#like! talk about thematically resonant!!

[princessithaca]

i'm kind of obsessed with the lockwood and co worldbuilding, actually. like, it's such a fascinating one-step-to-the-left universe alteration. what if, right as 70s britain is careening towards an economic crisis, keynesianism is creaking, and the whole country's about to come down with the 'british disease'. what if, out of the shuttered up city high streets in london and liverpool, or the burgeoning ghost towns of the rapidly de-industrialising north, literal ghosts began to emerge? what if?

[hypermascbishounen]

There's a deep irony in Berserk being so admired by people who really really hate what Berserk is about on an emotional level, but especially when writers want to take influence from it. Because Berserk is very strong thematically, and someone who can't acknowledge subtext is going to whiff on emulating anything good.

[honeyhotteoks]

under his eye (lnds; sylus)

summary: sylus puts you under his thrall and takes exactly what he wants from you and your body.

note: this is my first love and deepspace fic, and definitely one of my more intense fics thematically for my regular readers who may dip into this one too. i have a few lnds ideas knocking around, so i may post more at some point. ♡

warnings: actual vampire!sylus, fem!reader, mc!reader, this is entirely smut but please mind the warnings here: heavy dubcon (there is enthusiastic consent explicit in the fic just not at first), cnc, use of thrall/mind-control, dollification, fingering, oral (f receiving), actual somno, rough sex, allusions to primal play, blood play, actual vampire behavior, orgasm denial/orgasm control, overstimulation, unprotected sex (he's a vampire tho get real), creampie, praise and shame in equal measure, a LOT of dirty talk from sylus, heavy use of pet names like good girl, sweet girl, kitten, sweetheart, darling, etc., some implied size kink with the use of 'little' but it's meant more mean teasing from him than anything, tenderness, consent talks, check-ins, aftercare, sylus literally loves her in this dw

pairings: vampire!sylus x hunter!reader

genre: smut, porn with very little plot

word count: 5.6k

for my fellow sylus fans, you can probably tell this was fully inspired by his secret times audio 'midnight warmth' - i basically hit level 35 and then went fully insane when i first heard it..... so a few lines of dialogue are borrowed from that.

It’s hard to imagine what it feels like to be in a vampire’s thrall unless you’ve experienced it before. You don’t think you’d ever be able to find the words, not properly. You’ve heard it described, in training, in books, in your own personal research, but it all pales in comparison to what it’s actually like. The slow, hypnotic build up into the haze and the sudden descent into a deeper, darker place where your mind resonates at a lower frequency, fixed on one singular sound. One voice.

Sylus. 

His rich, honeyed tone had pushed you under before you could even process it. 

You try to remember where you were before this moment, who you were, but there are only flickers. The hotel room around you is large and unfamiliar, outfitted decadently in the dark jewel tones he favors so much. The black silk sheets under your back is the only sensation you have other than the slow pulse of your own heartbeat in your ears. If you focus hard enough, you think you can remember a joke, something you quipped over your shoulder about how there must be laws in place in the N109 zone, how ‘vampire’s lair’ must be the only legal style of decor in this sector of space. 

He had laughed, a real, genuine laugh from deep in his chest before he wrapped his arms around you from behind and nuzzled into your hair. 

You don’t like being in a vampire’s lair, kitten? 

You can still hear his words, swimming around your foggy brain, his voice so low and warm in his chest. 

I thought you liked being my pretty paramour. 

Sylus’s hands had wandered, playing with the buckles of your hunter’s leathers and letting his fingertips ghost over your collarbones, up your throat, and pass gently over your lips before stepping back and away from you entirely. You felt strange from that moment on, disquieted. 

You made excuses in your own mind for how you were feeling, weeks of investigations and sleepless nights, that’s why your body felt like it was dragging itself through butter just trying to eat dinner. 

You apologized, you wouldn’t have called him if you had realized just how tired you were.

But he just smiled at you, appraising you with his sharp red eyes in that way he often does, nodding along to your staggered attempts at conversation. 

You realized what he was doing in the last split second before your mind became his. 

His gaze turned darker, searing into you, and with one word you felt the world drop out from underneath you. 

Sleep. 

You don’t remember how you ended up on the bed. 

Now your head is swimming as you try harder and harder to focus your mind and recall the little details.

“Stop resisting, darling,” Sylus murmurs, and you feel the mattress dip. 

You can’t respond, you can’t even really move, and a nervous panic starts to work its way up your spine.

Sylus sits on the edge of the bed, close enough to you now that you can see him in your vacant line of vision, and he nods, “Just relax,” 

Your muscles soften. 

“Let’s get you more comfortable, shall we?” Sylus leans closer, his fingers tugging at the buckles and straps of your clothes. 

You watch as he meticulously undresses you, peeling away layers of your uniform, a satisfied groan whispered from his lips as he parts open your blouse, another when he does away with your tight leather pants. All the while, you’re boneless, trapped by his last command and fully at his mercy. The Hunter’s Academy never prepared you for this. 

“You really are a pretty thing,” Sylus hums, his cool hand drifting up and down your body from the base of your bra to the top of your underwear, “so soft,” 

Nerves pulse through you again, your body twitching under his hands. 

“Shh,” He soothes, “it’s only me, relax,” 

Your muscles melt further, any lingering tension bleeding out of your body at his words, your head rocking softly to one side, your cheek against the silk pillowcase. 

“That’s a good girl,” 

You sigh, a sudden needy tug deep in your belly at his words. 

“Mm,” His hand drifts higher, dancing over your chest and passing over your breasts, the rough drag of your cloth bra against your nipple pulling a tiny whine from your lips. 

He chuckles softly, repeating his motions and you whine again. 

“How lovely and responsive you are,” Sylus says, pulling the fabric of your bra down until it catches under the swell of your breasts, “what other little noises can I pull out of you, kitten?” 

He rolls a thumb over your nipple, drawing it up to a tight, almost painful peak, and you whimper at the flood of sensation through your chest and down your abdomen. 

“And this?” He pinches, a tug that leaves you involuntarily jerking. 

“And here?” You can’t see him with the way your head is turned, but you feel his fingers ghost over the hem of your panties and you suck in a sharp breath. 

He adjusts one of your legs, opening it up at the knee to widen his access, and then he presses two fingers a little more firmly at the top of your cunt, expertly locating your clit through your panties and applying steady pressure. 

You moan softly and you hear him release a tight exhale. 

“My,” He lets his fingers slip down, pushing lightly against your slit, “are you wet already?” 

You know you are, your body responding naturally to his voice, to his tender touch. 

“I asked you a question, sweetheart,” Sylus leans over you, his breath against your cheek, “when I ask you a question, I’d like a response.” 

Your heart is fluttering, a thunderously fast pounding in your chest. 

His fingers hook under your chin and draw your gaze up, and gently he pushes the hair away from your face as he regards you, his dark eyes full of mirth and a little half smile on his lips. He nods at you, pleased as if you had turned your own head, “Now,” he says, “I asked if you’re wet already?” 

Your knotted up tongue loosens instantly at the question, “Yes,” 

“Good girl,” He coos, leaning over you to press his cool lips to yours. 

You can’t kiss him back, he hasn't told you if you’re allowed to move, but he peppers you with kisses until you feel his fingers slide under the hem of your panties. 

You gasp under him, heat pooling in your belly. 

Sylus dips his fingers into the dripping slickness of your cunt and groans into your ear, “You like this,” he nips at your earlobe, “you’re a mess between your thighs for me, aren’t you?” 

“Yes,” The word slips out, your voice breathy and taut.

  “My pretty little hunter,” He slides his fingers up to your swelling clit and circles his fingers, “does that feel good?” 

You moan a little, his fingers pressing more firmly as he circles, “Yes, Sylus,” 

“Spread out for me,” He presses his head against your temple and turns so he can watch your body twitching as he works his fingers over you, “Wet for me,” 

A hot rush spreads up through your body.

You shouldn’t like this. You shouldn’t want this. But you asked for this, a confession of your fantasies whispered between the sheets at his apartment, and he peeled them apart one by one, teasing you with questions and collecting his information, strumming you to orgasm after orgasm all the while.

You just didn’t know it would be today, weeks and weeks went by without so much as an innuendo. The sudden onset of his thrall and his control over your body shouldn’t be this alluring, but it is. You can’t move, you can’t speak unless he allows you, but every touch of his skin on yours has you ready to throw every instinct out the window because you’re pretty sure you’re wetter than you’ve ever been. 

His fingers speed up and your hips buck just a little into the sensation.

  “Dirty girl,” He hums, “you like the way this feels, you like that you can’t move,” 

He twists your dark desires back around on you, a flutter of shame in your chest at the truth of it. 

He explores your cunt with his fingers, toying with you and gathering more wetness to torture your clit with, “You like being helpless, completely in my hands,” he goads you as he works your body up to release, “unable to stop me, or tell me no,” 

Your core throbs, every inch of your body a live wire, shame twisting into a tight knot of need in your belly. 

  “Don’t you?” 

You gasp as he pushes two fingers deep inside you, “Yes, yes!”

”Are you close, kitten?” He purrs in your ear, thrusting his fingers hard and fast, his knuckles rhythmically connecting with your clit. 

  “Yes,” You whine, your body trembling.

  “That’s too bad,” He pulls his hand free and lets your underwear snap back into place. 

If you could move you’d be a whining mess, throwing yourself at him and begging for him to finish the job, but you can’t. He’s stolen your orgasm right out from under you and you can’t even ask him to finish the job. 

“Hmm,” He stands, and you hear the sound of his shirt dropping to the floor, “does it hurt?” 

“Yes,” You manage. 

“Poor baby,” He teases, mocking your little sob, and his thumbs hook under the sides of your panties to yank them roughly off your body, “should I kiss it and make it better?” 

“Please,” 

He drops back down to the bed, this time sliding in between your thighs, and when he speaks again you feel his cool breath whisper across your throbbing center, “Ask nicely,” 

Your voice is shaky when you finally find the words, “Please, Sylus will you touch me?” 

“Touch you where?” 

You whimper, the slightest involuntary jerk of your hips pulling a chuckle from his lips. 

“I said,” He reminds you, “touch you where?” 

“M-my clit,” You beg, “my pussy, please,” 

“Was that so hard?” You can practically see him smiling. 

You open your mouth, ready to respond, but his mouth closes over your clit and all thought and reason you had left disappear. He’s going to ruin you for any other man, you know it. 

Sylus hums, pushing your limp legs painfully wide and laps at your center. There’s no teasing left in him, no gentle licks and featherlight brushes of fingertips, there’s just him, needing to feel you come just as badly as you do. 

The knot in your gut is back with a vengeance, and every impulse in your body is to squirm away from his mouth and let him drag you back down, but you can’t. Sylus takes and takes and you have no choice but to let him. 

When he lifts his mouth to take a quick breath he gives you another command, “Watch me,” 

The tether between you draws your gaze down, and you gasp at the sight of him. He’s shirtless, his broad hands holding open your trembling thighs, and he eats at you like you’re a meal. Your breath comes quicker, blush lighting up your chest. 

