) | madeon

sunrise | got7

silent movies | aquilo

no plan | hozier | wasteland

tic tic toc | got7

desert rose | lolo zouaï

the hearse | matt maeson

she is | jonghyun

lipstick | shinee

woman | honne

glory | dermot kennedy

끝 | got7

moondust | jaymes young

face my fears | hikaru utada

these nights | 88rising

i couldn't be more in love | the 1975

beautiful goodbye | amanda marshall

karma | got7

crying over you | honne, beka

flesh & blood | ed prosek

beautiful stranger (max solo) | tvxq!

losing you | aquilo

chained | the xx

touch | shura

view | shinee

circle | tvxq!

i want you | shinee

coming home | jj project

without fear | dermot kennedy

let me out | jonghyun

daddy issues | the neighbourhood

break up with your girlfriend, i'm bored | ariana grande

cool girl | tove lo

caffeine | lolo zouaï

hallucinogenics | matt maeson

hope is a dangerous thing for a woman like me to have - but i have it | lana del rey

moments passed | dermot kennedy

silhouette | aquilo

#icanteven | the neighbourhood

hate the way i love you | loreen

retrograde | james blake

teenager | got7

page | got7

새벽 공기 without you | tvxq!

music to watch boys to | lana del rey

never seen you get so low | aquilo

wild | troye sivan

gone | vérité

gasoline | halsey

올라타 ride me | jay park

head in the clouds | 88rising

closer - max solo | tvxq!

moon | jonghyun

somebody else | the 1975

the night | honne

needed me | rihanna

cocktail | jonghyun

from eden | hozier

welcome - remastered | jay park

baptize | rkcb

fiction | the xx

eclipse | got7

전야 前夜 the eve | exo

#yeabeom #that's it guys #we're closed for the year #thank you ❤️❤️#me #spotifywrapped2019

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diningpageantry · 6 years

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Hey! As a straight person who is part of this fandom, I wanted to ask you, what traps do you think het people generally fall in when consuming media that includes queer people? I'm asking this as I would want to know what to be mindful of:)

hey hon!

let me start this out with this: it’s super important that your first step is that you are aware of your standing in the situation, and i’m glad that there’s a recognition and a respect for that. that’s actually the first step when consuming queer media as someone who isn’t queer; it’s the immediate recognition that it’s a group that you’re not immediately a part of.

the biggest trap is the concept of appreciation vs. fetishization/disregard for activism. educating yourself on LGBTQ+ rights isn’t something you have to be overbearingly a part of, but make sure you’re knowledgeable on basics.

SIDENOTE: if you have a good bit and want to educate yourself on statistics of queer youth, i’d recommend looking over the National School Climate Survey that GLSEN (the organization that I’m a part of) puts together. it’s eyeopening and puts a clear idea onto what issues queer youth specifically face.

ok, back to the subject at hand; i can think of a really clear example of a fandom where people break the appreciation vs disregard:

let’s look back at when marriage equality passed in the UK. of course, a big deal, as it was one of the countries that lead other nations, like the US, to follow in their decisions.

when the news broke, the johnlock (sherlock and john ship from the show BBC sherlock) fandom had a post blow up. it remarked on the occasion, saying something along the lines of “thank god the UK has marriage equality so now sherlock and john can get married!”

the issue: there’s actual, living people in the UK who can get married now. in that statement, there’s a clear disregard for actual queer lives in favor of fictional queer people.

of course, other examples are of yaoi culture in japan, where there’s an interesting episode of Gaycation (a VICELAND series that’s another one i recommend for self-education) that goes into the concept of straight women indulging in gay male pornographic content (whether through audio or reading) and stating that they like it because it’s taboo.

that culture carries on into westernized fandoms as well.

so, here’s a basic test within queer media if you’re straight to see if you’re consuming it properly:

a) are you consuming it only because it feels risque?

b) do you genuinely support LGBTQ+ identities outside of what you see within the media you’re consuming (i.e. actual queer lives)?

(bonus round) c) would you still ‘ship’ these characters if their gender identities were different (for example: if snowbaz was a straight couple or a lesbian couple), or do you only ‘ship’ them because they’re an MLM couple? (this one can be traded out for lesbian/WLW couples as well)

if you answer no to any of them, you might want to re-evaluate your involvement in such media.

like i said, you don’t have to be some activist extraordinaire, you just have to be self-aware.

oh, and this is like. a weird little quirk, but another thing i notice with straight people in queer media is when they produce fan content, sometimes they glorify and/or demonize everyday aspects to queer life. for example, overplaying self-hatred for being queer while not attributing it to societal pressure in the writing, so “i hate myself because i’m gay and i just hate gay” vs “i’m self conscious of my sexuality because other’s expectations of heteronormativity and layers of ingrained homophobia”. most queer i’ve interacted with have at least some form of self awareness, and there’s complexities to queer identity and self acceptance. if all is lost, ask a queer person who you know is comfortable with sharing. in all honesty, i’m probably too open with sharing about my identity and how i interact with it, but definitely do not just ask any old queer person what it’s like to be XYZ because chances are, most of them are tired of answering.

oh. and one last thing (just… just for safe keeping): if you write smut, make sure you know what’s going on. i once stumbled upon a smut where they used vodka for lube, and just… don’t. use your noggin.

