#like that one page from the 3rd novel

[straybaddog06]

Imagine remembering several timelines at once

[see-arcane]

Well.

Here I am again.

In-between half a dozen other projects, the writing exercise that was supposed to be a light distraction has taken off without me. Once more, a very vampiric flavor of horror. But this time it’s so close to the Dracula source material that it’s living in it like an accursed undead poison. Or the bedeviled solicitor who first wrote on that horror in the first place.

That’s what Harker is. Those who have read Dracula before will know that, being a novel built of diary entries and sundry documents, the narrative is boiled down to what events the characters bother to record. Of special note is how the opening and closing protagonist of the book, Jonathan Harker, becomes progressively curter in his descriptions as certain grim events pile up.

So much so that he pointedly avoids recording the bulk of his two month-long captivity in Castle Dracula. And whatever it was that happened to him between the castle and his stay with the nuns. And just what exactly happened to him upon realizing what happened on the 3rd of October. Among a hundred other little omissions a reader only detects by the vacuum they’ve left as the entries of other characters sketch around them. Artful as Mr. Harker may be when in a descriptive mood, vital as his words are for the whole of the story, he’s shockingly silent on huge gaps of time and very significant occurrences within them.

Which bothers the hell out of me. Especially when there’s roughly a jillion elaborations and inventions made from swiveling the perspective to (Suddenly in love with Dark Sexprince Dracula~) Mina or (Very Definite Vampire Expert Badass Actionman) Van Helsing or (Ohhh, I’m so misunderstood, those babies and sailors and assorted murdered chattel had it coming and those human heroes were just stuffy cliché Victorians who were so meeean to meee) Dracula or (Actually pretty cool?) depictions of the nightmare aboard the Demeter. And yet we’ve got nothing for Jonathan? Not one single spinoff dedicated to filling in the blanks between journal pages?

It can’t stand. Not for another Dracula Season. So, I’m a-scribbling.

Whether this winds up as a proper book or not, I figured said scribbling has gotten big enough that it was time to carve out a piece to share. Hope you guys enjoy the read and any future updates.

You can read the Chapter 1 Teaser via:

Tumblr

PDF

Author site

(And remember, I already have a book published if you want to read about some modern gothic undead horrors! The Vampyres is a short and sinister read with its own preview sample to comb through. Hope you’ll have a look.)

[corgate-epistolary]

May 3rd, 624

(Transcript under the cut) (Read on Ao3 HERE)

[Written on off-white writing paper with a smooth but lightly textured hand, in golden yellow-brown ink, in cursive. Letter was folded into its own rectangular envelope, and sealed with a wax seal depicting a cat surrounded by moons, mountains, and window-like arch frame. The wax seal is silver, pale green, and gold swirled together]

Elowen Vance, A.Mg. Corgate Village Post Office

May 3rd, 624

Eris Mirrows, A.Mg. 87 Lancedragon Street Avalon

Mx. Mirrows:

We have arrived safely at Corgate.  The [scratch-out] villagers have been, on the whole, extremely [scratch-out] welcoming to Mg. Hawkins & myself. For once, Mg. Hawkins country manners are serving him far better than my own, as the locals see him as one of their own come home again.  I know Mg. Equlee is bitterly disappointed by the council’s decision (and if it were in my power I [scratch-out] would have [scratch-out, “recom”] recommended to send both, [scratch-out, appears to have been a closed parenthesis] as irritable as they can be to [scratch-out, “the”] each other) but I do not believe he would enjoy this section of the trip.  Please do express my condolences & apologies if you feel it

[end of page 1]

would be in his best interest.

The train journey was fine, & the tracks in this area are in good repair.  Should you ever have cause to visit, it is about one day’s journey via the train from the city to the station in Corgate, which is very small but well kept.  I am told from here it is another two hours’ [scratch-out, “tra”] travel to the ruins.  As such, I am intending to make the journey to the station for mail & supplies once weekly, and will consider it a morning’s work.

While I am away from Avalon, would you please keep me abreast of the latest happenings with the council?  And of course the general public knowledge of our colleagues & their doings.  I know you find it a little trivial, however [scratch-out, “evew”] even you must recognize the importance of good information before some other magician drags yours into some risky scheme.  We have a duty to ensure that they do not blow themselves up, after all.  I ask only because Mg. Hawkins (and I, in my less charitable moments) is convinced that this posting, far from the city & the university, is intended as a quiet exile as punishment for Mg. Hawkins’ lack of interest

[end of page 2]

in pursuing more formalized proofs & magical education.  I am sure you can hear in your mind his perennial exclamation that he is “getting along just fine as I am!”  I know I can even though I can hear him snoring quite plainly through the inn walls.

Such walls!  The buildings in Corgate seem made [scratch-out, “of”, but written poorly] of tissue paper to my eye - all frame, wattle, & daub and no bricks to be seen.  I am not so sure I will be truly suited to agent’s work in the field, but I can certainly see that Mg. Hawkins is quite in his element.  He seems quite at peace with himself here in a way he has [scratch-out, “nev”] never seemed back home.  Like a bird let loose from a cage, I suppose.  I am ever so glad he is happy, but I will have to learn his trick of avoiding the country mud before I go mad.

On an unrelated note, however, would you please stop by Vimes Place and look for my brown satchel?  In the scramble to get Mg. Hawkins (and all his supplies) out the door, I believe I left it

[end of page 3]

on the front table. It [scratch-out, “on”] only has a few novels & my copy of the notes on the ruins, which I could copy over again if needed, but I do not want to, AND you have the key.  I would trust it to you & to the post office [scratch-out, at the bottom of “office”] here in Corgate, but ask Mg. Equlee to put a little locking on it first.

I will look [scratch-out, “y”] for [scratch-out] your letter when I come down to Corgate next.  [scratch-out, “Stay we”] Stay well!

Ms. Elowen Vance, A.Mg.