“You taste so sweet here,” He groans, barely lifting his mouth, his tongue carving a line up from your entrance to your sensitive bud and you choke out a breathy moan. 

He knows you’re about to come before you do, and you see him smile into your wet heat before he shifts focus, lips closing over your clit and sucking hard, his hand sliding to push two fingers back inside and crook them just right. Within a few sharp pumps of his wrist and a steady flick of his tongue you’re moaning sharply, your release snapping in your belly so hard you see stars. 

You can’t move on your own, but your body crackles apart in rhapsodic shakes and he carries you through the crest of your orgasm with lazy licks. 

“Beautiful,” He murmurs, and you feel the sharp pin prick of pain at your inner thigh. He licks you there too, taking just a little taste from the vein, and then sighs pleasantly and squeezes your thigh. 

He kisses you here once, and then pulls himself up, arranging your legs back down before sliding next to you in the sheets and tugging you close to his chest. 

You rock into him, your body spent and boneless, unable to move to wrap your arms around him or press kisses to his chest. Instead you just are, and he pulls your body up until you’re in the perfect spot in his arms. He tucks his cheek against yours and palms your backside. 

“When you wake,” Sylus whispers low, “it will be on my cock.” 

You shiver, your core pulsing again. 

“And you’ll stay nice and soft and wet for me,” He kisses the hollow of your ear, “my sweet doll,” 

Your eyes start to grow heavy, your head lolling into his shoulder. 

“You’ll let me have my wicked way with your sweet cunt,” His hands flex tightly on your skin, like he’s restraining himself from taking you now, “and when you’re close, right on the edge of coming, you’ll tell me, do you understand?”

  “I understand,” Your words sound lazy, malformed in your cotton mouth but you answer him nonetheless.

“Good,” He murmurs, “and when you come, your hot pussy squeezing my cock, my thrall will end.” 

A hazy question forms in your mind, but you’re so foggy now. 

“But until then,” he sighs, his hands relaxing and his voice softening, “you’ll rest,” 

Your eyes drift shut, a relaxed sigh on your lips, your body indistinguishable in your mind from the sheets wrapped around you. 

Sylus presses a gentle kiss to your hair and strokes your back, “Sleep, little crow,” he says softly, “you’re safe with me,” 

Just like before, the world falls away. 

✦ . 　⁺ 　 . ✦ . 　⁺ 　 . ✦

There’s no telling how long you’ve been asleep, not when Sylus wakes you the way he does. You come into consciousness incredibly slowly, as if you were out of your body and watching the scene in slow motion. The first thing you register through the muffled world of dreamless sleep is his voice. It doesn’t matter how deeply under you are, still encased in darkness, you hear his voice reach out to you and tug on the invisible tether tying your consciousness to his. 

Needy girl. 

Hands on your thighs, cool air on your cunt. 

Rutting yourself on my thigh. 

Were you? 

Don’t you know I’m the only one allowed to make you come?

A soft moan. Yours, you think distantly. 

Sylus chuckles and hums, no doubt appraising you once again with his hungry eyes. You still feel under the deep water of sleep, your body disconnected and pliant in his hands, his influence so impacting that you remain his plaything even now. 

Fingers dance across your skin, skating lines of ice over your flesh. Sylus studies your body with his touch, a brush against your collarbones, the curve of your shoulders, down your arms into the ditch of your elbows. A brush of lips against your palm, a reverent kiss to your chest, his mouth nuzzling against your belly as he searches more of you with his precious touch. 

Your skin turns sensitive, prickling goose flesh, and he sighs pleasantly into your skin, “So beautiful,” 

His voice feels clearer now, and somewhere in your brain through the membrane of your closed eyelids you register the cool blue of early morning light. 

“My darling,” He hums, another kiss, the shifting of the sheets as he moves, “my sweet girl,” 

You feel the weight of him above you, his legs between yours and his torso radiating a chill as he holds himself above you. Sylus slips one hand into your hair, cradling your head for a moment before he tightens his hold and uses his grip on your scalp to draw your head back, neck stretched long and exposed. 

He drops lower, body ghosting yours, and he buries his face in your throat, pushing his nose into your pulse point. A panicked thrill lances through you, your heartbeat fluttering faster. 

“Shh, shh,” He whispers against your throat, “don’t be frightened,” 

A sharp exhale leaves your lips. 

Sylus kisses your throat, letting his lips linger, “You wanted to play with a vampire, sweetheart, this is what you get,” 

Even in this false sleep, you feel your core flutter, heat pooling again. 

His tongue darts out, tracing a line from your thumping pulse up your vein to your ear and he groans pleasantly, a flutter of breath across your skin, “Next time,” he shudders, “maybe I’ll make you play my favorite game,” 

Your breath quickens. 

“Vampire,” He nips at your throat, his fangs still sheathed, “and vampire hunter,” 

The ache between your thighs melts into a throb, a pulse in time with your heart.

Sylus moves lower, lavishing open mouthed, messy kisses on your skin as he talks. His voice still a whisper, his fantasies muttered out from himself more than for you as he loses himself in your touch.

”You’ll come to me,” He teases, “ready to kill the big, bad, vampire,” he punctuates every word with a sharp lick to your breasts.  

A whimper passes through your slack lips. 

“Only I’ve played this game before,” His hand slides out of your hair and he settles his body weight over you, “and I never lose,” 

You shiver, his words, his cold touch, it hardly matters. 

“And you’ll run from me,” His hands drag over your skin, cupping your breasts, “and I’ll chase the frightened kitten into the woods,” 

Your breath hitches. 

He smiles against your skin, lips closing over a stiff nipple and flicking until you shudder beneath him. He hums, kissing across your chest, “Red and ripe as strawberries,” he observes, latching onto your other nipple and sucking, “I can feel how much you’re aching for me even in your sleep,” 

You’re dripping, you can feel it, making a mess of the silk sheets underneath you. 

He shifts, maneuvering your body to tilt your hips up and open, legs spread wide, and then you feel him. Sylus slides his impossibly hard length over your slit, rocking himself back and forth against your wetness, his velvet head nudging at your swollen bud. 

Your body is trembling, fluttering under his hands. 

“When I catch you,” He returns to his garish fantasy, “I’ll strip you bare,” 

You feel your stomach clench at the thought. 

“I’ll pin you right down to the ground,” He says it like a promise, rolling his hips harder, “and fuck your hot little cunt until you’re so cockdrunk you beg for more,” 

A pained whine bubbles from your mouth, hips arching involuntarily at his words. 

“Mm,” His hand drags down your chest, skimming over your body, “have I denied you too long, love?” 

You want to beg, to plead, to shift your hips into the exact right position so that his next thrust pushes his cock inside. 

“You’ve been so good,” He adjusts, finally nudging at your wet entrance, his hands finding yours in the sheets and drawing them above your head, fingers twined together, “just a little more,”

He inhales sharply and then with a forceful thrust he sheaths himself inside you, his hips connecting hard with yours. 

You moan sharply, your pussy clenching around the thick intrusion of him. 

He chokes a groan, “O-open your eyes, sweetheart,” 

Your eyes snap open, and the sight of him naked above you, inside you, is enough to send your mind spiraling out of control. 

“Your body was made for me,” He snaps his hips, setting a brutal pace as he ruts into you, “divined by gods for my cock,” 

Pleasure rolls up through your belly and your body tightens.

  “You’re mine,” His hands tightens on yours, his eyes boring into you.

  Tears gather in your eyes, a hot sensation through every inch of your body at the way his thick length spears you open with every draw of his hips. The knot inside you pulls again, a taut cord threatening at any moment to snap. 

“Say you’re mine,” He commands, his voice faltering into a moan.

  Your mouth opens, straining against the sure drop of your orgasm but you nod, “I’m yours, S-Sylus, I’m all yours,” 

“Good girl,” He pants, “there she is,” 

The praise on his lips sends you higher, and you suck in a sharp breath, “I’m… Sylus, I’m close!”

He descends, moving in a flash of nearly inhuman speed, and suddenly your head is pulled to the side  again and you’re cradled tight as he rolls his hips into you. 

“Come,” He directs, one more command on his lips before you fall to pieces beneath him, and his sharp fangs descend into your throat. 

“Sylus!” You jerk, true consciousness and feeling rushing back as the thread between his mind and yours severs, but you don’t have a moment to parse how it feels to be out of thrall when your orgasm rushes into you full force and the hot pain of his teeth melts into delicious pleasure. 

He groans, shuddering above you and stopping his thrusts as he feels your walls spasm and flutter around him, the taste of your blood on his tongue grinding the world to a halt at his feet. Nothing exists but you and him and your blood on his teeth and his cock buried to the hilt inside you. 

Your arms wrap around his shoulders, one hand threading into his hair, “Sylus,” you murmur, carding your fingers through his silver locks, “all yours,” 

Euphoria doesn’t begin to describe it, your orgasm feels never ending. Every suck at your tender throat spurns another wave through you, and you rock yourself against him, grinding up against his pelvic bone to draw out every ounce of your pleasure. 

When he pulls away, he does so with care, gentle with the skin of your neck to ensure he doesn’t hurt you anymore that he has to. Pushing up on the mattress he finds your face and you roll right into another aftershock. His eyes are brighter, wide in desperate awe of you and somehow an even darker shade of red, and that with the smear of your blood across his lips has you keening, arching and gripping against him as you babble out his name between moans. 

“That’s it,” He softens, gathering you close to press his forehead to yours, “come for me again, that’s my girl,” 

“Sylus,” You’re a whimpering mess, your body a pool of ecstatic pleasure, and all you can do is repeat his name and hold onto him through the wave of endorphins and emotions. 

“Shh, shh,” He hushes you softly as you ride through the last flush of pleasure, “I’ve got you,” 

Your skin is slick with sweat, and your legs are shaking, breath coming in shallow pants as you finally come back down. 

Sylus holds you, bracing you to his chest and he makes short work of rolling you both without disconnecting your bodies. When he settles he’s on his back with you perched on his hips, his fingers carving a line up and down your spine to settle you. 

Flush and trembling, you find his eyes again. 

His brows draw together, a knit line of tender concern, and he brushes his thumb over your jaw, “Don’t bite your lip,” 

Your mouth relaxes, you hadn’t even known you were doing it, and your eyes flick away. He says something, words you can hardly hear through the dizzy rush of your brain trying to catch up with the past few hours.

“Sweetheart,” he smooths his thumb over your cheek, “look me in the eyes, answer me,” 

Your head snaps back up. 

“Was I too rough?” He asks softly.

You don’t have words yet, you can’t reach them and string them together, but you shake your head.

”Are you sure?” His hands draw up and down your body slowly like he’s checking you for something, his broad hands finally coming to rest over yours where you brace yourself on his chest. 

You nod to his answer his question, “I’m sure,” 

He relaxes under you, pressing your hands into his chest over his heart, and it would turn you to romantic putty if he wasn’t still seated fully inside you and if your blood wasn’t staining his mouth. Your eyes keep flicking down to his mouth, crimson across his plush bottom lip, smears on his chin, a drip that made it to the edge and slipped down his neck. 

”Hmm,” His lips turn up into a smile and you sheepishly look back up, “are you still hungry, love?” 