#asks #anon #anï rambles #queer education #i should probably make a tag for this kinda stuff if i ever ramble in the future #but thank you for the message!#i think it's really good that you take a step back and make sure you're consuming media properly

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landlordevil · 4 years

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like metatextually there's some beautiful moments. how yamashina wants to start his own lgbt publishing company so we can live freely (i am confused on how they said he was attracted to boys though. he was found in tokyo drawing a saint sebastian type figure who, while "boyish", is very much a man like akira is, though he looks young because he's trans. i'm uncomfortable w the correlation between akira and yamashina's boyhood crush but I'd like to give the benefit of the doubt and have yamashina not to be implied a pedophile. cause they don't deserve rights. or maybe i'm just wishing too much because lgbt manga is so hard to come by on websites overrun by fujoshi nonsense) anyways. also, taichi mentions that his love stories never end successfully because they don't have anything to overcome once the story ends. their love cannot grow. but the love between him and akira is real. because akira is trans, and taichi's gender expressions shifts through crossdressing. because they still a fight to fight as he said so himself? which is a nice thought. and that, though he always felt lonely when those stories ended, he was unfulfilled. But now he's happy! especially since their stories are so linked with ruikou's/satoko's mother's stories. they literally see themselves in fiction word for word. that even a monster like marube can be redeemed through story, the happy ending she never received? Although she isn't deserving, there's a positive correlation between seeing oneself and the ability to have your own happy ending. Still. I was disgusted by the amount of fetishization of akira that took place (cover art, the fact that yamashina was attracted to his boyish youthfulness as a result of only beginning T, etc) and that marube was not only a sexual predator and incestuous but a murderer who also happened to be a trans woman. although akira is never seen as a predator, neither taichi or yamashina, it's still telling that SHE is the one likened to a monster. anyways stan love my life by yamaji ebine

#my hunt for good lgbt manga continues...#anyways better than f.compo and *kama report but still not. great. my standards are too low mayhaps #but you KNOW the ''AKIRA'' ''TAICHI'' moment made me sob

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sundcred-and-undone · 5 years

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RULES: MOBILE

Lately Personal Blogs have been going on like sprees. On my personal, I’d appreciate, but here? Clogs up my notifications and I have no idea of a timeline anymore. I don’t even know how people are finding private RP threads. So the new rule, which is harsh even by my standards, is this: If you are a personal, feel free to ask questions and like an occasional post! And following is all right, I totally get that you’d want to read interactions maybe. But don’t reblog threads. Don’t like a whole bunch of posts. If you do so, I’ll block you.

- No Godmogging please.

- Pre-established relationships can be done, but must be mutually agreed upon/accepted.

- No erotic fiction here. But gore and violence, and reference to adult themes may be present.

- Now selective. Leaning towards mutuals most of the time.

- Do not rush for replies, that sort of thing. BASIC RP etiquette.

- Even though this blog will have no adult scenes of THAT nature. If any shipping did occur, obviously it wouldn’t be with the young/child muses. skekHax and skekSept do shift between child, teen and adult, but they themselves are a pairing so they’ll probably be exempt, and most of the time they appear in their youthful forms, so it wouldn’t fly.

- Oc Friendly.

- Crossovers need to be within reason: I.E fantasy/science fiction, and have some way of occurring. So characters from One Piece or say, Simpsons wouldn’t be popping up on a Dark Crystal blog.

- This is long-term an OC blog. The guest canon muses are usually a passing fancy. If I had enough muse for them to dominate a blog, I would’ve made them one. When I post starters, I’ll specify whether a guest muse is active. If not, please don’t ask for them. I don’t want my original characters to be curb-stomped.

- No fetishes or anything of that nature please.

- I do not roleplay with personal blogs. Sideblogs are welcome - you can follow from your Personal, as Personals following for the writing is completely fine! Just do not like too much and reblog posts at all. It leads to me getting overwhelmed with too many notifications. Mutual are free to like! - That said, Personals CAN ask questions about the characters!

- Mun is of age.

- I am not comfortable shipping with muns who are underage, even if their character is of age. No.

- I am not here from Drama. If you are going through a tough time, I really do sympathise, but I am the not the person to act as a councillor. Please do not take this badly, but this blog is a hobby, and for fun. I won’t be sharing personal information about myself or my life. I have boundaries and do not want a hobby outlet to become a stress.

- Don’t follow if you support p*dophilia ships. (I’m against shipping any underage muses with adults, period.)