P.S. Please let me know if any of my plants start looking sorrowful.  And do forward a newspaper [scratch-out] or two from time to time if you can

[end of page 4][end of letter]

[fumifooms]

Marchil crumbs part 3

Part 1 - Part 2 - part 4 - part 5 - part 6 - part 7

Count of times canon reminds us that Chilchuck is very attracted to blondes: 3rd For context: this is the canon explanation for everyone's shapeshifters

I can’t get over Chilchuck seeing Marcille like she has anime sparkles around her hair. How long have you stared at it. It’s like with the handsome Senshi where everyone is like "no this looks legit and absolutely like the real one" but her hair is shinier/prettier in the changeling than in the actual her

It drives me crazy that Marcille styles her hair every day for herself but little does she know she’s giving Chilchuck the show of his life, daily arranging his favorite thing aka blonde hair into different unique ornate hairstyles. Not that he cares about the details but ohh my god.

It makes sense that Chil would be the first one to notice her hair being all loose and messy then. He’s bothered by seeing her like this and wants her to tie it up again, and is even more unsetled and shocked when she says she doesn’t want to anymore. Though he also recovers from the shock quicker than Laios and takes charge of the situation. HE NOTICED. HE CARESSSS. IT BUGS HIM

^ That is what you call a character arc, of becoming attached to her hair lmfaoo(more like to Marcille and her habits). Or lying. "Man I sure wish she'd shave her hair I'd be less distracted on the job. Her golden majestic hair is so blinding with how shiny and sparkly it is ugh" /j

He chose to do a portrait teehee <3

Chilchuck defending her honor even under mind control that makes them honest zombies

Marcille out there defending his VIRTUE. It’s not just that he didn’t commit infidelity, he HAS A PURE HEART!! Honestly, assigned virtuous by a bicorn would so be the type of novel shenanigan that Marcille would hella romanticize. Which we do see her do lmao but <3

They're so funny together in the golden kingdom chapters. First of all, sitting in front of each other at the table? Nice. Second, them being on the same wavelength all throughout lmao.

Them. Sharing the same numerous braincells, nodding together and making good use of it to make good decisions for the party. Valuing their noses

Also can we apreciate that they like, can talk together. Communicate and debate. Even under tougher situations or more sensitive topics. Shit this would have been a good place to put the pages when Marcille was dungeon lord... But they're lined up for part 4 and part 3 is already full with pics... You guys have no idea how much Tetris I'm doing for these marchil crumbs posts

I wanna do a full compilation of every time he laughs at her but in the meantime have this small imperfect collection as well as this reddit comp. I swear she's the person/thing that makes him laugh and smile the most. Besides alcohol maybe

The gang and Chilchuck both knowing her well and not at all lol. Gotta love Chilchuck's confidence about knowing her favorite meal, and him remembering the bare minimum that even Laios hasn't lol

Marcille infesting his life to the point that, quote, "her delusions" are even part of his adventurer’s bible life timeline. The only picture in fact, in the streamlined canon reference to Chilchuck's life. "Hey is Marcille imagining herself as an halfling and Chil's wife with a mini Chilchuck baby Chilchuck's canon family appearances" canon: well no but actually yes /j

Chil at her bedside <3

Looking out for each other comp Yes thank you Chil captain obvious (he's trying his best and doesn't want to die let's not be mean c'mon). But like you know with that whole scene of the mad sorcerer attacking, for Chil it must have been the most terrifying thing ever. Ancient magic?? By an elf, targeting them with murderous intent?? With only an elf with also ancient magic to keep them safe attack by attack in the nick of time?? His biggest nightmare. I'm also reminded of when Chil talks with Leed about how "our magician held under the mad sorcerer's attack" all fond and 'I am so relieved I can trust her with my life' and Leed is like "That silly looking elf?!" and Chil was like "Yeah she's silly. At least she's strong tho." I'm getting carried away but yes this scene was relationship-defining in some ways

But they keep each other in check too

She was trying to make conversation and sharing her interests aw Chil come on

They're sooo domestic. "Chil are we there yet" "Marcille I swear to god if you ask me that one more time-". Also second time through the manga that Marcille squishes Chil against the ground/wall.

Get squeezed idiot

Part 4 is here!

[shinowadh]

Giyuu and Shinobu series #2: These moments are hilarious! Yet so enlighting!

Welcome back my fellow story sealions, book bears and manga mice! Let's embark once again onto the journey of understanding our 2 beloved characters-- Giyuu and Shinbu---- together.

If one had to pass the next few pages of the Giyuu Gaiden, it would seem that apart from the stunning visuals, these beautifully illustrated pages hold no reflection of the present persona's of the 2 Hashiras. Yet if you look more closely, subtle hints show the enduring characteristics of the our 2 most beloved pillars.

Moving chronologically from the pages, let's discuss these aspects!

Shinobu

'Don't complain and drink it.'

A quick flash of the well known 'Angry Smile' of Shinobu, showing that she had already developed her --excuse me for not elaborating on this... yet--coping mechanism.

And not forgeting Giyuu....

Giyuu takes responsibility. Another characteristic still visibly in the present (Giyuu in the main series).

'I'm not getting attacked, I'm just fooling around.'

I found this line quite controversial. Would Giyuu ever say 'I am fooling around'? In this sole panel, Giyuu's character become incredibly inconsistent.

On a lighter note, Giyuu giving in (with an exasperated expression not a hurt or angry one) after Shinobu tells him to back away is simply.....refreshing. Furthermore it provides evidence that that Giyuu somewhat tolerates Shinobu.

Irony:

Manga readers and spoiled anime-onlys will understand this. Please do not read on if you are not aware about the events in the Infinity Castle Arc.

'But you can't avenge anyone in that condition. Okay?'

Says someone who later on proceeds to harm themselves (I assume on a daily basis). Admittedly for revenge but I must still say this is rather ironic isn't it?

A request

Deepest Apologies

I provide manga pages as evidence for my arguments but I admit, things did not go to plan when I realised that google would not provide me the evidence I need. So I concluded I would need to buy the novel. So if you recently read the 2nd edition (now third) of the series please note that you did not read it wrong, it was my mistake. Apologies for that.

Farewells.

And so, this was it for the second edition of the series! I do hope that you enjoyed it. I am glad to have such great readers like you! Feel free to discuss, pose questions or correct some of my statements in comments. After all, this series is for debates and for working together to unravel the hidden strands of hints in this short novel.