Your stomach clenches, his voice turning husky again the moment he spies your renewed arousal. 

This time though, you’re awake. The heavy fog of his control and your barrage of orgasms has started to lift, and you need something more. 

You let your body melt, relaxing against him and letting his cock shift inside you, “Are you?” 

He almost laughs at your expression, one brow raised to challenge him as you push up to straddle him. His eyes rake over you and you feel his cock twitch, “You’d think I would have had my fill of you,” he says, hands moving to your hips, “but I find you make me insatiable, the more I taste you, the more I fuck you, the more I want,” 

“A vampire who’s never satisfied?” You tease him, “how original,” 

He exhales softly through his nose, smiling, “You’re the one still grinding on my cock, kitten,” 

You blush, but make no effort to stop unconsciously rocking your hips against him. 

“I was wrong, you’re the insatiable one,” He says appreciatively, and he smoothly slides his hands up your back to brace you so that when he sits up you stay with him. 

“If I was I’d never admit it,” 

He smacks your ass lightly with his palm and you wrap your legs around him, the position change sinking you back down onto his length and you sigh. 

”After what you just let me do to you?” Sylus shakes his head, his voice dropping the teasing tone when he presses his lips to your chest, “That’s admission enough,” 

He takes both hands to grip your backside, pressing into your soft flesh, and drags you forwards to coax you into motion. 

Holding onto his shoulders you follow his lead, working your hips back and forth, letting the press of his hands guide your speed. The feeling is dizzying, his cock feeling thicker and more filling in this position, and you can’t help the stammered moans and pants that bubble out of you with every downstroke connecting your hips to his. 

Sylus mutters a curse into your skin, his fingers pressing hard enough to leave bruises, and then you feel his tongue. 

“Fuck,” You whine, “Sylus,” 

He pulls at your hips harder and you pick up the pace, grinding your heels into the mattress for the right leverage, losing yourself to the steady wet sound of him inside you and the heat building back up in your belly. 

You shiver at the sensation of his tongue traveling, dragging a line up your chest from the swell of your breast to your collarbone, and when he groans and huffs a needy breath at your throat, you realize what has him so flustered. 

“T-take more,” Your hand in his hair again to direct his head, pushing him towards your throat. 

“Mm-mm,” He shakes his head and drops the flat of his tongue over the bleeding teeth marks at your throat. 

You hiss sharply, a familiar roll of pleasure through you and you grip his hair, “Please, baby, please,” 

“Not tonight,” He laps at you again, “just cleaning you up,” 

“God,” You moan, your pace faltering for a moment until the pressure of his hands pushes you back into action. 

“Don’t stop,” He urges you, pulling away from your throat and using one hand to tug you close by the back of the neck, “you feel…” 

You have to hold on, you need him to come after all the work he’s put into pleasuring you, and you can’t let yourself fall apart until he does. You lock eyes with him and his expression, almost pained, his mouth open in silent pleasure and still painted red, pushes you through the ache in your hips and the burning in your thighs. He’s so close. Nearly, nearly there.

”Sylus,” Your voice breathy, “kiss me,” 

There’s a flicker of a smile across his mouth but he surges up, capturing your lips in a desperate kiss. His tongue catches against yours, and you taste the iron of your own blood, you feel the sharpness of his fangs, but all it does is drive you closer and closer to delicious release. 

“My sinful little thing,” He pants against your mouth, “you never stop surprising me,” 

Your eyes flutter shut, your nails tight against his shoulders, “Please, I need it,” 

“What do you need?” He croons, hungrily at your lips once more. 

You moan against his mouth, tugging his hair sharply, “Come,” you pant, nearly out of breath, “I need your cum,” 

He shudders, groaning.  

“Sylus!” You whine again, “Inside, please, please,” 

His hand slips from your hair, and the equilibrium changes things back to Sylus in total control. With both hands secured on your ass he takes over, dragging you fast and hard on his cock and meeting every thrust with a hard jut of his hips. He’s fucking into you with reckless need, the head of his cock connecting over and over again with your cervix, and you arch and cry out in his arms. 

“No,” He pants, pulling you back to him, “eyes on me,” 

“Please,” You beg again, your cunt spasming and fluttering, “I-I’ll come if you just,” 

He loses himself immediately, pulling you down hard and choking out a moan, spilling his release deep and grinding you down to prolong his own pleasure, but you’re falling apart right behind him in a breath. A final, dizzying orgasm taking your body like a soft wave, languid and warm, and Sylus nods as you ride it out, coaxing you through every last moment. 

When you settle, you feel how much your body is trembling, and he releases his tight grip on your hips to gently massage your skin, soothing touches as he softens inside you. 

“Oh my god,” You laugh softly, your forehead pressed to his, “that was,” 

“Good?” He asks, a soft, quick kiss to your lips. 

“Perfect,” You sigh, “you were perfect.” 

He nods, drinking you in for a moment more before he exhales and relaxes, leaning back and meeting your eyes.  

“I must look a mess,” You press your cool knuckles to the warmth of your flushed cheeks. 

“A beautiful mess,” He counters gently. 

You smile lazily at him, feeling boneless and sated and delicious. 

Sylus takes the pad of his thumb to the very tip of his razor sharp fangs and pierces his skin, a bead of his own dark blood rising up from the puncture on his pale skin. 

His fangs retract and he reaches for you, smoothing his bleeding thumb over the bite mark at your throat. You hiss sharply at the sensation and grip his shoulder, the burn of your skin knitting itself back together something you don’t know if you’ll ever get used to. 

“I was too rough with you,” He comments, like he’s filing away that information for himself for next time. 

You shake your head though, resting your hand on his wrist, “You weren’t, I wanted every bit of it,” 

His thumb sweeps a final line over your skin and he kisses you again, “I’ll keep that in mind,” 

You smile against his lips, and then Sylus gives you one final, quick peck. 

“I think a shower,” He says, sliding you both smoothly off the bed and keeping you tucked in his arms, “and a nap,” 

“I think that’s a perfect idea,” 

“And I’m hardly hungry anymore,” He teases as he carries you into the bathroom, “but we’ll order something up for you,” 

You nod, relaxing into his care. 

“Perhaps a movie,” He suggests, sliding you onto the counter so he can start the shower, “or I could always read to you?” 

“Or you could tell me more about next time,” You say slyly, “what was it? Chasing me down in the woods?” 

He shakes his head, testing the warmth of the water on his fingertips. 

“Having your way with me?” You stretch out your leg to reach him, dragging your foot down his thigh, “Should I struggle? Beg you to stop?” 

His hand snaps up, closing around your ankle and he turns towards you, “Be careful, sweetheart,” 

“I’m simply curious,” You tease. 

“Mhm,” He scoops you back up and walks you straight into the shower until your back is against the chilly tile wall, “Curious?” 

You feel him hardening again against your belly and you nod.

“Kitten,” He smirks, “you know what they say about curiosity, don’t you?” 

“I think I need a little reminder,” You sigh, holding onto his shoulders again. 

He kisses you again, pressing you into the shower wall, a smile on his mouth as he nips at your lip, “I’ll bet you do,” 

[heliza24]

I want to talk a little bit about Daniel in the Interview with the Vampire show, because the new trailer material has me stuck thinking about him, and also I’ve never written about how meaningful he is as disabled character to me before.

I don’t see many people thinking about show!Daniel in these terms, but he’s a canon disabled character. And I think the way he is written is just SO good. The acerbic wit, his relationship to doctors and his medication, his rueful acceptance of the way his disability has changed him. It is all so correct!! It’s really incredibly rare to have not only a disabled character written this well but specifically a chronically ill character written this well. His illness is always present; it doesn’t get forgotten about by the story. It gives Daniel insight into the vampires (more on this in a min), but it also gives Louis and Armand leverage over him. When Louis triggers his Parkinson’s symptoms? Deeply not ok. But that’s what made it such a great scene, and really made Louis feel dangerous and threateningin that moment. Armand and Louis arranging Daniel’s meds is a sign of great care and also great power over Daniel. It’s the perfect way to communicate the complicated power dynamic in their relationship.

I also just fucking love that this show takes place in 2022 and doesn’t erase the pandemic. Covid is a very present concern for Daniel and I cannot describe how validating that is for me as someone who is clinically vulnerable to Covid and who has had to really limit my life and take a lot of precautions because everyone else has decided to stop caring whether they pass on Covid or not. The fact that Daniel gets on a plane to Dubai is a BIG DEAL. He’s risking his life to talk to Louis and Armand before he’s even in the room with them. He really wants to be there. I have to make a similar calculation every time I travel, and trust me, getting on that plane knowing getting sick could spiral you into even worse health or kill you is really hard.

I think making Daniel disabled and including the pandemic is kind of a genius level decision on a thematic level. Of course Daniel is now facing down his mortality, which gives him a whole new lens on the vampires and the fact that he once asked them to turn him. And the pandemic further highlights his fragility, and is also possibly being used as a cover for drama that’s happening in the vampire world. But I think it also really sets Daniel up as a foil to Louis.

There’s a lot of analysis of the vampire chronicles that reads vampirism as a metaphor for queerness. But I would actually propose that it’s a much neater parallel for disability and illness in a lot of ways. So many of Louis’s initial experiences after being turned resonated with me, as someone who became chronically ill in my 20s. My appetite and relationship to food completely changed, much like Louis. My relationship with the outdoors and the sun changed, because of dysautonomia and allergy reasons. I was very mad, and very depressed, and I too have missed out on birthday parties and big life events like Louis did because I was too sick to go. Hell, you can even say that the way that Louis is treated as evil by his family, that the way vampires literally can’t be a part of society during the day, is reminiscent of ableist exclusion and ugly laws. (Ugly laws were laws that forbid disabled people, especially those with visible differences, from being out in public, and they were on the books in many American municipalities until the 1970s.) You can look at Lestat being an out and proud vampire in the first few episodes on the season and imploring Louis to leave his shame behind as a queer thing, but you can also view it as a disabled thing. Disabled people are portrayed as monstrous so often (and in a way that has gone relatively unexamined compared to say, the queer coded villain trope) that sometimes it’s just easier to embrace that label: I’m the monstrous Crip, but at least I’m not ashamed of or disgusted by who I am anymore.

I do think the real strength of this adaptation is that while you can find parallels between queerness or disability or other forms of marginalization with vampirism, ultimately it’s not a one-to-one parallel. It speaks to the real world but ultimately it is a gothic horror story about supernatural monsters. So I don’t mean to say that vampirism directly equals disability, because it does not. But I do think that making Daniel disabled was an intentional choice to help draw out some of those parallels, and I think the text is richer for it.