#rules #mobile post

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chille-tid-universe · 5 years

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Grassroots Heroes for Hire

The mayor looked up from the writ. “And you are the subject of this voucher?” He glanced from the half-elf with her supple cloak and curious longbow slung across her back at the head of the group to its other members; a young woman with twigs in her hair, armor that seemed too big, and an assortment of large weapons; a stocky dwarf with a dour expression and an axe that glowed with unnatural light; a youth with chestnut-brown skin, barely more than a boy, holding a large book that looked like it belonged in a museum, in a robe that he might have stolen from someone with fuller shoulders; a foppy young man with a bored look and impeccable eyeliner, carrying a shield and some foreign fetish; a terrifying young tiefling whose snow-white robes and holy symbol were completely at odds with her horns and ashen skin; and most startling of all, a damned half-orc (a half-orc, in his town!) with a wide hat, salt-stained overcoat, and two sharp blades swinging from her hips. This last one stood in the corner, leaning against the wall, as if she at least had the courtesy to recognize exactly how poor in taste this meeting was.

Robyn cleared her throat and swept her eyes over her little band of misfits, glaring at Charlot to straighten up and at Nula to join the rest of the party. “Yes, your mayor-ly-ness. The duke of Hartfordshire was quite satisfied with our assistance rescuing his daughter. We even saved most of her caravan, as well. Well, most of them who weren’t killed by the time we found them, that is.”

“Indeed.” The mayor’s eyes lowered to the parchment again. Everything certainly appeared to be in place, at the very least. He had never met this duke, but he knew from several books in his meager library that Hartfordshire was indeed a neighboring town to the east of his own, as much as “neighboring” could be used to describe any locations in these lands. Still - he glanced back up at the assortment before him - this lot hardly had the look of heroes. Some of them looked to be barely old enough to be on their own! He couldn’t begin to guess at the half-orc’s or dwarf’s ages, but the rest looked like they should be helping out on their parents’ farms right now. The only people who stood with any sort of authority were their half-elf leader, who at least seemed old enough to marry, and the strange boy with the dark symbol, who reminded the mayor of the pouty prince who had rolled through the town when he himself was just a boy. This young man exuded that same air of boredom, as if the surrounding world existed to entertain him and it was doing quite a poor job of it. That prince had been quite a pest, from what the mayor recalled.

It was the odd girl wearing a tree on her head that stepped forward, smoothly admitting, “We know we don’t look like much, sir, but we’ve heard from your citizens that there have been other adventurers sent after your problem, to no avail. Surely it couldn’t hurt to send a few more?” The mayor found himself nodding to Isolde’s suggestion. His citizens, he liked the sound of that. What could it hurt, indeed?

The mayor nodded more deliberately. “Very well, I suppose the voucher says what it says, and we’d be happy to have your assistance. The mine is a couple hours’ travel to the south.” He made to return to the papers scattered about his desk, but a slim hand quickly poked into his line of sight.

Robyn cleared her throat again. “There’s just the matter of payment…”

The band traveled down the southern road with a spring in their step. The mayor had not been keen on paying half upfront, and Nula had needed to lean over his pretty wooden desk and begin cleaning her nails with her dagger before he would reconsider and offer them twenty-five percent before and the rest when they returned with proof the mines had been cleared. Twenty-five percent! Robyn could almost sing. They were certainly on their way; before long, their reputation would precede them up and down the Sword Coast, and perhaps they would even start being recognized in the cities they visited!

Not that Robyn would allow them to venture into a city quite yet; Nula’s bar-fueled argument in their last city had been quite eventful, and Charlot had warned the group that the guards were sure to spread word of the temperamental half-orc pirate-ess and her strange companions to every city on the continent. Robyn felt certain he had been joking, but was unwilling to test it, not before the gang had worked up a level of professionalism that would help to offset the looks of confusion and distrust that greeted them wherever they went.

And this sleepy little hamlet with its classic woes of kobold infested mines were a perfect step along that path. Robyn hummed a little tune as they marched, her left hand upon the flank of their trusty pony. She had taken to calling him Eye-gak, after she overheard Oskar murmuring it to the beast in a town months back. It was a quirky sort of name, but she felt it fit well with what the team had going on. Across Eye-gak’s saddle was a handy portable chest, nothing too ostentatious, just a locked box for them to store their meager riches and the documents they managed to weasel out of their previous employers, vouching for their reliability to their future hopefuls.

Ahead of her, Charlot and Uzza were arguing again. For clerics of the grave and life domains, Robyn supposed she should be happy their discussions were rarely confrontational. At the moment, however, Charlot was trying to convince Uzza that he could render her more palatable in the loftier company they would surely find themselves in before long.

“I’m not saying that tieflings are unheard of in the proper ranks of society, dear, I’m simply saying that you present an odd blend of ideas, and it can be better to go along with what people expect of you than force them to face their own bigotry.”

Uzza bristled as she turned to the boy. “I’m not interested in how your nobles see me, Charlot. I spent my childhood begging for scraps. I won’t demean myself again, not to be subjected to the worldviews of those who think themselves above me. Especially not to appease the normalcy of people with more gold than I’ve ever seen!”

Charlot raised his hands in defense. “Not everyone with wealth is the enemy, Uzza.” He smiled wide and wrapped an arm around her. “Fear not, Charlot will guide you through the scary halls of the rich. Perhaps just a light foundation to even out your skin tone, maybe a nice flowery headband to cover those horns…” Uzza groaned, but Robyn saw her mouth quirk in a smile.