I wish you great health! Please join us next time in the 4 edition (the 3rd is already published so check that out as well!)

Yours truly,

Shinowadh

[performativezippers]

Could you share your thoughts about beats in writing, please?

OKAY HERE WE GOOOOO this is going to be long but honestly it could have been so much longer so oops!

tl;dr: Beats are when things in the story happen.

So in a mystery novel, for example, when does the crime occur? when do they think they've solved it, but they're wrong? when do they realize they were wrong? when is their life in danger? when do they know who did it? when does the reader know who did it? when is the b-plot introduced and when it is resolved?

These typically happen in a similar place in each mystery novel, because of course it wouldn't make sense if it went: (1) you think you know who did it, and then (2) the crime is committed. Right? or if the very first person they suspected did it and they catch them immediately! that's never what happens because then what's the other 200 pages of the book?

so there is relative order, and you know it even as a passive reader, so then the question is how spaced out are those things throughout the fic or manuscript?

in a romance, it's the same. typically we see:

meet cute/first meeting/first canon meeting (the pilot) e.g. alex meets maggie at the airport and they fight over jurisdiction, or jane and maura work a case together as usual but it's the first one where jane is scared, aka a new start to their existing relationship

why aren't they together off the bat? (aka why is this a romance novel and not a romance sentence?) e.g. alex thinks she's straight and they're good friends, or maura dates elon musk types and jane is, you know, not that

complication e.g. alex comes out and then asks maggie to be her gf but maggie says no because alex is fresh off the boat, or maura starts dating jane's dumbass brother

false high (if there is a third act breakup, this is the happy time before that) e.g. alex and maggie get together and are very happy kissing the girls they want to kiss, or maura dumps tommy because her life with jane is more important to her

low point (this is often the 3rd act breakup, but doesn't have to be) e.g. alex freaks out when family conflicts with romance and dumps maggie, or jane kills maura's dad

KISS KISS KISS (aka the happily ever after) e.g. alex apologizes and sanvers stays together forever because the show was cancelled, or jane performs surgery on maura in the woods and then they kiss forever because the show was cancelled

SO, all of those things have to happen, and beats are when. you can of course put your plot points whenever you want them. it's your life and your art and your hobby!! have fun! but if you want to learn "craft" or whatever, or get traditionally published, you need to know when the conventional beats for your genre are, so that you can show you know what you're doing.

You've noticed beats even if you haven't thought about them. Sometimes a fanfic feels like it's going on too long or ending too abruptly, which is because they didn't place their beats carefully. Maybe it's taking forever to get past the set-up, and then the ending feels rushed. Maybe they got to the end of the plot but kept writing little one-shots or vignettes that don't have any tension in them. Almost all pacing problems can be solved by beats!

There are two main beat sheets I use for writing romcoms, Save the Cat and Romancing the Beat. There are book and workshops for both. My spreadsheet I use for every book uses Save the Cat beats, which was originally developed for screenplays. Here's a screenshot of that from the spreadsheet i use religiously:

I try to focus on

inciting incident at 0 or 10% (catalyst)

fun and games 25-50%

mid point high right around 50%

Things get bad from 50-75 until dark night of the soul from 75-80%

Redemption 80-90%, climax around 90%, final snippet less than 1,000 after end of climax

I do the math on my word count and ideal final word count to reverse outline where i am. in my book that's going to be published, i was really struggling with how to fill the 50-75% chunk; it was perfectly paced up until the shattering of the false high at 50%, and I knew what would happen after the dark night of the soul at 75%, but my project was to figure out how i could keep the plot driving forward and interesting while the MC's mood and situation tanked for a full 25% of the book. It turns out in the most recent draft, that stuff is 52-86%, and is stuff i really love. i was able to work in other plot points earlier that had time to breathe and got the space they needed in that portion, as well as find the balance between 20k of boring moping and maintaining tension while the romance was tanked.

it's very very hard to use beats in a fic you're posting as you're writing it (which is most of the fics i post), but even having it in the back of my mind helps. For the Ultimatum fic i'm writing and posting now, i knew before i started posting what the midpoint false high would be, plus the dark night of the soul, plus the endgame. it's important to make sure any b-plots, or in the case other couples, get their shit resolved around the same times as Kacy does, so that we don't need too much wrap up/exposition after the kacy climax.

what other questions or thoughts do you have about beats and plot pacing? send them to me!

[pnutbutter-n-j-elyy]

UPDATE

Heyyyy my sunshines!!!

I hope you guys liked the Pt3 I put out for the Maknaeline Clinginess Angst!! If you haven't read it yet check it out ;)!!! I JUST updated my Masterlist post-You'll notice there are a lot more things added onto it that I have not released yet. To keep myself more organized with requests and manage my posting more efficiently (my schedule still won't be completely set because unfortunately I'm a mood writer regardless of whether or not I have time 🥲🥲🥲) - I've decided I will start posting my TBR's. Meaning you guys will be able to see what I will be releasing - which will help me manage tags better as well. And will help those of you who like my page; who are not on my permanent taglist and want to know when I post. IF you would like to be tagged message me WHICH post you would like to be tagged on and I will be tagging the first 10 tag requests + those who are on my permanent taglist as of today- June 28th, 2024. FOR REQUESTS I will tag the person who requested the fic. The one catch is I can only really tag if you don't request anonymously. I am a judgement free zone and I want you guys to all feel safe and comfortable on my page and with me as both author and friend. So if you do have a request and you want to be tagged with your request feel free to request freely. I will NO LONGER be sharing the FIC requests via POST rather I will note the title and genre of the fic in the masterlist to - - A. Keep you anonymous EVEN IF you decide to not remain anonymous when you send the message -B. Declutter my page by minimizing posts Me not sharing requests does NOT mean I won't share any of the messages you guys send. A lot of you send me encouragement and compliments via my inbox so I will occasionally share those messages since they make me smile :) Despite me not sharing request answers and just putting them straight on the master list you can STILL choose to be anonymous when requesting. I just want to make sure you all know that you don't have to feel afraid of me judging a request or anything of that nature if you DO decide you would like me to know your user so you are automatically put on the tag list for that fic before the 10 spots are filled. It will be first come first serve for all of them so I do apologize if you don't make it onto the taglist for that fic, but I trust you'll find it at some point after its release. My masterlist post will be updated EVERY SUNDAY; so you guys can start the week with knowing what's up 🙌🙌🙌! Okay sorry for that long informational rant but here's another shorter one.