So Louis and Daniel have had these kind of parallel experiences of uncontrollable and difficult things happening to their bodies. It sets them up perfectly as foils, and even, I would argue, as the A plot and B Plot protagonists. This is one of my favorite ways of kind of examining the structure of a TV show (or maybe it’s that most of my favorite shows seem to be structured this way?). When TV was all episodic, it would be common to refer to the A plot (mystery of the week), B plot (interpersonal drama happening as the mystery gets solved) and C plot (any overarching plot tying the season together) in an episode. Now that stuff is serialized, there’s often a main protagonist, who has the main dramatic question and the most agency, and then there is often a secondary B plot that explores similar themes and mirrors the A plot, or presents a second main character who is the ldifferent side of the same coin” to the main protagonist. (My favorite example of this is Flint and Max in Black Sails, and I’ve also made the argument that Wilhelm and Sara fit this pattern in Young Royals.) In IwtV, Louis is obviously the main protagonist of the show, especially in the A Plot, which is the stuff taking place in New Orleans/Paris. But I would argue that Daniel is the protagonist of the B Plot set in Dubai. At the very least they’re intentionally set up as mirrors of each other:

They are both unreliable narrators, who are struggling with the way memory contorts (through memory erasure, illness, deliberate obfuscations, and just the passage of time). The most recent teaser trailer, where we hear Louis saying “I don’t remember that”, with panic in his voice, further underlined this similarity between Louis and Daniel to me. I don’t know if it means that Louis has also had his memory tampered with, as I’m assuming Daniel has, but I do think it means that Louis is going to be struggling with feeling out of control of his own narrative more in season 2, a thing that was already starting for Daniel in season 1.

They are also both locked into power struggles with people more powerful than they are. The fact that Louis is under Lestat in the flashbacks and above Daniel in the Dubai scenes in terms of power/status makes it all the more interesting. And, if we want to go ahead and assume that the Devils Minion’s years have happened in the past by the time we get to Dubai— it’s possible that both Daniel and Louis are united in being the less powerful partner in their own respective fucked up gothic romances.

They’re also both the audience’s entry point into their respective stories. Louis’s narration guides us into the world of vampires. Daniel’s questioning satisfies our human curiosity in Dubai.

I think one of the things that makes the show so special is the way that these two protagonists interact. In a lot of shows the a plot and the b plot stay pretty separate. I love talking about Black Sails for this because I think it’s such a good example; Flint and Max never exchange dialogue the entire show, even though they’re so clearly affecting each other the whole time. But the way that Louis and Daniel clash in Dubai is so exciting. We see them both wrestling for control of the narrative. It’s thrilling to watch and it just hammers home the theme of how complicated and changeable stories can be.

I am SO excited to see how the Dubai scenes play out in season 2 because of it. I really can’t wait. I’m really hoping we’ll see Daniel and Louis’s relationship evolve in surprising ways, and I’m holding my breath that we’ll get a lot of Armandaniel material to work with. (I have a whole other post drafted that’s much less smart than this one and is just me waxing poetic about Devil Minion’s theories which I may post at some point. You have been warned.)

I do have two wishes for Daniel in the new season, and they’re 1: that he gets to have romance/sex, because disabled (and older!) characters are so often seen as unworthy of being desired, and I would like to see that challenged and 2: that he continues to refuse to be turned/is not offered a vampiric cure for Parkinson’s. The magic cure for a disability or chronic illness is probably my least favorite disability trope, because it serves to erase disabled characters and representation from the narrative, and I want to see my experiences continue to be reflected in Daniel’s. That means that whatever ending Daniel’s story has will probably have at least a bit of tragedy baked into it, but I’m ok with that.

[ohnoitstbskyen]

I know you made shorts for Sora, Riku, and Kairi, but do you have any other thoughts about Kingdom Hearts?

Ik this is kinda vauge and you get these kind of asks all the goddamn time, but I hyperfixated on those games for most of elementary and middle school and its always cool to see your favorite Youtuber talk about stuff you really like. Not to guilt trip you into answering this one or anything, just. . . I'm very tired and it would be very cool lol.

Again, saving my character design thoughts for some more shorts, but I adore Kingdom Hearts. Like, the first game really ISN'T much more than a cross-promotional branding exercise for Disney and Square, same as any of a dozen other similar crossover centric franchises; it's a Saturday morning cartoon show that wants to get you invested (or keep you invested) in a bunch of fancy IPs to buy toys of, but it's a really good one of those.

And it's a game that understands that the central thing that's going to hook people IN to that kind of thing is characters that are willing to believe in what they've got going on with one thousand percent sincerity. Which I think is the thing they nailed more than anything. Sora cares SO MUCH, and he wants to find his friend and his love interest (Kairi and Riku, respectively) SO BADLY, you can't help but root for the poor kid and want to believe in it.

Then, with the first game successfully managing to hook a solid fanbase, the creative team went "hey what if we had even MORE extremely earnest cool anime people getting deep in their feelings?" and now we're off to the races with Organizations and Oblivion Castles and fractions of 358 days.

And the thing that makes all the hyper-convoluted wheels-within-wheels plot machination nonsense WORK is that down, deep down, right at the core of what the franchise is always trying to say, is that love will save us. Yeah yeah hearts and darkness and unversed and nobodies and keyblades and blah blah blah (to be clear: I adore all that nonsense), but all of it is top-to-bottom in service of that singular central thematic clarion call.

Love will save us.

What holds Ventus together after Xehanort tears his heart apart? The love of Sora. What keeps Roxas the nobody from fading into Sora? The love of Xion and Axel, and Hayner, Pence and Olette. What brings Xion back? The love of Axel and Roxas. Hearts ring together and resonate and bind themselves to each other and there is no darkness so deep, no tragedy so absolute, no villain so foul that the cry of a loving heart cannot defeat it.

Roxas is a nobody doomed to darkness? Fuck you, Kingdom Hearts is love, no he isn't. Xion is a mere replica puppet, a failed experiment that nobody will remember? >>EXTREMELY LOUD INCORRECT BUZZER<< get seasalt icecream'd on top of a clock tower at sunset, IDIOT.

Over and over again characters sink into despair and loneliness, they fear that their connections are fake or fading, they fear being forgotten or left behind (Riku in the first game, the breaking of Ventus, Aqua and Terra, Roxas thinking nobody would miss him, Aqua in the Realm of Darkness), and over and over again they are proven beautifully wrong. There is always a hand reaching out, there is always someone who will miss you. Love will save us.

And this absolutely gets hokey, of course it does, it's a saturday morning children's cartoon. It's a bit simplistic, maybe a bit naïve, but honestly in a world where you can't walk two steps without bleak-minded doomer cynicism forcing the assumption that nothing truly good is possible and that the worst will always happen, Kingdom Hearts is a story so absolutely drenched in hope, sincerely held, that it feels like a fucking balm.

Also, LITERALLY where the fuck else are you going to get Woody from Toy Story reading an edgy anime villain for absolute filth? Nowhere, that's where. ONLY Kingdom Hearts.

None of this is to suggest I don't have criticisms of the franchise or that it's faultless. I could talk for several hours unbroken about all my gripes and problems, chief among which is LET KAIRI DO THINGS OH MY FUCKING GOD the franchise is low key misogynistic towards its female characters sometimes but I am talking about the things I love here let me just be happy for a second.

[itoendme]

i want to talk about war’s effect on individual morality in Golden Kamuy because ethics is a topic that inevitably pops up when war is involved, but Golden Kamuy focuses less on the actual war and more on the impact the war had on the moral values of the soldiers after the fact. Sugimoto expresses in chapter 100  that all the military men (current and former) involved in the search for the gold are unable to adapt to live outside of the military. Being a soldier has shaped their identities. I could do another analysis as to why Ogata continues to wear a military uniform after he’s deserted, but for now, I mainly want to talk about  Sugimoto and Tsukishima. 

Sugimoto admits to dehumanizing people in his head in order to justify their deaths. He did it with the Russian soldiers in the war, and he does it with the Abashiri convicts and the 7th division soldiers, and I think that the fact that he admits to doing it points to the idea that he’s questioning whether or not he is justified in talking all these lives. Did all of those people really deserve to die? Is he a bad person for killing them? I think these questions are very much prompted by his encounter with Ume after the war, he can’t assume a normal life because he doesn’t have the answers yet, and searching for them is a big part of his character arc.

Tsukishima is similar to Sugimoto in that he didn’t really have a life before the war. Both of them were living without much of a purpose, and joined the army simply to stay alive, Sugimoto to escape poverty and starvation and Tsukishima to escape death row execution. And while Sugimoto was given purpose by Toraji’s death and later by his friendship with Asirpa, Tsukishima was given purpose by Lt Tsurumi. He fully believes that he doesn’t deserve to live for himself or be anything other than Lt Tsurumi’s pawn. Being a soldier is Tsukishima’s entire identity, and he doesn’t concern himself with moral questions because there is no life for him outside the army. This relates to the philosophical idea of private use of reason, that reason must be restricted in the case of a contract or obligation like being a soldier. Because of his obligation, Tsukishima doesn’t have the luxury of independent thinking. Being a soldier allows him to remove himself from the moral dilemma.

While being in the military raised questions of morality for Sugimoto, it gave Tsukishima an excuse to suppress those very questions.

We don’t actually see much of the war in Golden Kamuy, only occasional flashbacks, but its effects resonate throughout the story. Different characters are affected differently by similar experiences. I think that Golden Kamuy is so good thematically because it poses questions about who decides what is justified and who gets to be a victim. Even characters that exist for narrative purposes feel believable and fleshed out, and the audience is encouraged to form their own opinions about them. 

[sneezypeasy]

Why I Deliberately Avoided the "Colonizer" Argument in my Zutara Thesis - and Why I'll Continue to Avoid it Forever

This is a question that occasionally comes up under my Zutara video essay, because somehow in 2 hours worth of content I still didn't manage to address everything (lol.) But this argument specifically is one I made a point of avoiding entirely, and there are some slightly complicated reasons behind that. I figure I'll write them all out here.

From a surface-level perspective, Zuko's whole arc, his raison d'etre, is to be a de-colonizer. Zuko's redemption arc is kinda all about being a de-colonizer, and his redemption arc is probably like the most talked about plot point of ATLA, so from a basic media literacy standpoint, the whole argument is unsound in the first place, and on that basis alone I find it childish to even entertain as an argument worth engaging with, to be honest.

(At least one person in my comments pointed out that if any ship's "political implications" are problematic in some way, it really ought to be Maiko, as Mai herself is never shown or suggested to be a strong candidate for being a de-colonizing co-ruler alongside Zuko. If anything her attitudes towards lording over servants/underlings would make her… a less than suitable choice for this role, but I digress.)

But the reason I avoided rebutting this particular argument in my video goes deeper than that. From what I've observed of fandom discourse, I find that the colonizer argument is usually an attempt to smear the ship as "problematic" - i.e., this ship is an immoral dynamic, which would make it problematic to depict as canon (and by extension, if you ship it regardless, you're probably problematic yourself.)

And here is where I end up taking a stand that differentiates me from the more authoritarian sectors of fandom.

I'm not here to be the fandom morality police. When it comes to lit crit, I'm really just here to talk about good vs. bad writing. (And when I say "good", I mean structurally sound, thematically cohesive, etc; works that are well-written - I don't mean works that are morally virtuous. More on this in a minute.) So the whole colonizer angle isn't something I'm interested in discussing, for the same reason that I actually avoided discussing Katara "mothering" Aang or the "problematic" aspects of the Kataang ship (such as how he kissed her twice without her consent). My whole entire sections on "Kataang bad" or "Maiko bad" in my 2 hour video was specifically, "how are they written in a way that did a disservice to the story", and "how making them false leads would have created valuable meaning". I deliberately avoided making an argument that consisted purely of, "here's how Kataang/Maiko toxic and Zutara wholesome, hence Zutara superiority, the end".