Behind her, Robyn heard Idu going on about his many misadventures as a youth on the streets of Amn (truth be told, Robyn felt Idu still qualified as a youth, but she would never say as much to his face). As always, Oskar clung to every word from the younger boy; Oskar had spent most of his life in the mines of his home, and often found the workings of “above-ground” civilization fascinating. Idu clearly picked up on this an embellished from time to time. Robyn suspected he had run out of factual stories early on, but she had to admit the boy had imagination. As he described a flight from a particularly nasty street-guard, using nothing but the friendship of a wild monkey, his free arm swept in wild arcs. Idu always clutched that fancy book close to his chest, as if he were afraid his wonderful life of traveling would disappear if he let it slip for a single moment. Robyn could sympathize; she oftentimes had to remind herself that all this was real, and that she had indeed managed to bring together such an amazing group with whom to spend her days.

Beside Oskar, Isolde nodded along to the story, gasping at all the right moments and asking the questions Idu was clearly fishing for. Isolde had explained to Robyn when she first joined the gang that they were a lovely example of the balance the paladin wished to instill in the world around her; Robyn sometimes questioned the balance of the team, but was thankful for the comparison. The girl’s hint of a smile and perpetual far-gazing eyes lead many to assume she was none too bright, but Isolde always managed to ask precisely the right question in the most flattering tone to further the party’s interests. She had been quite instrumental in obtaining several of their recent jobs.

As Idu reached the end of his story (with a flourish had Oskar nodding and Isolde politely clapping) Nula snorted and sauntered over to the three, sliding a blade along a whetstone as she grumbled, “Nice story, Books, must’a been real hard running from a fat old man. Ever run… from a kraken?” Idu’s eyes brightened visibly. If Oskar enjoyed Idu’s tales, Idu lived for the yarns the half-orc would spin. “There I was, lookout in the middle o’ the night, naught but a sliver of moon to light the frosty waters o’ the Sword Coast. The crew lay a’bed below decks, a senile ol’ lubber tending the wheel, when I hear a deep rumblin’, like a thousand bellies cryin’ for gruel…”

Robyn chuckled as she listened. She knew Nula was not much older than her companions, but her size and confidence made that easy to forget. Like Idu, Robyn suspected that many of Nula’s tales were far from the truth, but it was much harder to pick fact from fiction with the half-orc.

Nula was just getting to the part where a writhing tentacle, cut from the monster, knocks the captain overboard when Charlot stopped in his tracks, head tilted to the side. It took a moment for the storytellers to notice, and then they slowed to a stop, as well. “Hear that?” the boy asked, eyes scanning the skies above them. Robyn strained her ears a moment, and was about to ask “What?” when Isolde pointed to the east. As Robyn followed her finger and saw a cluster of specks growing larger, she heard an unearthly melody fill the trees around them.

“Harpies,” Nula growled, tucking her whetstone into her belt and drawing her other sword. “Looks like a small group, three, four.”

Robyn nodded, deftly sliding her longbow from her shoulder and reaching for an arrow. “Ready yourselves,” she called, nocking and drawing the arrow. The party fell into position easily, with a familiarity that would have had Robyn smiling under other circumstances. Uzza, Isolde, and Oskar gathered between the others and the approaching shapes, donning shields and reaching for weapons. Oskar flexed his hand, and his trusty battleaxe winked from its holster to his grip.

Charlot and Idu stepped up beside Robyn, with Nula stalking the area around three, leaving herself plenty of room for what she referred to as her “dance o’ death”. Charlot tossed back his hair and fingered his dark talisman, cold power seeping from his fingers as he breathed words of power. Idu flipped open his spellbook deftly, long fingers easily finding the proper worn pages, by earmark or familiar wear, and he held two or three fingers in different places in the book, keeping his place should he need certain spells. Satisfied, the young boy nodded and turned his eyes to the approaching beasts, an excited curiosity tinged with cautious fear twinking there.

Robyn slowed her breathing as the harpies gained definition. Before long, they had entered the range of her longbow, and with a practiced focus the half-elf let fly her first arrow. Before it had struck its target Robyn had fitted another into the nock, and as she pulled the string back to the corner of her mouth, she saw with satisfaction that one of the three shapes had fallen significantly below its friends. She aimed at the lower harpy and fired again, and by the time she had fitted her third arrow, the harpies had arrived.

As they swooped down past the trees, their tempting melody reached a crescendo, and Robyn found herself screwing her fingers into her ears. A moment passed, and then she looked around to see the harpies landing among the group. She noted that Oskar and Nula were the only people who appeared to be affected by the siren’s song of the harpies, and the rest of her band were already reacting.

Uzza gripped her holy symbol and gestured at herself, Oskar, and Nula, chanting in a strange tongue until a faint aura began to glow around the three. Oskar and Nula both grunted a moment later, shaking their heads and jumping upon the nearest harpy.

Isolde’s twig-crown glowed a verdant green, and she struck at the harpy approaching her, thick vines erupting from the ground at the beast’s claws to grip her tightly. Idu took this as a cue, and pointed ominously at the trapped harpy, summoning a skeletal claw that gently passed through the beast’s ribcage, causing part of the melody to turn to shrieks of pain.