I will be dropping an Enhypen masterlist. The same rules stated above go for the Enhypen list once it is up and running. But since it isn't I will be taking 2 requests for each member and 1 request for OT7. Again- it is first come first serve so I'm sorry if I don't get to your request 😓😓😓 I WILL BE TAKING REQUESTS UNTIL JULY 2nd (sorry for the short notice 😓) FOR ENHA. Once the Enha masterlist is up and running - which will be by July 3rd my pinned post will be

THE MASTERLIST MASTERLIST (read this is Lord Garmadon's or President Business's voice idk why but it just sounds right) - this will be the masterlist to all my masterlists - which will soon be expanded out into different kpop/misc fandoms/ misc works in the future (ig; TXT, BND, ZB1, ATEEZ, potentially some anime fandoms, snippets from novels I have started to write).

BUT ANYWAYS AS ALWAYS-

Stay SAFE. Stay SANE. And most importantly-

Stay SLAYING. 💅 Love you all ☀️☀️☀️

[echantedtoon]

IMPORTANT!!!: Plz Read!!

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Welcome to my blog. Here you'll mostly find Y/n x Character content however I will also post crackships, cannon x oc, and cannon ships from multiple fandoms I enjoy. I also reblog a lot of self insert and Y/n x Cannon art and stories. Most stories will be cross posted from my other blog @hazbinextgeneration.

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[puhpandas]

News on twitter about tales from the pizzaplex graphic novel #1 coming out next year (March 4, 2025). It has “under construction”, “HAPPS”, and “Cleithrophobia”.

I think the 2nd or 3rd graphic novel will have the GGY story. If they do have the story in graphic novel then I will be super excited.

One problem thought: They better NOT get a shitty artist or writer to fuck him up.

Anyway, I think they shouldn’t show Gregory’s head, but just his lower body as a mystery, and then his face at the very end.

Btw: THERE IS POTENTIAL OF CANON MODEL OF TONY BECKER AND ELLIS!!!

Me imagining a scene of Tony and Gregory together alone = Beckory

I can’t wait.

There’s also another story that I would hope gets in the graphic novel, and that being “drowning” from the 6th book.

One last thing: Imagine that it wasn’t Gregory at all it was just a completely different person, and it was evil twin/doppelgänger. That would be funny, and stupid.

a ggy graphic novel would be so great because like. more Gregory art. but also theyd fuck Tony and ellis up SOO much and I just would not want to deal with them technically having shitty canon designs after using my fanon design this whole time. there is no maybe theyd 100% mess them up.

but DAMN I'd probably be just excited for the last couple pages of ggy in comic form!! page 69 is such a good interaction between tony and ggy. itd be cool to see drawn out

and as for that concept at the end of ur ask... I wouldnt be laughing lmao

[mae-i-scribble]

Having recently gone through the beginning of orv bc i adore the webtoon, i really have to be in awe at the amazing way orv presents the character vs person argument in the first third of it’s story. Because I would say up until after the demon king selection arc orv is can be assumed to be an isekai/power leveling fantasy deconstruction. And as and entire novel, it is somewhat, but it moreso encompasses themes much broader than a genre deconstruction, along with kinda throwing out that typical story structure halfway through to do its own thing.

And personally how orv goes about presenting the character vs person argument is not only the best i’ve seen in an isekai context, it sets up a very nuanced interpretation of how kdj sees the “characters” around him that is not just “oh he saw [insert name here] as a character until [some event].” Nor is it “oh kdj refuses to understand the people around him because he only sees them as a character.” From the beginning kdj has been shown to realize that the people around him weren’t simply characters following a script, and out of every character who read the WoS novel, he’s by far the one who treats them with the most humanity, even if his assumptions on their behavior are flawed. I’ll only be talking about the beginning sections of orv in this because while the entire novel build on that character vs person conflict, this beginning section is where it is best presented as a deconstruction of genre tropes. It also is what is responsible for setting the groundwork for those big moments later on in the novel, and without this section of story establishing Dokja’s perspective on the issue those moments would lose their tension.

I’m not really going into this with any sort of proper essay format or organization of thoughts besides for vaguely chronological, so if things are all over the place I apologize in advance.

While orv begins with Dokja sort of “shell shocked” at the novel he’s followed for so long coming to life around him. At this point, he very much treats Namwoon, Hyunsung, and Joonghyuk as characters only. He kills Namwoon out of personal dislike and the belief that Namwoon would never change his psychopathic ways. Hyunsung he admires, making comments along the lines of “i never imagined i would be able to meet his character in real life.” Joonghyuk is a similar story only with far more disdain, because Dokja realizes just what a bastard Joonghyuk is at this point. I do think it’s important to know that while Dokja was ultimately wrong about Namwoon, he was absolutely correct in reading Joonghyuk’s intentions when they first meet on the bridge. So even when Dokja sees novel characters as being ripped straight from the pages, he is not completely right nor completely wrong in his understanding of them as people.

As we are introduced to more novel characters with Jihye heralding Joonghyuk’s return, the most important thing to examine with the character vs person aspect is how Dokja interacts and interprets their actions. And for all purposes, there is not a single difference in how he treats party members like Sangah and Heewon vs Joonhyuk or Jihye. None of how he presents himself changes drastically, regardless of the status of the person. The only thing that changes is the fact that he knows what to say to poke and prod at them in the ways he wants to, whether to motivate, or to annoy, etc etc, because he has such extensive knowledge of them from following their story. And even then, even then Dokja has those assumptions shoved in his face when Joonghyuk occupies one of the hidden safe zones during the 3rd scenario. If he were any less resourceful then that assumption would have cost him his life, and he clearly recognizes it as such. When Hyunsung mentions how it seems Dokja has known him for a long time, Dokja doesn’t brush it off or treat it as a useless comment, he recognizes the weight of what Hyunsung is saying- of what he himself is doing by pretending to be a distant friend while knowing so many details of Hyunsung’s life, and it clearly bothers him a bit. Already, Dokja is moving away from the perspective seeing novel characters as characters only, because from the beginning all the novel “characters” are asserting their agency and personhood.