Why am I not willing to be the fandom morality police? Two reasons:

I don't really have a refined take on these subjects anyway. Unless a piece of literature or art happens to touch on a particular issue that resonates with me personally, the moral value of art is something that doesn't usually spark my interest, so I rarely have much to say on it to begin with. On the whole "colonizer ship" subject specifically, other people who have more passion and knowledge than me on the topic can (and have) put their arguments into words far better than I ever could. I'm more than happy to defer to their take(s), because honestly, they can do these subjects justice in a way I can't. Passing the mic over to someone else is the most responsible thing I can do here, lol. But more importantly:

I reject the conflation of literary merit with moral virtue. It is my opinion that a good story well-told is not always, and does not have to be, a story free from moral vices/questionable themes. In my opinion, there are good problematic stories and bad "pure" stories and literally everything in between. To go one step further, I believe that there are ways that a romance can come off "icky", and then there are ways that it might actually be bad for the story, and meming/shitposting aside, the fact that these two things don't always neatly align is not only a truth I recognise about art but also one of those truths that makes art incredibly interesting to me! So on the one hand, I don't think it is either fair or accurate to conflate literary "goodness" with moral "goodness". On a more serious note, I not only find this type of conflation unfair/inaccurate, I also find it potentially dangerous - and this is why I am really critical of this mindset beyond just disagreeing with it factually. What I see is that people who espouse this rhetoric tend to encourage (or even personally engage in) wilful blindness one way or the other, because ultimately, viewing art through these lens ends up boxing all art into either "morally permissible" or "morally impermissible" categories, and shames anyone enjoying art in the "morally impermissible" box. Unfortunately, I see a lot of people responding to this by A) making excuses for art that they guiltily love despite its problematic elements and/or B) denying the value of any art that they are unable to defend as free from moral wickedness.

Now, I'm not saying that media shouldn't be critiqued on its moral virtue. I actually think morally critiquing art has its place, and assuming it's being done in good faith, it absolutely should be done, and probably even more often than it is now.

Because here's the truth: Sometimes, a story can be really good. Sometimes, you can have a genuinely amazing story with well developed characters and powerful themes that resonate deeply with anyone who reads it. Sometimes, a story can be all of these things - and still be problematic.*

(Or, sometimes a story can be all of those things, and still be written by a problematic author.)

That's why I say, when people conflate moral art with good art, they become blind to the possibility that the art they like being potentially immoral (or vice versa). If only "bad art" is immoral, how can the art that tells the story hitting all the right beats and with perfect rhythm and emotional depth, be ever problematic?

(And how can the art I love, be ever problematic?)

This is why I reject the idea that literary merit = moral virtue (or vice versa) - because I do care about holding art accountable. Even the art that is "good art". Actually, especially the art that is "good art". Especially the art that is well loved and respected and appreciated. The failure to distinguish literary critique from moral critique bothers me on a personal level because I think that conflating the two results in the detriment of both - the latter being the most concerning to me, actually.

So while I respect the inherent value of moral criticism, I'm really not a fan of any argument that presents moral criticism as equivalent to literary criticism, and I will call that out when I see it. And from what I've observed, a lot of the "but Zutara is a colonizer ship" tries to do exactly that, which is why I find it a dishonest and frankly harmful media analysis framework to begin with.

But even when it is done in good faith, moral criticism of art is also just something I personally am neither interested nor good at talking about, and I prefer to talk about the things that I am interested and good at talking about.

(And some people are genuinely good at tackling the moral side of things! I mean, I for one really enjoyed Lindsay Ellis's take on Rent contextualising it within the broader political landscape at the time to show how it's not the progressive queer story it might otherwise appear to be. Moral critique has value, and has its place, and there are definitely circumstances where it can lead to societal progress. Just because I'm not personally interested in addressing it doesn't mean nobody else can do it let alone that nobody else should do it, but also, just because it can and should be done, doesn't mean that it's the only "one true way" to approach lit crit by anyone ever. You know, sometimes... two things… can be true… at once?)

Anyway, if anyone reading this far has recognised that this is basically a variant of the proship vs. antiship debate, you're right, it is. And on that note, I'm just going to leave some links here. I've said about as much as I'm willing/able to say on this subject, but in case anyone is interested in delving deeper into the philosophy behind my convictions, including why I believe leftist authoritarian rhetoric is harmful, and why the whole "but it would be problematic in real life" is an anti-ship argument that doesn't always hold up to scrutiny, I highly recommend these posts/threads:

In general this blog is pretty solid; I agree with almost all of their takes - though they focus more specifically on fanfic/fanart than mainstream media, and I think quite a lot of their arguments are at least somewhat appropriate to extrapolate to mainstream media as well.

I also strongly recommend Bob Altemeyer's book "The Authoritarians" which the author, a verified giga chad, actually made free to download as a pdf, here. His work focuses primarily on right-wing authoritarians, but a lot of his research and conclusions are, you guessed it, applicable to left-wing authoritarians also.

And if you're an anti yourself, welp, you won't find support from me here. This is not an anti-ship safe space, sorrynotsorry 👆

In conclusion, honestly any "but Zutara is problematic" argument is one I'm likely to consider unsound to begin with, let alone the "Zutara is a colonizer ship" argument - but even if it wasn't, it's not something I'm interested in discussing, even if I recognise there are contexts where these discussions have value. I resent the idea that just because I have refined opinions on one aspect of a discussion means I must have (and be willing to preach) refined opinions on all aspects of said discussion. (I don't mean to sound reproachful here - actually the vast majority of the comments I get on my video/tumblr are really sweet and respectful, but I do get a handful of silly comments here and there and I'm at the point where I do feel like this is something worth saying.) Anyway, I'm quite happy to defer to other analysts who have the passion and knowledge to give complicated topics the justice they deserve. All I request is that care is taken not to conflate literary criticism with moral criticism to the detriment of both - and I think it's important to acknowledge when that is indeed happening. And respectfully, don't expect me to give my own take on the matter when other people are already willing and able to put their thoughts into words so much better than me. Peace ✌

*P.S. This works for real life too, by the way. There are people out there who are genuinely not only charming and likeable, but also generous, charitable and warm to the vast majority of the people they know. They may also be amazing at their work, and if they have a job that involves saving lives like firefighting or surgery or w.e, they may even be the reason dozens of people are still alive today. They may honestly do a lot of things you'd have to concede are "good" deeds.

They may be all of these things, and still be someone's abuser. 🙃

Two things can be true at once. It's important never to forget that.

[koimethehorizon]

Fionna and Cake theory: Simon the Artist

Nothing like a good old creative panic attack.

Fionna and Cake good. Haven’t been excited about a show like this in a long time, though it being a part of Adventure Time does help quite a bit. I was holding on to some cautious optimism for the show when it was announced as yet another big IP series covering the multiverse (still waiting to groan at THAT scene where Prismo has to explain to us about there being infinite universes), but as usual, Adventure Time’s crew continues to surprise me with its creativity, humor, and thematic resonance.

The most striking part about Fionna and Cake so far is just how deliberately the show wants us to differentiate it from the original Adventure Time.

We’re getting shots where Simon pops an artery from his arm, a theme song that explicitly talks about suicidal ideation, discussions of rent and financial problems, and curses no longer disguised with AT’s usual dialogue. Adventure Time has always had violence, thematic density, and juvenile rating pushers, but they were always reserved at small points. Meanwhile, these are factors that are just casually shown and discussed in Fionna and Cake every 3 minutes or so. This is not an all-ages miniseries, it’s for young adults. (hint: this will be relevant later)

Let’s get right into it. This is much less a speculative lore theory and more on what thematic direction the story may be going.

Before we do, let’s get this out of the way first. This theory assumes that the current Fionna and Cake world is all a part of Simon’s head and not merely a separate multiverse, which… I’m certain is fact for the following reasons.

The immediately obvious piece is that Fionna and Cake was always the Ice King’s fanfiction. Now if you’re versed in AT’s continuity you’re probably going to be asking about the red light in Fionna and Cake + Fionna and… I’ve no answer for it unfortunately. It’ll probably be relevant later in the series and possibly age this post like milk but for now, we’re not here to focus on the how, but the why.

Second is that the intro and the ending of Ep 2 literally show Fionna’s world spilling right out of Simon’s head like an animated world out of a frozen brain. If that isn’t clear enough-

Didn't realize this until writing, but these glasses are just plastic made to look like Betty's

There’s no other explanation for this other than that this world is artificial or influenced by Simon in some sense. Fionna even specifies that the statue went under renovation 12 years ago, but nobody seems to know who it is. Considering how Finn looks in the episode, it’s likely that it’s been that long since Betty’s sacrifice in the finale.

With that out of the way, here it goes.

The reason Fionna and Cake exist in the first place is because the creators found Natasha Allegri’s genderswap designs charming and wanted an in-universe reason to use them the Ice King wanted to create trashy, wish fulfillment through art. It was a phase.

Definitely changed that image for publishing.

Simon can argue if they’re good or bad but it’s undeniably his art. It’s not just a portfolio he left behind in a closet, it’s an experience that was shared with a larger audience.

And even if wasn’t liked at first, the citizens of Ooo seemed to have come around to it. And some of them love it!

Whether Simon likes it or not, he has a fan base that is so endeared to the story he made all those years ago that they demand he makes more. Why let a good story, loved by many, go to rest when you still have some life and creativity left in you?

Can't move on in more ways than one.

Except, the problem is that Simon isn’t Ice King anymore. He’s aged out of it.

His real passion is history, he's an adult who who finds passion in the mundane and antiques from the past. And frankly, there isn’t much room for wish-fulfillment and fantasy anymore. Simon has responsibilities. He has a job and a daughter in a world that is moving faster than he can process.

And where Ice King wrote about looking for love, Simon has already had it.

And lost it. His mind isn’t focused on the rosiness of finding new love, it’s grieving the one he already thought was the one.

Wasn't he supposed to be good with kids?

Despite his new life experiences, all his peers seem to want from him is to make more of what they’re familiar with.

A story made from wants and wishes that he doesn’t even have anymore.

A story that was literally made by someone else at a different time. It’s a fiction he cannot connect to anymore, art that he’s embarrassed by. Yet also jealous of. Because at one point, the body Simon used to be in understood what exactly was missing from his life and could express that easily.

Seeing it again is like experiencing a retrospection of a cringey loser you don’t want to imagine having ever been. It’s not you anymore, and you don’t want to be reminded of that.

Because despite him having a new creative passion, no one seems to care about that. All they want is Fionna and Cake. And what is more lonely than other people misunderstanding what you’re trying to express?

If I failed to make it clear somehow, my theory is that: Simon’s relationship with Fionna and Cake is a metaphor for creators growing out of their art. And this new Fionna and Cake world is still comfort art born out of Simon’s current desires and perceptions.

The snippet subtitles this “child holding a phone”. I guess I’m wrong. Essay over.