Nula directed her twirling blades at the harpy that had snared her attention. With a cry of “Avast, ye!” the half-orc darted around the harpy, slicing this way and that before pulling away with a grin, deftly avoiding a slicing talon as she stepped outside the harpy’s range. Charlot took a breath and held his hand out at the harpy, pantomiming swinging something large, and a second later a deep, ominous DOOM DOOM DOOM filled the air around the wounded harpy. The bell’s tolling almost drowned out the creature’s death wail, and Nula cried out with a loud laugh as the harpy fell still.

Robyn turned her attention to the last harpy, sliding her arm through the longbow while in the same motion she pulled the whip from her belt. She whistled, a piercing sound that had the intended effect of the harpy swiveling its head on an owl-like neck to the half-elf. Robyn smirked and flicked the whip, slashing the side of the harpy’s wing and causing the whip to CRACK as it struck. The beast’s eyes widened at the sound, and Oskar took the opportunity to flourish his glowing battleaxe at the startled harpy, sending a flaming bolt at it to crash between its wings. He then yelled a dwarvish battle cry and darted toward the harpy, swinging his blade down between its shoulder blades and sending it to the ground.

That left one harpy, tangled in vines, with Isolde and Uzza standing on either side of it. Isolde continued to strike from afar with her glaive, her serene face set in grim determination. Uzza closed her eyes and called out, lifting her holy symbol skyward. In response, a pillar of holy flame fell from the heavens, engulfing the screeching harpy and the vines that bound it. As the group gathered around, the charred harpy body crumbled to ash.

Robyn nodded at the group, watching as grins spread across their faces. “Good job, team. Uzza, would you mind seeing to Oskar and Nula? I think the harpies got a few scratches in. Isolde, nice work with the vines. Idu and Charlot, try focusing on the same target next time. But excellent work, everyone!” The party began chatting and laughing, and Robyn went to recover trusty Eye-gak, who had begun grazing at the roots of a nearby tree. She glanced at the sun’s position and looked to the south, seeing the mountains rising there. Still an hour or so to go; still plenty of time. She nodded to herself and began to shepherd the excited comrades, urging them to continue their march.

The group quietly made their way down the dark corridors of the mine. Their talk had diminished as they stepped into the mouth of the cave system, their voices echoing along the walls before Robyn hushed them. Now, they marched down the main passage, torches scattered among the group, while Uzza kept a sharp eye out ahead. Robyn held her longbow aloft as they walked, elegant silver runes flickering across the arms in the near-darkness of the mine. They had been traveling down the mines for less than an hour when Uzza stalked back to them, her snowy robes luminescent in the torchlight.

“Kobolds,” she hissed when she got closer. “Off to the left, a hundred feet further.” Robyn motioned for the group to prepare themselves. A minute later, they had doused their torches and gripped arms, walking as quietly as they could manage with Oskar and Uzza leading the way. A minute later, a series of squeezed palms indicated they were approaching the entrance that Uzza had spied, and the blinded members of the party saw a faint glow up ahead. They waited outside the branched passage, barely able to see each others’ faces, until Robyn whispered, “Now!”

All at once, Oskar and Charlot jumped into the opening, raising their hands as blips of light sparked into life around the cavernous room. Idu stepped out from behind them and took quick assessment of the situation, then gripped a small bag from his cloak and muttered a few words. A miniature sun burst into existence among the thickest concentration of kobolds, who screeched and scrabbled at the rocky ground to pull themselves away. Idu swept his hand in front of him, and the burning sphere began to ominously cross the room, incinerating the scaly hides it collided with.

Now fully able to see, the rest of the party darted into the room, whip, glaive, and swords eager for purchase as the frenzied kobolds attempted to avoid the flaming death-ball and the new enemies. A group of braver kobolds began to swarm the party, some waving their arms and gibbering while the rest darted in and out, poking with makeshift weaponry.

Isolde kept the kobolds at bay with her glaive, waving it back and forth as they tried to approach her, and soon the frustrated kobolds turned to the half-orc who was laughing as her blades left crimson afterimages in the magical light. Robyn used her whip to discourage the kobolds who were attempting to flank the party, forcing them to choose between approaching the heavily armored frontline or the slow advance of Idu’s flaming sphere.

The slaughter lasted barely a minute, and as the sounds of dying kobolds quieted, Uzza saw a flicker of movement across the room. A small cluster of kobolds were fidgeting with a pile of rocks in a corner before one of them seemingly disappeared. Uzza called out to the group and raised her holy symbol, causing an illuminated gout of flame to crash down on the spot of the remaining kobolds. One fell over, dying noisily, while the other yelped and dove headfirst into the rocks, scorched backside trailing smoke. The rushed escape dislodged the larger rocks, and part of the wall sunk in on itself, revealing a tight passage out of the room.

The group turned to Nula, who grunted, “Figures,” as she removed her hat and rolled it carefully. “Alright, let’s follow the scallywags.”

Luckily for the half-orc, the secret tunnel widened to more spacious dimensions several feet in. The kobold had scurried on ahead, and Robyn reminded everyone as they walked on in the dim light of a weakened light spell that they should expect a fight when they reached the end of the passage.