The next major moments come with the cinema dungeon, first up being the scene when the company is in the titanic movie. When Jihye moves to kill the simulations, saying that it doesn’t matter because they’re real and the simulation is just a character, Dokja is left looking on to think over her words. Again, his perspective is challenged and Dokja seriously considers the implications of such. When they get to the sea battle reenactment, and Jihye breaks down, Dokja doesn’t use his knowledge of her as a “character” to convince her to stand up again. He tells her his honest thoughts, the same attitude he’s shown to Gilyoung and Sangah and Heewon. That she isn’t wrong for wanting to survive. That she cannot atone for her actions with death but must live on. Frankly, I have a hard time believing that such an emotionally charged speech comes from any point of distancing the same way one would if they only considered a person to be a character who needed the right catchphrases.

Concerning the fight between Dokja and Joonghyuk in the cinema dungeon, I actually don’t think it has much to add to this character vs person argument orv is building, but it does go to show that even if it were true that Dokja sees all WoS people as being characters only, that perspective is not without emotion or humanity. Dokja wasn’t simply a reader watching over a story, when he read WoS he was fighting alongside these characters, urging them to keep going, to keep fighting for a better world.

Now, next up comes the most important distinction, and one of orv’s best ideas when it comes to expanding on this character vs person conflict: introducing other readers of WoS. Now Dokja is our baseline to compare to others in similar standing to him, and the results are incredibly telling. The apostles refuse to even acknowledge any novel character as human, let alone treat them with decency. When Dokja confronts them about it, they shrug it off, claiming its sad that these characters don’t even know they’re characters. When attacking Dokja’s station, they target Jihye specifically because she is a character, reveling in beating/humiliating her. This is what it means to only see a character as a character, and it is nothing like what Dokja has been doing.

After that, we get the other brilliant twist that when apostles reach a point past where they read, they become “characters,” complete with acting as if other character have always been a part of the world. This, to me, is when Dokja stops separating the people from the characters. In a world where a person can become labelled as a character under his skill, who’s to say what the difference is? Certainly not Dokja, who even when he did have that distinction changed very little about how he treated them. Now it’s simply people he read about in WoS vs people he did not.

A small sidenote here regarding Sooyoung, while being an author herself, she’s certainly much more scathing in her interactions with who she considers a “character,” and while not quite touched upon in the webtoon, she tends to deny the agency of those she considers characters far longer than Dokja ever did. Although the two of them end up in very similar positions later down the line.

Now, all of this is not to say that Dokja seeing Joonghyuk and co as characters first doesn’t impact his relationship with them, because it undeniably does. But none of that shows in how Dokja treats them, it shows in how he perceives their intentions, most notably with Joonghyuk. But considering that as the sole reason why Dokja does so is to ignore the fact that Dokja is not the best at interpreting any sort of positive emotion directed towards him, even more so in the very,,, roundabout way Joonghyuk goes about showing that he trusts Dokja and regards him highly. He has no idea how high a pedestal his little gang is setting him on despite spending literally all of his time around them. When people like Hyunsung and Sangah mention wanting to get to know him more he’s completely befuddles as to why they would even want to.

Additionally, citing the fourth wall as responsible for creating the distance between Dokja and WoS characters doesn’t hold up to me because the fourth wall creates a distance from anyone and everyone, regardless of status. It lets him perceive all of reality as fiction, not just the cherry picked portions. Thus creating another layer of non-distinction for him- equally distant from everything and everyone, the only person in the world who can see it quite the way he does.

Another argument that can definitely be made in more detail is that Dokja’s understanding of Joonghyuk as a character in the beginning is the key factor in letting their relationship blossom. Had Dokja not known what he does, had treated Joonghyuk in reverence like the other apostles do rather than the bastardy coniving way of his, Joonghyuk never would have opened up. What makes Dokja stand out to Joonghyuk is that he keeps challenging the regressor. Challenging him and winning. It’s the speech in the cinema master dungeon where Joonghyuk realizes Dokja cares about him far more than he realized, even if he cannot comprehend how or why.

Anyways, I won’t go any further than that, and if anyone made it this far, here have a cookie for your troubles thank you for sifting through all that. While I think a lot of what I’m saying is like, basic textual shit that doesn’t deserve such a long post for, it still means a lot to me to say it. I feel like the most common fandom interpretations of the character vs person argument and the fourth wall at the beginning of orv so greatly oversimplify and honestly ignore what orv is trying to say in a bad faith reading of the text. Whereas Dokja’s growth is far more complex and subtle than just “he stopped seeing people as characters.”

[monstersandmagicians]

Anyways, cheered when I checked my inbox this morning. Been waiting months for this announcement.

So, thoughts:

-Avallon Hotel and Spa: obvious Arthurian connection here. Healing springs. Will be fascinated to see the level of significance here - I think Maggie typically names with easter eggs in mind whereas I try to dig as deep as possible when analysing these choices, so we'll see.

-WONDER: so, Stiefvater said that she is trying to writing Wonder as opposed to Horror. The synopses, especially the QBD one, are written as if for a gothic-ish sort of novel, the sort that leaves you feeling claustrophobic. Considering the effect Sinner had on me, I do trust Stiefvater to achieve what she is setting out to do.

-Synopsis: again, the sort of synopsis I would read, think has the good bones for a story, but know it will make me depressed so I'd skip. Again, I have faith.

-"class conflict, an ensemble cast, about four different kinds of love": from the email. Book's set in the Appalachian mountains in the 1942, so the class stuff will be good. Willing to bet on some good sibling content, even though we only have two named characters. Obviously, this will be an adult novel, but I feel its going to sit comfortably next to The Scorpio Races in my head.

-Cars: nothing has mentioned cars, even the bits that have talked about it being a Stiefvater novel. Still, I expect cars, in loving details.