Episode 1 and 2 both have direct parallels with each other. They’re both about a protagonist who are feeling displaced from their world, living a phase of losing a significant other, leaving a thankless job, wearing a mask of stability in front of the people they care for, seeking a guru at the heart of the forest, and concluding that they no longer belong in their current world.

But more importantly, Fionna and Cake (the characters, the world, and the show) are no longer for an all-ages crowd. Fionna and Cake now feature young adults, curses, gore, alcohol, partial nudity, financial issues, morning routines, mid-life crisis, and overt suicidal ideation. These are the feelings that Simon relates to and possibly desires to express through art. Thus, his story and our new miniseries have warped that way.

Am I overthinking this? No. How dare you assume that.

Is equating the unconscious writings of his dementia-ridden self to Simon as his younger self seem a bit odd? ….Kinda. Again, it’s not the how but the why that matters in this case. I'm NOT crazy, I have proof that there is some acknowledgment of this directly in the show.

Rewatch the bar scene and apply this reading of the episode to what Simon says there:

“Your old stuff, Fionna and Cake, honest to glob my man, is an inspiration to me.”

“My old stuff, I don’t really want to talk about my old stuff…”

“Why not? You should be proud! You wrote an entire extended universe in a fugue state if you think about it.”

"Simon cringes"

If you have ever shared art with a group of people in the past, you’ve had this conversation.

Not likely, not possibly, no perhapses. You HAVE.

And Fionna and Cake being an epilogue to a massive award-winning, near-decade-spanning, cultural sensation 5 years after it ended, might result in its creators feeling very retrospective about what audiences want from them now.

And how difficult it’s going to be to tell new experiences and tones from what’s come before. Also, come on. “Extended Universe?” That doesn’t sound like Fionna and Cake. That sounds a lot like something else.

Again, seems bad with this kid.

One of the more profound shots in the main trailer for the show features the inconspicuously Finn-like kid crouching at her Fionna and Cake book in Simon’s trash. I believe this character is going to have a major role in two ways. Convincing Simon to be proud of what he’s accomplished and/or embracing that Simon wants to move away from his original work in order to create something new, or perhaps more likely, reinvent Fionna and Cake into what Simon relates to now.

We’ll just have to see what Simon thinks of his new Fionna next week.

PS. Talking as a fan now, WHAT IS UP WITH THE 1000+ TREEHOUSE IN THE INTRO?!!! ARE WE REVISITING THIS TIMELINE AGAIN?

SOMEONE TELL ME NOW!!!

[redjademilktea]

I've talked about this before, but with the final episode of Downfall and the Cooldown that followed it I feel the need to write about it again.

The morality of saving the gods of Exandria was never going to be clear cut. Stopping Ludinus, stopping the Ruby Vanguard maybe. But there's an important conversation to be had about the nature of divinity that needs to be had. And Downfall makes this discourse more salient and pressing than it's ever been.

I really liked what Brennan brought up in the Cooldown, about "achieving enlightenment on their terms," or suffer the fate of "not being able to understand." The gods as they exist have protected and will continue to protect the way of being that allows for their continued existence. They dismiss anything that challenges that existence - anything that makes them confront the nature of mortality, as Brennan elegantly phrased it - as something not worth considering. As something that simply doesn't grasp what one needs to grasp to do what must be done.

And if doing what must be done means calling a truce in their great war. If that means collaborating with the very siblings on the opposing side of that conflict, which has led to so much loss of mortal life and desecration of the face of Exandria, then so be it. It has to be done. We are mere children, we wouldn't understand.

I'm reminded of Ann Stoler in her book "Along the Archival Grain," along with Avery Gordon's "Ghostly Matters." Both authors talk about the lengths and extents colonial states go to legitimate and justify their existence through the policing and curation of knowledge. It is in the best interest of the colonial state to produce and maintain knowledge that justifies its being. They are doing what they do because they define it to be right, to be just.

And those contradictions? The holes in colonial logic born out of the anxieties and fears of losing that legitimacy? Those inconsistencies that necessitate their reproduction and continued existence? Poor child, you do not understand. It is the right thing to do. There are things at play that are beyond fathoming for you. It simply must be this way. It is right for it to be this way. Fallicies and contradictions in colonial logic become justified and legitimated via the production of knowledge produced from the colonial archive to reproduce itself.

The knowledge of the divine killing weapon. The people, the complex, ephemeral, fleeting, textured, beautiful, pained, vibrant lives of those that held that knowledge. That knowledge that was spread to touch every soul on that floating city. All of it could not persist. For them to persist would mean the possibility of the way things are, the way things are ought to be from those who know better, could come to an end.

So it must be this way. The city must fall, despite its infinite arcane beauty. Lives must be lost, and so too must their chance for redemption, for a new beginning. All things must come to an end, if that means preserving the infinite. Family must persist. *They* must persist. And so it must be this way.

I say all this to highlight the fact that the morality underlying the theme of this campaign is not clear cut. The nature of it prevents that. The members of Bells Hells are not good or bad because some of them remain ambivalent to the existence of the gods. No single one of them is inherently right or wrong.

But you cannot argue there is a "right" answer when it comes to the gods. They simply are. Much like anything simply is. And what their existence means, especially for what it means to the lives of mortals on Exandria who must suffer the consequences of that divine existence, must be reckoned with.

I really am impressed with the bold scope of thematic ideas that Campaign 3 introduces and continues to grapple with. It is phenomenal story telling, and is strikingly resonant with the enmeshed struggles that permeate the very real world that informs the lives and experiences of its creators. All of them continue to blow me away every Thursday night!

[isalisewrites]

A Deep Dive into JKR's Terrible, Amateur Writing - Reflective Interlude

Hello and welcome to my ballsy series where I will prove to you, dear reader, that J.K. Rowling, author of the Harry Potter series and resident Twitter TERF, is actually a very, very poor writer.

And when I say ‘poor writer,’ I’m talking about her prose, her sentence structure, and her scenes in the Harry Potter series. I am not going to discuss anything about the HP world nor the overall plot of the books. 

This is all about the nitty gritty in the craft of writing itself.

Part One Link.

Part Two Link.

However…

Hiya! *waves* I’m Isa, the author of this… Actually, I dunno what to call this series anymore. Anyway, thus far, you’ve heard a very satirical tone from me in the previous two posts, but that’s not my normal tone. I’m a rather laid back kind of gal with a side of sarcasm and deluge of emoji usage.

I have used quite a confident, even bombastically obnoxious tone in the effort to be entertaining and engaging with these posts. It was meant to be playful and sarcastic. It’s the internet, so I’m aware everyone’s attention is… kind of like a commodity, unfortunately. Look at TikTok or YouTube. How long does a 30s video hold your attention before you’re scrolling to the next? It depends for me, I’ll admit. People don’t have the attention span for long style posts such as these and that’s fair. Sometimes, I don’t either.

Thus, I used repeated ‘catch phases’ to maintain a rhythm and a thematic style through the series with a controversial title meant to hook a reader. I repeat the opening, even in this post. I repeat ‘Class is in session’ to show the beginning of the major section of the post.

However, in this interlude, I’ve toned it all down because I wanted to give you a window into my heart, my purpose, and my intent in this series. It is a reflective post that ends with writing motivation to you, my dear reader, as well as links to writerly resources. 

I’ve had a lot to think about this week and I realized that many writers (and other creatives) have to battle against an enemy found within themselves. This enemy often torments many with cruel, destructive thoughts; they burrow their way into so many writers’ minds. It whispers: “Can you really do this? Are you really sure you’re any good? Aren’t you just fooling yourself? They’re going to find out you’re just a fraud. So… why bother?”

Whose voice is that?

Let’s talk about the destroyer of creation, Imposter Syndrome, why I refuse to let the bastard infect me anymore, and why my confident tone in previous posts has grated nerves.

Remember: take what resonates and leave what doesn’t.

(This means I write my posts with the honest acceptance and expectation that not everything will fit with your style, your vibes, or your personality. That’s okay.)

All right, let’s buckle up, my dear writing friends. Grab a snack. Hydrate. Let’s begin. And yes…

Class is in session on this little Tumblr post… should you wish to attend.

Having confidence or pride in one’s work seems to be taboo. Any brief moment in time where I tried to be proud about my writing or say, Hey, I’m a good writer, I was always told to be humble. “Don’t be prideful. Be humble.” It would often chip away at my self esteem. I could be a good writer, but I couldn’t allow myself to feel like a good writer.

But no more.

I have only given myself permission to be confident about my writing within the past month. This is why I started this series in the first place. I wanted to share knowledge and in an entertaining way. I make a bold claim that I’m a better writer than JKR; I analyze her writing to both improve my own understanding and to help others as well.

However, this does not mean I’ve ever been under the delusion I’m perfect. Absolutely not. God, that’s so fucking laughable! I am not perfect. I am not a perfect writer. I definitely don’t know everything. Someone once corrected me, informing me that snakes are venomous, not poisonous. Bless them, wasn’t aware of that. Immediately fixed that. One of the recent reblogs said geodes do not contain emeralds. God bless, I didn’t know that, though in the case of how it was used in TBG, I won’t be changing it since it’s within a character thought.

Sorry, Tom. I guess you need to take a geology class, too.

Ugh, and I have so many godforsaken typos. My soul withers when I catch a typo after I’ve posted a chapter. I miss things all the time. I repeat things because ‘that’s my thing’ and I don’t always catch them in my edits. I forget things all the time. Thank GOD for Dede, someone who loved TBG so much she spent countless hours archiving data from it, where she caught a number of inconsistencies and alerted me to them. I still haven’t been able to fix them yet, but I’m so grateful to her. I’ve noted them all down. Harry’s height often is incorrectly implied to be taller than it should be because my brain isn’t wired for imagery. My brain forgets TBG Harry is a short king at 5’4” while TBG Tom is 6’2” and I need to go back to fix all of those. 

I am not a perfect writer and I don’t claim to be.

My goals with this series are to study/learn for myself, teach/share knowledge with others, and learn some more from this experience. I love this kind of analysis. But there’s difference between my analysis of JKR’s writing and a number of those who have retaliated with an analysis of my writing. 

Instead of looking at my imperfections with the desire to learn from them, they were illuminated in the attempt to ‘take me down a notch.’ To those who put in the effort to make counterpoints, I do thank you for your contribution to this series. It is appreciated, even when given impolitely and with the intent to ‘put me in my place.’

Despite all of my errors and imperfections, I still stand by my statement: I am a better writer than J.K. Rowling.

Do you know who else is a better writer than her? I could list thousands of them. They’re fanfiction writers. They’re indie authors. They’re other traditional published authors. They are so many other writers that, yes, I do think are stronger writers than JKR. 

And you’re a better writer, too, so long as you wish it.

I sincerely want you to believe that.

Why? Because it’s clear within the Harry Potter series that JKR did not make attempts to grow as a writer. She just wrote. Perhaps she was under deadlines, but the lack of editing is pretty apparent to me. When you write a lot, you will inevitably get more skilled over time, but you have to actively be seeking improvement to see drastic change in your own skill. It is this lack of drive that I see within her work. She’s not making attempts to push the boundaries of her abilities and skills with each new book.