When the tunnel began to widen enough for them to adjust their order, Oskar took the lead. There was a sharp turn, and then the party found itself face to face with a group of orc warriors. Oskar raised his shield and chanted for a moment, a golden aegis illuminating the air around him as arrows flew through the air. Most were deflected, and Uzza was quick to press her hands to the resulting wounds and murmur words of healing. By that time, Nula and Isolde had jumped out of the tunnel and rushed the orcs.

Idu and Charlot stuck behind Oskar, nodding to each other and directing their spells at the furthest orc archer. Robyn stepped to the side and steadied her longbow, focusing on its innate power as she fitted her arrow. Silvery runes flowed across the surface of the bow and into the arrow, lighting it with traces of moonbeams. The shining arrow flew across the chamber to the orcs, a brilliant afterimage tracing its path. As battle was joined, a rumbling came from another entrance to the room, and Charlot’s head snapped around, calling out, “Undead!” seconds before a mangled group of dead kobolds shambled into view. Some were missing limbs, others had crushed skulls, but all moved steadily toward the party. At their rear, a larger orc strode, eyes aglow with dark power, hands reaching out to the zombified minions.

Charlot and Uzza caught each other’s eyes and both ran to the approaching horde, Charlot lifting his dark talisman while Uzza clutched her holy symbol. Both began a similar chant with vastly different inflections, and as one their voices rose in volume. The combination of holy and unholy power swept forward over the marching corpses, and a majority of the bodies shuddered and began to fall back, mouths vocalizing frightened grunts if they worked at all. The orcish shaman growled with displeasure, cuffing one of her turned minions across its collapsed face as it ran by, sending it crumpling to the floor. The shaman turned to the clerics and narrowed her eyes, lifting a gnarled finger to the tiefling. As Uzza’s back arched in pain, an arrow went soaring past the two and embedded itself squarely in the shaman’s chest. Sensing the seepage of the orc’s life force, Charlot smiled and swung his hand out, an echo of bells filling the room as the shaman fell to her knees. Uzza smiled at the boy in thanks, then grimaced as she turned to the foul necromancer. She felt divine might pass through her as she lifted her symbol aloft, and a moment later the orc was engulfed in holy fire.

In the resulting frenzy, wizards and clerics alike picked off the scrambling zombies, while fighters and paladins and pirates took out the remaining orcs. When there was one orc left standing (apart from Nula), the pirate held her blades to his throat. “What were you after down here, ya lubber?” she growled. The orc spat at her feet.

“I answer to no traitor,” he grunted in broken Common. “Found holy site for shaman, born again soon! You pay then!”

He then threw himself at Nula, but simply fell upon her swords. She cleaned them on his shirt and turned to shrug at Robyn. “Worth a shot.” The half-elf nodded in understanding and motioned to Oskar and Uzza. The two headed down the passage the shaman had emerged from.

As they walked down the dark corridor, they heard the grave-moans of the undead that had escaped the slaughter in the previous room. As they came upon the aimless bodies, the two dispatched of them with mystical flame and ensorcelled axe. After a few twists and turns, the passage ended with a foul chamber littered with skeletons, and a sickly slab of granite posing as an altar. It was there that they found cruel instruments and implements of torture, along with crudely written notes and several chalices of liquid that resembled blood. In one corner, a pile of clothes and trinkets were tossed unceremoniously.

Once the rest of the party had been summoned to the final chamber, Idu glanced around and immediately came to a conclusion. “Looks like this is where that shaman was raising her dead,” he remarked, gingerly leafing through the notes, which appeared to have been written on dried, leathery skin. “The rest of the tools here seem a bit superfluous, though the altar does appear to be some sort of locus for necromantic power.”

“Any way you can shut it off?” Robyn asked, not particularly hopefully. When Idu shook his head after a moment’s thought, she continued, “I suppose that was a bit optimistic. Oskar, reckon you can cave in this room?”

While the dwarf silently paced the length of the room, pressing his hand against the wall in certain spots and mumbling to himself, the party did its own search of the room. As Isolde was digging through what were assumedly the miners’ belongings, she let out a gasp and held up a wooden medallion. “An oak medallion! My mentor told me about these. Woodland elves are known to carry these with them as they travel, to always have a piece of their home with them.”

Nula bent down to examine the talisman. “It’s made from the wood of their homes?” she asked, squinting at the carved insignia of a wide tree.

Isolde snatched the medallion away from the half-orc. “No, it summons a tree.” Nula back away, wary of the narrow walls surrounding them.

After Oskar had finished his circuit, he grunted in affirmation and turned to Idu. “Could you shatter these two points?” He pointed to an area of the ceiling and a section of wall that appeared to already be crumbling.

Idu glanced down at his spellbook and nodded. The party retreated further down the passage and waited as Idu sat cross-legged on the damp rock floor and opened his spellbook in front of him. Several minutes of preparation and chanting later, Idu jabbed from the spellbook to the chamber, uttering a binding word and releasing the spells. Two loud cracks rang out from the chamber, and a torrent of boulders fell from above, splitting the altar and filling in the skeleton-strewn room. As Oskar had intended, there was no spillage into the corridor.