-June Hudson: Okay, so June Hennessy was my first thought on seeing the name, then the fact the book is coming out in June. Hudson? All I've got is the Hudson River folks. From the synopsis I don't think I can make an assumption about which way Stiefvater's taking her character, but I'm assuming she's a Responsible, Practical one. Is described as enigmatic

-Tucker Minnick, FBI Agent: Love the name, again, look forward to finding out where the components were plucked from. Despite working for the FBI, the main synopsis* suggests he hails from the Appalachian. Class conflict bound up in one man?

-Cover: so, a cover had been included. It's white and purple with a house on. Generic and I don't see people pitching a fit over it, but it includes a "sticker" saying "Cover to Be Revealed". That makes sense, we're ages out from the release. Still, feels like the publisher creating problems for Stiefvater there. Looking forward to the real cover and I hope it feels more Stiefvater-y, even if others aren't fond of it.

-The Listeners: while I'm stomping on hornets' nests, the title. Simplistic, but evocative. Would love to know what is listening to who and how many ways this title can be applied.

-Betrayal: the QBD synopsis uses the word betrayal. Could mean anything, tbh.

-The Nazi Thing: has the potential to be really interesting and insightful, if Stiefvater hands it well. Considering her experiences with fandom, I imagine she has proceeded with more caution than others (*cough*Chibnal*cough).

-Length and Date: According to QBD, the paperback is 416 pages (a very satisfying number). Penguin has the hardback at 384. This suggests longer than MI, shorter than CDTH. Penguin has release date at June 3rd, while QBD (Australian Bookstore) has the 10th. The email just says June, so I would say, expect early June.

-Bears: I would rather approach a bear than the TRC fandom, tbh.

*(QBD synopsis differs from the one Stiefvater released; doesn't include Minnick at all)

[glaobobotalrynn]

Ayo shoutout to fairytale retellings that are written for actual preteens/young teens, here are some of my favorites;

Note note: These ones specifically are all appropriate for young audiences, say a hyperlexic little girl with ADHD who had The Hunger Games given to her in 3rd grade because her teacher couldn't keep up with her thirst for pages (just a nonspecific lil example :D) so if you're a parent or teacher reading this post I hope this helps!

Land of Stories by Chris Colfer- of course. What's not to love? I mean I lost a little steam in the last book (there's six) but heyyyy the first one can be read alone and then if you want more lore you can keep going if you wanna.

East by Edith Pattou- Ok fine, our main girl is giving a little bit of not-like-other-girls (Purple eyes? really?) but it's such a fun fucking reread, I feel like some of my superstitious things are validated when I do read it. East of the Sun and West of the Moon hasn't been retold to death so this is awesome.

Twice Upon a Time; Rapunzel, the One with All the Hair by Wendy Mass- Mouthful of a title but I STILL think back to this one all the time and laugh. It's short, it's cute, it's funny, they make the prince and Rapunzel into more normal kids, this one is a great light read. The other ones in the series are probably just as good.

Oh yeah forgot to mention these other books are THICK.

Just Ella by Margaret Peterson Haddix- I've been rereading this one since I was small and I still notice new things every time I read it. I'm so mad I marked up my copy because I have a gorgeous one from before they ruined the cover with modern art. If you look it up, I have the one where it's like half peeled back to show Ella as a peasant. Also a skinny book.

Ever After High's book series, mostly written by Shannon Hale- Did y'all know EAH had books when we were younger? Hale is one of my favorite authors, I ate these UP once I got my hands on all of them. Princess Academy was one of my favorites as a kid so finding these when I was like 11-12 was GREAT. They're long enough to keep me busy and super engaging. Ya gotta know- Briar's my favorite character in the books. Closely followed by Cedar.

Hale's Rapunzel's Revenge is SUPER good too. Graphic Novel. I'm a very huge Hale fan.

I can't think of any others right now but if I do I'll reblog and tack them on!

[k--havok]

The Ghost & The Machine

An Adult Romance SFF Novel

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Summary: Cyberpunk | Beauty & The Beast Remix | 3rd Person Limited POV | First Draft | Novel

Specter isn't so sure who she is, or her past. All she knows is she works for the ruthless fence known as Ricco Maestro using her strange power to jump into people's brains to extract information clients have paid for her to get.

When Mr. Maestro gives her a job to extract information from the notorious Dragoon, a bounty hunter and assassin, Specter's world falls apart. Captured by the only person who somehow could pull her out of his head, Specter finds herself imprisoned by the enigmatic monster. Dragoon is a beast of metal and machinery; and no one knows who he is or what he looks like.

But Dragoon isn't what Specter expected. He's rough, full of fury, and materialistic. But also clever and filled with a longing that resonates with the same frequency as Specter's own yearnings.

Specter is still employed by Mr. Maestro. And she will do anything to complete her job. She cannot fail. But as she and Dragoon grow closer, and Dragoon shows her a whole new side to the city, her own relationship with her boss, and herself, questions begin to arise.

Why can't she remember her parents? Where did she grow up? Who is she, and where do her strange powers stem from?

As Specter and Dragoon search for answers, a new threat lurks in the shadows; one that wants Dragoon wiped away and forgotten. And they just may have the answers Specter is looking for.

As enemies close in on all sides, Specter must decide what is worth more; the truth or trust.

Themes

Finding out who you are, the nature of loneliness, the different faces of abuse and how it shapes us, mental illness, true power comes from within, found family, enemies to lovers, LGBT+ themes and characters, cyberpunk with magic, magic and technology, what makes a man and what makes a monster, Beauty and the Beast meets Shadowrun

Contains

Graphic depictions of violence. Graphic sex scenes. Graphic depictions of torture. Abuse and abusive relationships. On-page panic attacks and other symptoms of mental illness. Graphic depictions of illegal experimentation on sentient beings. Swearing.

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Main Characters

Specter

| She/Her | Half-Elf | Bisexual | Protagonist |

Specter is a half-elf in her late 20s who isn't so sure who or what she is. She has no real memories or sense of self. Before her fateful capture by Dragoon, she lived in an apartment paid for by her boss, Mr. Maestro, who also paid for her clothes, utilities, and food in exchange for her talents for espionage. With no family, no friends, and not much purpose, Specter put all her faith, trust and livelihood into her boss's claws.