I’m not at the end of my journey of learning. I never will be. I love expanding my skills. I’m even learning during the process of writing these posts, too. I’m seeing more weaknesses in my own work and I’m now thinking on ways to strengthen my writing even further.

That’s the point of this series.

In the end, it’s not really about me. No, really, it’s not about me. I truly think it’s about the jealousy of seeing another writer be confident in their work. You see, I’m not supposed to be confident; I’m not supposed to act like I can help and teach others to write. How dare I. Posting anything about my work is an act of attention seeking. I’m supposed to be ‘humble.’ I’m supposed to be silent. I’m supposed to wave a shy, dismissive hand at compliments.

Why?

Why is being proud of one’s work and loving one’s own work such a controversial idea?

Imposter Syndrome often cripples creators. There’s already so much self doubt and anxiety in the world, but Imposter Syndrome can really wreck with a creator’s mind. It’s a poison. It stops you from creating what you love most. When you believe you aren’t good enough, then it becomes harder to try. Your belief becomes truth to you, whether or not it was true in reality in the first place. Perhaps, you sink into depression. You become anxious about sharing anything, for fear anyone might say even the slightest negative comment. The heart becomes fragile and brittle, and the muscle which builds skill atrophies over time. You see your work through a lens of self hate. You can only see flaws.

“I will never be good enough.”

When you’re in this state of mind, it’s hard to see the truth about your work.

But let me promise you something: your writing is far more beautiful than you realize.

In spirit, all creative writing is perfect to me with all of its typos and mistakes (yes, even all of the Harry Potter books!), but no single work is objectively perfect. There will always be room to improve your creation because you’re constantly growing. It’s why so many aspiring novelists fall into an endless cycle of editing their first few chapters. The more they write, the more they improve; thus, when they go back to their earlier chapters, they get stuck trying to update those chapters instead of pushing forward to the finish line.

Your work is valuable, no matter what. It’s beautiful. You’re allowed to love your work. You’re allowed to see the good in it and you’re allowed to have confidence in yourself. You’re allowed to say to yourself and to others, I’m a damn good writer.

You deserve to have love, for yourself and for your art.

I have often sincerely complimented other writers and, many times, after they respond with their thanks, it becomes clear to me they’re not confident in their work, yet they have still bravely shared it with us.

I’m so proud of them. Thank you for your bravery.

My heart breaks for them, too. They’re such good writers—such damn good writers. And I wish they knew and believed this.

I will always do everything in my power to encourage others.

How do you feel about your writing? Do you like your writing? You should. You really should because it is good. You created it, after all. There will always be space to grow and refine your craft, of course, but you are a good writer now. You’re going to be a better writer tomorrow and the next day, so long as you desire this growth in yourself. There’s no destination, though. There’s no magic level you have to reach before you’re allowed to have some confidence in yourself and your abilities. The only trap to avoid is remaining stagnant. Writing is a skill. Writing is a craft. This means it gets better through study and practice.

You can achieve that.

I know it’s hard, though. There are so many naysayers in life. There are so many people waiting to attack and bring others down, both on the internet and in our own families. How many precious fanfics have been lost because a writer received horrible, hateful comments? How many writers have disappeared from the internet because of this cruelty? We have lost many in all fandoms. That is unacceptable to me.

Uplift others. Spread love, not hate.

You’re allowed to be proud about your work, imperfect as it may be. Please, I beg you, don’t let the negative voices of others—including your own!—drag you down and steal the joy of creating. I know it’s so very, very hard to stand strong against such voices. Words have power, but you have more. Resist the naysayers.

What you have to offer the world is precious. Please lift your head and acknowledge that what you create is good. It’s great. It’s amazing. It’s fucking fantastic. You’re not an imposter nor a fraud. No one can offer what you can to the world. No one can write the stories you have in your head the way you can. Your style is unique to you. You’re allowed to love it as it is now and you’re allowed to love it whatever form it takes in the future.

Imposter Syndrome is a thief; toss it into jail and throw away the key.

My writing is not perfect and it never will be, but I’m a better writer today than I was ten years ago. I’m a seeker of my own growth. I’m often reading books on writing and watching YouTube videos on writing. I absorb it all because writing is my truest love and passion. My style has evolved from reading endless amount of novels and fanfics. I devour both. 

But I wasted a decade thinking I didn’t have what it takes.

And life is short. I can’t waste anymore time.

Don’t be like past Isa, please.

There’s a difference in refinement between an episodic fanfic posted over the course of years and a traditional novel published in whole, but I still stand by my work. I recognize my style will not be enjoyed by all those who read it. It’s okay if you don’t like my style. I’m eternally grateful for the many readers who do love my writing. I’m humbled and honored by the sheer volume of people who have commented, bookmarked, and have left kudos on my work. Thank you.

My style has evolved into what it is today due to a combination of two things.

I have ADHD. It’s why my style uses smaller paragraphs as a whole.

I have aphantasia. I lack a mind that can visualize pictures. I literally cannot see anything in my mind. When people say, “I can picture it in my mind,” that’s not me. I cannot at all. When there’s a lack of description in prose, it feels blank and empty to me. This is why I use vivid descriptions in the way I do because otherwise I feel nothing from my work.

It’s okay if this style doesn’t work for you. I love my style because it caters to what I need. I also love other styles that don’t use as much description; however, I can’t always follow what’s happening because of the wiring of my brain. I can get lost sometimes, but I still appreciate their style because I can’t effectively do what they can.

If you find no value in my style and what I offer in this series here, then that’s okay. I’m not offended. This series is for those who benefit from it. For you, there are so many other writers out there from whom you can learn and I’m more than happy to send you in the direction that benefits you the most.

Here’s a list of YouTubers you might find interesting.

ShaelinWrites has been working on many unpublished projects through the years and has lots of great discussion videos on writing.

Abbie Emmons is a self published author with solid writing advice in all of her videos. 

Alexa Donne is a traditionally published author with great insider information into the traditional publishing world. 

Ellen Brock is a professional editor. She knows her stuff.

I hesitantly suggest Jenna Moreci and her content on YouTube because I think she has some major weaknesses in her writing. Many others have seen this about her books. However, she is a successful indie author and her YouTube content has a lot of value.

Brandon Sanderson has an entire college course in a playlist on his channel. It’s a fabulous free resource if you vibe with his style of writing. Highly recommend. 

Here’s a list of writing books I recommend.

Elements of Fiction Writing, a five book series. My TOP recommendation is Elements of Fiction Writing - Beginnings, Middles & Ends.

Sin and Syntax: How to Craft Wicked Good Prose

Let the Crazy Child Write!: Finding Your Creative Writing Voice

Novelist's Essential Guide to Crafting Scenes

All right then.

Thank you for sticking around. I hope you accept this post in the good faith it was given and was always given in the previous posts. Next post, I’ll be returning to my playful satirical tone. Hehe~!

Please do the world the greatest of favors and write. Create. Share your fanfiction. Become best selling authors, traditional or indie. I promise you’re far more capable and skilled than you realize.

Until next time.

Isa

[nightcolorz]

i feel like it’s acceptable to headcanon disorders like ADHD or autism or personality disorders to fictional characters but it feels like there is a taboo about dissociative disorders, making me hesitant to say this (even though im pretty sure ive said it before)

But i really do feel like Armand has some sort of dissociative disorder (DID or OSDD) because it just seems so clear that he is not really one person, one fixed identity. Arun, Amadeo, and Armand are all distinct personas, formed by intense trauma and kept apart by traumatic amnesia. I won’t pretend to be a psychiatrist but from what I do know of these disorders that is very much how they manifest and their defining feature.

It seems more this way in the show, especially with the scene where he refers to Amadeo and Arun in third person, and speaks of how he can’t really remember details like names or exactly how things happened (like how he says he was sold by his parents in 1947 vs how he said he was chased by slavers in 1973 (both could be true but it feels contradictory))

And how he does visibly act differently based on if he’s Armand (the cult leader, coven maître, the one being interviewed), Amadeo (who he was in Venice, rebellious, teenaged, who he has to be to Marius), or Arun (the child, slave, who Louis brings up to obey him)

You can definitely lean in with the Rashid thing as well, taking up different identities was easy for him because he’s so used to it, and being Rashid he was a servant, something he was already used to. Being Rashid was like being Arun again before he had to become Armand to counter Daniel.

It’s somewhat the same in the books but less clear, though Andrei, Amadeo and Armand are all definitely separate.

Anyway I really do think Armand has some kind of dissociative disorder with Arun, Amadeo and Armand being separate alters, rather than him having any sort of personality disorder.

Thoughts?

I ABSOLUTELY AGREE 100%. I have also been hesitant to talk about this, but I’ve been using it to influence how I write Armand in my fics!! but yes, all the way yes. I’ve had this headcanon since before amc iwtv s2 came out and I loooooveeee how they just solidified it with their characterization.ur incredibly right all the way.

even if u don’t think Armand literally has a dissociative disorder, it’s undeniable that he has the core symptoms needed to be diagnosed with a dissociative disorder. Not only does he have separate identities that carry separate memories, he also has huge gaps in memory and repressed memories, to the point where he can’t remember his entire childhood, which is like essential to having DID.

I think whether Armand could literally be diagnosed with a disorder like this is up for debate, but I think what matters more is that thematically Armand’s character resonates very close with how these disorders function and affect people. A core part of his character is that Armand doesn’t know who he is, doesn’t have a clear or consistent identity, and can not function as a complete person bcus his identity was fractured before it was able to form. This is like, the essence of what it’s like to have a dissociative disorder lol. So regardless of whether he technically has did or Ossd, I think he definitely does thematically. Armand is all about how trauma can break the brain from ever forming an identity correctly, need i say more, lol

THANK U SMMM FOR THIS ASK AHHH!!!

[raven-at-the-writing-desk]

in Idia’s dorm uniform vignette, he talks about how he likes PREMO because they follow and accept the strings of fate they're given / the impermanence " resonates " with him. Funny, because he literally went against his own fate by

trying to leave and " be heroes " with ortho

building ortho

overthrowing the world with his little brothers

his entire thing has been rebellion against the fate he was given when he's proposed with the chance, and Hades himself tries to overthrow Olympus.

I mean 🤔 I’d argue that still makes sense thematically, even if in an ironic way.

Idia resonates with PREMO’s vibes because he was so hopeless and resigned to his fate for the majority of his life. We see as much in his post-OB flashback—his fate was already decided for him since birth—and he laments his family’s curse at various points in book 6. Idia may have latched onto PREMO as a coping mechanism for a situation he can’t worm his way out of.

Constructing an A.I. Ortho could also be considered a coping mechanism, which Idia fully acknowledges, as he is aware that “this” Ortho could never truly be the same one he lost. Indeed, we see that same guilt and shame haunting him in the main story, events, and vignettes. The shadow is always with him, feeding his nihilism and unwillingness to seek out other ways, to reach out to others. What’s the point of putting himself out there when he’s doomed to toil away in STYX for the rest of his life? What’s the point of making friends when everyone’s memories will be wiped anyway? It’s that kind of mentality that informs Idia’s behaviors.