Spirits were high as the party emerged from the dank caves into the setting sunlight. It would be full dark by the time the party made it back to the village, but Robyn was eager to return and report their success to that doubting mayor. The gold was certainly welcome, but Robyn thrived off of the looks of astonishment her team invariably earned as they proved their worth. Today the mayors and innkeepers of the realm learned to expect great things from them, but perhaps tomorrow it would be kings and queens who granted them vast boons for completing daring quests. Robyn knew it was only a matter of time.

#dnd stories

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nickarmstrongfilm · 5 years

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Nurturing Nihilism In Paul W.S. Anderson’s Shopping (1994)

Paul W.S. Anderson is a filmmaker who has spent his career leaning into the artificiality of our cultural obsessions. If this is not evident enough from his countless film adaptations of video games — starting as early as his sophomore film, Mortal Kombat (1995), moving onto helming the majority of the massive Resident Evil franchise, and continuing with his upcoming Monster Hunter adaptation — then it should be clear from his heavy utilization of special effects. The majority of his work is also characterized by apocalyptic conditions, whether it be historical or fictional. In his debut feature Shopping (1994), the only one of these preoccupations that was not already in tact is the reliance on special effects. It is likely that this was due in part to budgetary constraints, this being his first ever film, however the fact that the film presents itself as a post-apocalyptic vision of teenage revolt without relying on the visual elements that denote a dystopian future in many of the film’s influences (including Blade Runner [1982] and A Clockwork Orange [1971], as Anderson mentions in the film’s audio commentary). Beyond being limited by his budget, it feels as though the film recognizes its present (1994) as the dystopia so many other films envisioned occurring decades later.

To establish its barren setting, the film opens on a series of shots depicting industrial buildings, pumping out fire and gas that saturate the screen. No humans are seen in this opening montage, we see nothing but acres and acres of metal until we’re introduced to Billy, who is being let out of prison. It is not clear what he had been locked up for until he is greeted by his partner, Jo, who immediately helps him steal a car. The film centers around these two characters, as well as their group of teenage friends, as they take part in the acts of “joyriding” and “ramraiding”, which respectively mean stealing vehicles for the fun of it, and driving said vehicles into the doors of a closed store with the intention of stealing from them. The common thread in all of their activities, though, is that they are forms of rebellion. All of the film’s teenage characters participate in smoking, stealing, drinking coffee, listening to techno and living recklessly, in general. The film depicts an intersection of nihilism and capitalism that is punctuated by all these actions, and what the film investigates is what purpose rebellion might serve within that intersection.

While many of these activities are unique to the film’s teenage characters, when we are introduced to the figures that embody everything they despise — such as Billy’s father, or really any authority figure — we see that they smoke cigarettes and drink coffee as well. Billy criticizes his father for “sitting on his fat ass and smoking all day”, when the only thing that differentiates the two of them is that Billy rebels in more public ways. Anderson co-opted a negative review of his film that called it a “reckless orgy of destruction” in the film’s marketing, but the film’s message becomes most clear in the many moments of reflection that come in between its very high-octane action sequences. It feels as though the cold, metallic landscape that these characters live in is what breeds despondency in relationships between humans, thus inspiring its younger citizens to destroy and rebel. However, it appears that it is not the desire to rebel that disappears as these characters grow older, but rather the publicity of the rebellion. Ever since it has been public knowledge that smoking causes cancer and, ultimately, death, the act of smoking has been a private act of rebellion that is fetishized in popular culture. It is a rather dystopian idea to consider that there is a product that neatly packages death with a warning that you should not buy it, and yet, it has been a staple in our society for decades. It feels as though everyone smokes in hopes of cutting their life short, and its feels like Billy (and the rest of the teenage characters) act the way they do in fear of growing up to reach that point of defeat.

“these will kill you” “I’ll take the chance”

The film is notably set in the ‘90s (“It’s the ‘90s, sex isn’t safe anymore,” Billy proclaims to Jo) but is not set in any specific city, despite begin a UK production. The film’s blanket depiction of capitalism’s effects on youth activities feels as though it intends on capturing the zeitgeist of the 1990s as it pertains to the UK, as well as the dominant North America. Though in raising that question of where rebellion fits into its intersection of nihilism and capitalism, the film also interrogates whether or not genuine connections have a place in that society. Billy and Jo spend the majority of the film’s runtime together, sharing a series of quiet moments in between their acts of rebellion. One moment that sticks out is an extended conversation the two of them have on top of a car they’ve stolen, in which Billy reflects on how he is too afraid to go back to prison but ultimately too afraid to escape the life he’s built for himself outside of it. It feels as though the two of them give each other purpose where nothing else does, and that love is the only pure thing that gives them a sense of excitement. However, their rebellion against their capitalistic landscape — that values metal over human connections — intercepts the purity of their love as well. If it wasn’t already clear from their most intimate moments taking place on stolen vehicles, against cold metal, it also manifests in their expressions of love. For example, Billy gives Jo stolen items as gifts, as tokens of love. Even in their need to disrupt capitalism, there is a reliance on materialism that feeds into a culture that ultimately doesn’t care if they live or die. Their relationship is never clearly defined, which is no doubt a result of viewing monogamy as a cornerstone of a life they’re so desperately trying to find a way out of. So when the couple end up crashing their vehicle through a line of police cars at the end of the film, laying dead in their car in front of a neon sign for a store called “RETAIL LAND,” it feels as though they’ve chosen to end things on their own terms instead of admitting defeat against a world that is unattainable to them, yet stares them right in the face as they fade away into the flames of their demolished vehicle.