Specter is not so sure where her powers of possession hail from, where she learned such power, or when it manifested either. There are large gaps of her memories missing. All she knows is she can easily possess anything; whether it be a person, animal, an object, or even the air itself. When possessing a person or animal, Specter can access their brain, picking through thoughts and memories as easily as flipping through folders in a filing cabinet. This makes her exceptionally good at pulling out information from others with minimum risk and maximum reward. Despite the dirty nature of her job, Specter is against harming or killing others, and does her best to minimize pain for her targets.

Despite her lackluster, almost boring, life, Specter does try to entertain herself. She is an animal lover and refuses to possess animals. She enjoys watching the birds and rodents scurrying around the city. Specter also enjoys yoga and music. She often hangs around joints with live music or sings to herself when at home. She likes trying new food and cooking meals for herself. Specter is an empathetic soul, but not exactly kind. She has a cheerful disposition most of the time, although is quiet, hard-working, and observant of her surroundings.

Specter is intersex. She has pale skin with brown hair and brown eyes. Her pupils contain cybernetics that record everything she sees. Half her head is shaved close to the scalp while the rest of her hair hangs short, curling around her jaw. She has a beauty mark on the left side of her lip and no other identifying markings. Specter tends to wear well-loved and practical street clothes consisting of plain shirts, leather jackets, leather boots, and hardy denim pants. Specter is about five foot seven, about 150 lbs, and has a broader chest and shoulders with a short torso and long legs.

Dragoon

| He/Him | Chimera | Bisexual | Antagonist/Protagonist |

Dragoon is a chimera, made of several different animals, and is in his 50s. Dragoon has both sides of man and monster and struggles with balancing them out. He works as a bounty hunter, but at times will take jobs to kill targets as well. He primarily works alone and is freelance. Dragoon is known to be expensive, but never fails a job, making him quite invaluable. Despite his volatile nature, he is also known to be simple to work with. He does not have much interest in idle gossip or the social network of criminals.

Dragoon lives inside a life-support suit made of complex nano technology which he built himself. Along with supporting his bodily functions, his suit is a deadly weapon in itself. Dragoon is a master of both blade and gun. He is also a self-taught engineer who creates his own illegal weaponry and hides it within his suit. His suit contains hundreds of different guns, blades, bombs, and a flamethrower hidden inside it. It also modifies his senses, making them sharper, as well as his strength, speed, and stamina.

Dragoon is a neurotic and independent individual. He has an active interest in engineering and the applied sciences. When not working, he is often found either buying and hoarding random things or working on his many cars, planes and helicopters. He also enjoys programming and assisting abandoned robots he finds, re-purposing them as companions of sorts to live with him. Dragoon is quick to anger, and struggles with techniques designed to calm him down, which includes meditation and martial arts. He does not trust easily and has a phobia of needles. He is socially awkward, which leads him to be quiet and avoid small-talk. He can be witty and is mildly blunt. He has a possessive nature in regards to both objects and people, making it difficult for him to distinguish between the two.

Dragoon is male and gender-apathetic. His real form is hidden within his suit. His suit is dragon-like in appearance and can change color based on his mood and surroundings. Usually it is a dark red with bronze and black trimmings. He has a noticeable gauntlet and pauldron on his left arm and shoulder. His helmet consists of a longer snout with horn-like protrusions from the crown of the helmet. Two horns curl forward and two curl beneath fin-like protrusions, similar to a ram's. Spikes line the bottom of the jaw. The jaw of the helmet can open and close and is lined with metal teeth and a whip-like tongue. His true face is hidden behind a one-way black visor. The back of the suit and his tail is lined with a double set of spikes. The spikes on his back can protrude further out to spear anyone who tries to grab him from behind. He has clawed hands and feet and does not wear clothes over his suit. Dragoon within his suit is roughly seven foot two and weighs nearly 400 lbs.

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Links

#The Ghost & The Machine | #tg&tm

[aydaptic]

Not sure if anyone has asked you this yet but what is your favourite chapter in DBH?

✨ THE INTERROGATION ✨

...and no, it's not bc we're introduced to Gav. It's bc it has the best-acted scene in the entire game thanks to Cornelius Smith Jr. AKA Shaolin Being/Carlos Ortiz's android. Gives me chills every time.

If that chapter didn't exist, I wouldn't even know which one to pick. I have many favorite moments throughout. Not entire chapters.

THE PAINTER = bc it has my favorite soundtrack Something You've Never Seen Before (specifically 00:42) in the entire game.

STORMY NIGHT = when the best part of Kara's Theme kicks in (04:55) being my 3rd favorite soundtrack in the game.

FROM THE DEAD = bc of the impeccable audio design.

WAITING FOR HANK... = "I'll pretend like I didn't hear that, so I don't have to add any more pages to your disciplinary folder 'cause it already looks like a fuckin' novel!" - Jeffrey Fowler

THE EDEN CLUB = "Just some pervert who, uh... got more action than he could handle." - Gavin Reed

NIGHT OF THE SOUL - MARKUS = "Face the abyss, but don't let it consume you." - Carl Manfred

BATTLE FOR DETROIT - MARKUS DEMONSTRATION = bc it has my 2nd favorite soundtrack This Is The End (01:03) followed by Jericrew singing Hold On.

BATTLE FOR DETROIT - MARKUS REVOLUTION = bc the QTEs are so much fun.

BATTLE FOR DETROIT - KARA LEAVING DETROIT = "Welcome to Canada." - Canada Border Guy

Every scene Gav is in.

The detective-heavy Con chapters are my favorite in terms of setting. I'm a sucker for detective stories. Those who have followed me for a while know I outright dislike Con's personality -- meaning that it took away a lot of my enjoyment of said chapters -- but it's still worthy of mention.

[izzyizumi]

{D I G I M O N} Adventure ~ Ep. 24 {Original J.P.N Version} + KOUSHIRO & MOTIMON x 0801 COUNT-DOWN

"You look like a {small} {B A B Y} 'Mon {that you Are} when you're held like that {by Koushiro}!" - Tsunomon

Digimon Partners Official Twitter, (dm_partners on Twitter) is beginning a countdown for 0801’s Adventure PV 2k24!