None of this changes until Ortho is inspired and acts, compromising STYX’s security and setting everything into motion. This serves as the impetus for Idia to finally change course and reconsider his fate. Rebellion was never Idia’s M.O. until very late into book 6, so him being into the concept of falling in line is still consistent and fitting for his worldview up until this point in time.

[kaizokuou-ni-naru]

I love seeing your posts about the naming conventions when it comes to Nika and Oda showing how good he is at name games lol. I think it makes it even better considering that Nika’s other epithet, “Joy Boy” is an actual Haitian deity associated with happiness and drums, seen as a general bringer d good times. Not much is actually written down about Joy Boy unfortunately and it could be because these were oral traditions passed on slave ships.

There’s a book though that was published in 1987 called “The Encyclopedia of Things That Never Were: Creature, Places and People” that talks about Joy Boy and his origins in Africa and Haiti!

Seems like Oda really likes his research! :]

a friend of mine was recently trying to find any references for the existence of this legend besides this one book, and wasn't able to turn anything up, so this does seem a little dubious to me. if anyone can by any chance point me to any sources about joy boy predating 'the encyclopedia of things that never were', i'd be really interested.

to be clear, i find the concept of nika being inspired by a haitian deity to be extremely compelling and thematically resonant. however, i'm hesitant to repeat poorly-sourced claims about religions that i'm not well-informed on, especially when it comes to african religions, where there's a lot of bad information and broad misunderstandings already out there.

that being said, even if the legend isn't real, i do think it's quite possible that the 'the encyclopedia of things that never were' entry is itself an inspiration for nika!

[hollowtones]

what'd you think about jade shadows?

I put it under a read-more because I don't know how to talk about this without talking about spoiler stuff. The tl;dr is "I liked it but I wish there was a little bit more."

One of the things I didn't like isn't even really part of the quest itself, but I saw a mutual bring it up a few days ago & it's been on my mind since: it feels a little odd to have a content warning before your sidequest, and then not give you any way to skip the quest if it's content you don't think you'd be able to handle. Especially given there's a whole event & rewards that only unlock afterwards!!

OK on to the contents of the quest itself. There's a lot of themes of love and connection and empathy in the face of systemic cruelty or indifference, in this game in general, and a lot of how that manifests is stories about characters fighting for self-determination and agency (the Ostrons trying to stay free of the Grineer, the Solaris trying to destroy the systems that keep them in debt & deny them bodily autonomy, Umbra, the Tenno, the Lotus, etc etc).

I think it's interesting to try and explore a tragedy where we aren't able to help someone in time, where the powers that be have brutalized someone and we as individuals aren't able to get there in the nick of time & help them claw their agency back. I think it's an interesting thematic & emotional through-line (with very strong parallels to Ordis... very smart choice to make him the event vendor / narrator, I'm feasting good on all the new dialogue LOL), and I think there have been enough well-written woman characters in the game that don't get written out or killed for the sake of some man's tragedy or growth that I don't immediately roll my eyes about them trying a So Sad The Woman Dies story.

I do also think this would have hit harder if we got more information about Jade herself!! I realize "this woman broke a law and was completely dehumanized / made into a Thing by the empire, stripping her of herself to suit their ends" is Kind Of The Point, and they make enough of a fuss about "wow there's a lot that's redacted about her history, huh!" that I assume this is a plot thread they're leaving hanging for later. But I feel like the big moment would have resonated better if they gave us a little more info to establish this character, other than "she was heterosexual" and "the Orokin were fucked up, don't forget" haha.

(I do find it funny that the storyline about Ballas, who got Divorced So Badly that he Caused Nearly All Of Today's Problems, is all wrapped up, but the story keeps going "no no, don't worry, there's still plenty of opportunity to remind you how fucked the Orokin were." Here's these two people that broke some insipid law about conceiving a child & so their bosses and leaders broke their brains and turned them into bio-weapon lapdogs as punishment. Every time they go "BTW Something Was Deeply Wrong With The Orokin & We Still Feel The Aftershock Of That Today" I clap my hands like a seal.)

Warframe Babies Are Born!!!!! This little tyke is fuckin weird. What's their problem. I think it's weird and cool. I don't really feel much about "this character is a parent now!" type of storylines. (I did pop off when Stalker got to do his shithead honourable samurai defending a child with one arm thing. I'm a sucker for that & they made it coooooool. It feels like they're setting up some kind of "Lone Wolf and Cub" situation. The scythe being juiced up with BabysPower was also funny.) The baby thing is neat to me from the perspective of, like... This is something weird and new that's never happened before in this universe. That's exciting and kind of scary! I'm interested to see where they go with that. (Presumably in a year or two. Very funny to drop this on us when a completely different major story arc is right around the corner with 1999.)

Gianni's delivery was fuckin killer. I'm excited for whatever next arc they do with Stalker if it means they're gonna pay my boy to grunt and yell and scream more. It feels very strange to be acquainted with two people who've done voice acting in "Warframe" now. Me next? ^_^

I like our new Corpus weirdo. I hope she comes back. Fun to get more stuff with the Sisters of Parvos & with Mr. Granum himself. But I liked her a lot. It got a fuckin laugh out of me to have her through all the quest excited about her big promotion that she's going to get & resolving that with "Is that a fuckin baby??? Fuuuuuck! They don't pay me enough to shoot a baby with a gatling gun!" I wish her ending scene was a little more than just stoically standing aside but literally anything else I can think of feels way too cheesy or on-the-nose.

The facial animations on the Operator were really fuckin weird. I just remembered that. I thought that was just a thing on my end but I watched someone else play & the faces looked weird for them too.

Hunhow's a good inclusion. I like him seeing the Stalker stewing in his own misery because he hates the only people that could offer him help & going "aw man, c'mon buster, don't be like me now." I like his signature that he puts in his emails. I like that he's still an emotionally constipated weirdo that hates us but is still endeared to us in some way. (They make nods to The New Strange in his ending email, which makes sense given that this also feels like a quest setting up More Weird Shit In The Future, but I do get a laugh that it also reads as "JADE WAS PREGNANT? OKAY... WELL. DON'T FORGET THAT I HAVE A WOMB TOO, KID." Thanks Grandpa. Love you too Grandpa. Thanks for the sweeties Grandpa.)

The event quest feels like a nice bow on top. I like the parallels between Jade and Ordis. Wanting to afford her the dignity in death he could never be given. Acknowledgement of Ordan Karris is fun!!! (The line about him being conflicted with the thought of Granum un-cephalon'ing him has me rubbing my hands together.) I'm excited that we're getting so much of Parvos Granum lately. What a shit head. It's funny to see him so hyped up about Ordan. "Duuuude! Your history's famous killer!! That's awesome? Do you wanna work for me? C'monnnnn we both hate the legacy of the Orokin. Wouldn't it be awesome if MY rule was the one dehumanizing you and wielding you as a weapon instead?" This is something they've been establishing as early as "Parvos and Ballas in bed with one another doing shady back-room deals over a Warframe bodyguard and specter particle research" but it's fun whenever they sow the seeds of Parvos being so much like the Orokin he hated.

I wrote more than I thought I was going to!!! I like the thematic through-line idea of this quest but I wish they executed on it better. I like the stuff this is presumably establishing for the future. I really like the event quest as... not quite an epilogue, I guess, but as an addition. Other than that I thought it was okay! I wasn't expecting anywhere near the level of Whispers in the Walls, but that quest being such a high bar makes a "pretty okay" quest stick out to me a little, haha.

[weirdmageddon]

ok prev this is a huge part of why i love homestuck

aside from hussie’s use of platonic forms to construct the world which i think overlays everything basically

It's an approach that resonates with the rest of Homestuck's governing principles involving simple platonic concepts giving rise to greater complexity and chaos

there’s so much thematics and symbolism and symmetry that it’s so like, logically aesthetically pleasing to my brain. you could make a college course on homestuck’s integration of archetypes and typological symmetry (card suits, chess, DNA nucleotides ACGT, western zodiac, alchemy/elementals, the god tier classes and roles). lots of stuff that comes in pairs and even numbers, products of 2 so they can always be divided into halves. everything is symmetrical i swear the structure is so satisfying. it’s quite frankly impossible list it all since some of them encompass other elements within themselves, its like a fucking fractal of duality and 90 degree angle quartets of symbols

is there a name for this kind of symbolic symmetrical dichotomy elements….but not even “dichotomy” is necessarily correct since it often comes in a tetrachotomy too. twos, fours, eights, twelves, sixteens. and always mathematically relating to each other like folding over paper more than once and counting the folds on a single sheet of paper. folded in half once there’s two sides of the single paper. folded again the other way there’s four quarters of a single paper made by two halves (the halving folds themselves split the paper into two sides and there’s two of those folds). though that’s exponential the metaphor still applies

it’s definitely both mathematical and philosophical in nature. four seasons, four temperaments, four classical elements. its present in a lot of philosophy most prominently the yinyang concept and some jungian stuff has it too. like socionics model A also does that logically symmetrical structural relationships shit that i love. its sooo my jam i love you logical patterns and relationships i love you symbolism

idk what im saying or if there’s a term for this im just rambling. if you know what im saying or know of a term for this regarding what im getting at please tell me. im just spitballin whats im rotating in my mind but cant find the words for. fuck i need to talk about this. im not even really trying to make a point about these im just pointing them out

[a-couple-of-notes]

I sympathize with the people who thought the mystery in Stray Gods was weak (I guess the murder mystery was a fair part of the marketing, and I also picked the culprit out the moment the demo dropped), but it always seemed fairly clear to me that the mystery was just pretext for character arcs and worldbuilding rather than the other way around.

Spoilers under the cut. You've been warned.

Calliope's murder and Grace's trial offer Grace an excuse to talk to people, to explore the world of the Idols, and to do so under a ticking clock that keeps the story tight and the tension high. (And from a Doylist perspective, lets the developers keep the scope of the game to a cool seven days.) At its core, the game is not a murder mystery. It's Grace's coming-of-age story. It's about a cast of characters learning to change, move on, and grow up; it's about memory and identity; it's about facing the truth.

So it makes total sense to me that Athena's reveal would prize narrative and thematic cohesion over an unexpected twist. Grace and the Idols are growing up, and Athena is the "scary mom." The characters are moving on, and Athena is the embodiment of the past. The characters have had to face painful truths, and Athena, as leader of the Chorus, the one in power, has not. Of course it's Athena. To bring a revolution, you must topple the head.

Would it have been great to have narrative and thematic resonance AND a twist culprit? Sure. But if I had to choose, I'd rather have a satisfying coming-of-age story with nuanced characters and an intriguing world than a thriller mystery with a twist ending that undoes the core of the story. I'm guessing that's what the developers would choose as well.

(I also think it's interesting to look at the ways other characters were complicit in villainous things--like sure, Athena was the main murderer, but Pan was also unwittingly involved. Apollo hurt Persephone badly out of inaction. Aphrodite's ceremony directly engages in the tricky question of whether passing on her eidolon will consume Venus, maybe killing her in another way by transforming her completely. Those are the trickier mysteries.)