If there’s any moment that could be considered an early tell that this is the work of Paul W.S. Anderson, it’s a moment that takes place during the film’s first car chase between Billy and Jo and the police. While the chase takes place, Billy drives the car and Jo casually plays a car chase video game in the passenger seat. We cut between shots of the stolen car they flee in, as well as the car within the video game that is marked “OFFENDER”. To a lesser extent, video games could be a contributing factor to their desperate need for excitement within the rather desolate landscape that they live in — especially if you consider that video games are mass produced by the same capitalistic institutions that are responsible for that landscape looking the way it does. Of course, as I mentioned up top, video games are of particular interest to Anderson, and it makes sense that the majority of his films — whether they’re video game adaptations or not — are set during the apocalypse. It is especially exciting to me when you can look back at a director’s debut film and see that the groundwork has been laid for the rest of their career, and that one particular sequence feels like Anderson’s career in a nutshell: from the artificiality of video games, to its apocalyptic conditions, to a general lack of direction for its characters. In Anderson’s own Pompeii, he uses digital 3D filmmaking to depict the genuine events of the destruction of Pompeii in 79 A.D. In many ways, that film’s doomed romance and the fragility of its central location matches Billy and Jo’s relationship in Shopping. Even Anderson’s Soldier (1998), in which Kurt Russel plays a genetically engineered soldier deemed useless by its makers, feels like an apt continuation of Shopping’s capitalistic society that moulds citizens only to push them out. What feels most appropriate to talk about in Anderson’s career, however, is the undercurrent of corporate evil in his Resident Evil franchise that tracks Alice’s (played by his wife, Milla Jovovich) reckoning with her identity in the face of an apocalypse that was directly created with the intention of killing everyone who wasn’t in line with the corporation’s values, especially since it does all of this through the lens of the artificiality of video game action.

In making a debut feature, it feels as though relying on your influences is a rite of passage. What tends to mark the work of a talented up-and-comer is engaging with the influences that you are employing, and as a dystopian depiction of our present, the film feels much more thoughtful than any of its influences. What feels most telling about a film like Shopping taking influence from a canonized classic like Blade Runner — and perhaps he is merely turning subtext into text, depending on how you look at it — is that it takes what feels like a staple in futuristic production design and tones it down to highlight all the modern elements of a vision we don’t anticipate becoming a reality until decades in the future. Ironically, Shopping’s 1994 feels closer to our 2019 than Blade Runner’s 2019 does. As for dystopian futures that drive teenagers to violent rebellion, ostensibly just for the sake of it, the film has a lot in common with Stanley Kubrick’s A Clockwork Orange. Kubrick’s film leans further into post-modernism than outright dystopia in his depiction of a futuristic Britain, although as he depicts the film’s antihero Alex DeLarge descending into rebellion and ultimately being manipulated by the government into reaching a point of conformity that Shopping’s Billy and Jo would wince at, it feels as though it hinges on a boring sense of edgy nihilism where Shopping would instead probe and more deeply consider what feeds its characters nihilism and how it affects their personal relationships. In spite of these more obvious influences on the film, I couldn’t help but recall Edward Yang’s Taipei Story (1985) with regards to the film’s central relationship. Yang’s film is an intimate portrait of how one woman navigates her work life and personal relationships in a rapidly shifting Taipei. The film’s main character, Chin, desperately tries to advance her life and find success while her boyfriend, a former baseball player, dwells on his past successes that he strays further and further from. I’m reminded of the film’s employment of sunglasses and cigarettes as a solace for Chin in a landscape that quickly shifts and remains powered by masculinity that refuses to change along with it. As stated above, Billy and Jo tend to avoid labels within their relationship, but it feels as though it is Billy who holds the most influence within their relationship. The nuances of their relationships and actions lie within their view of violent rebellion as their only viable place within their society, and how it is Billy’s masculinity and fear of conformity that keeps him from fully embracing his relationship with Jo in the way that she seems to long for. The fact that they are cornered into the outskirts of what capitalism deems a functional society is what forces Billy to make the decision that ultimately kills the two of them.

What feels most dystopian about these films that place equal focus on an alienating location as it does on its characters is that we are constantly shown a setting that advances without its citizens in mind, and as a result, we see our characters struggle to find purpose and are ultimately blocked off from feeling included within their own home. It’s for this reason that the teenage characters in Shopping insist on accelerating their youth, and the only tools they have to do so are handed to them by society. It is through these normalized and fetishized gateways to death that capitalism fosters nihilism within its youth.

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