Today, Koushiro and "Motimon" {Mochimon} are previewed! {This art originally revealed/shown Jul. 26th, 2k24 for 080124} What is interesting about this one is the art is clearly referenced from Adventure #24, but the scene is supposed to be showing the mains meeting their partners during the events of Ep. 01.

In my personal view, this is Fitting for Koushiro regardless. Before people claim this makes Koushiro "out of character", I'd like to point out Koushiro's genuine care and concern towards Mochimon above, even when Koushiro was very likely achy and waking up from passed-out condition in Adv 24.

Koushiro is showing compassion towards Mochimon in this "new"-old scene because Koushiro is and always was caring and compassionate, even if Koushiro doesn't always show it well at first. (+This is 5 whole episodes before we even learn Koushiro's backstory about Koushiro being CANON A D O P T E D.)

Personally, my favorite interactions between them was actually also from the (if condensed) official Novel version, (also written by Hiroyuki Kakudou and Koushiro's main script-writer, Hiro Masaki, who also contributed at least 1/3rd of the amount) and even there, by the time they began walking, Koushiro was actively asking Mochimon "all sorts" of "{Q U E S T I O N S}" about the Digital World and the true nature of those living there.

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[see-arcane]

Love, Vampirism, and Metaphor in Dracula: Van Helsing and the Suitors VS The Harkers

I’m writing this on the day of the September 29th entry, fresh from the second death of Lucy Westenra, Bloofer Lady and Beloved of Many. I see myself posting this on October 3rd, the day of Dracula in the bedroom and the holiest love quote. You know the one.

‘To one thing I have made up my mind: if we find out that Mina must be a vampire in the end, then she shall not go into that unknown and terrible land alone. I suppose it is thus that in old times one vampire meant many; just as their hideous bodies could only rest in sacred earth, so the holiest love was the recruiting sergeant for their ghastly ranks.’

Harrowing, horrifying in its implications for our good friend Jonathan Harker, and, when held up against the wall-to-wall likeminded alignment of the Suitors Three, of Van Helsing, and, it seems, of Mina ‘Down to Self-Sacrifice’ Harker, a quiet but unmissable sore thumb sticking out of the rest of the novel’s dogma. Let’s turn the pages back a bit.

Say, to Jack Seward’s thoughts on the Bloofer Lady resting in her box, September 27.

‘It made me shudder to think of so mutilating the body of the woman whom I had loved. And yet the feeling was not so strong as I had expected. I was, in fact, beginning to shudder at the presence of this being, this Un-Dead as Van Helsing called it, and to loathe it. Is it possible that love is all subjective, or all objective?’

Here, Lucy is completely prone in her vampiric torpor. No action, no will. Just the same deathly stillness of the Count in his coffin, radiating an ominous miasma—the difference for her being that she rests with her eyes shut, and has no power to jumpscare her visitors with a turned head or the paralytic magic of Dracula’s ‘basilisk gaze.’ She is nothing more than a pretty corpse and yet Jack feels only mounting disgust in her presence. And, following the adventure of catching the Bloofer Lady in the act with his fellows, the cruelly tossed child, the supple supplication—

“Come to me, Arthur. Leave these others and come to me. My arms are hungry for you. Come, and we can rest together. Come, my husband, come!”

—and the grand reveal of her monstrous face when thwarted by Cross and Wafer, we come to the scene of Van Helsing and the Suitors Three in the tomb, hammer and stake at the ready.

‘She seemed like a nightmare of Lucy as she lay there; the pointed teeth, the bloodstained, voluptuous mouth—which it made one shudder to see—the whole carnal and unspiritual appearance seeming like a devilish mockery of Lucy’s sweet purity.’

[…]

“Instead of working wickedness by night and growing more debased in the assimilation of it by day, she shall take her place with the other Angels. So that, my friend, it will be a blessed hand for her that shall strike the blow that sets her free. To this I am willing; but is there none amongst us who has a better right? Will it be no joy to think of hereafter in the silence of the night when sleep is not: ‘It was my hand that sent her to the stars; it was the hand of him that loved her best;’”

[…]

“My true friend, from the bottom of my broken heart I thank you. Tell me what I am to do, and I shall not falter!”

[…]

‘Arthur took the stake and the hammer, and when once his mind was set on action his hands never trembled nor even quivered.’

[…]

‘There, in the coffin lay no longer the foul Thing that we had so dreaded and grown to hate that the work of her destruction was yielded as a privilege to the one best entitled to it, but Lucy as we had seen her in her life, with her face of unequalled sweetness and purity. True that there were there, as we had seen them in life, the traces of care and pain and waste; but these were all dear to us, for they marked her truth to what we knew. One and all we felt the holy calm that lay like sunshine over the wasted face and form was only an earthly token and symbol of the calm that was to reign forever.’

‘Van Helsing came and laid his hand on Arthur's shoulder, and said to him:—'

"And now, Arthur my friend, dear lad, am I not forgiven?"

‘The reaction of the terrible strain came as he took the old man's hand in his, and raising it to his lips, pressed it, and said:—'

"Forgiven! God bless you that you have given my dear one her soul again, and me peace.’

‘He put his hands on the Professor's shoulder, and laying his head on his breast, cried for a while silently, whilst we stood unmoving. When he raised his head Van Helsing said to him:—'

"And now, my child, you may kiss her. Kiss her dead lips if you will, as she would have you to, if for her to choose. For she is not a grinning devil now—not any more a foul Thing for all eternity. No longer she is the devil's Un-Dead. She is God's true dead, whose soul is with Him!"

…

……

………

Now, this is old ground. Old, old, old, essay-strangled ground. Throw a dart and you’ll hit a dozen far more articulate pieces about the undercurrents of it all.

The parallels with the Brides of Dracula. The Lilith-rooted fear of the Sexual, Powerful, Child-Endangering/Killing/Unmaternal Woman. Purity > Carnal Voluptuousness. We must destroy the sensual evil to rescue and preserve this fair maiden’s purity~. Made all the easier because 1) Lucy was implied to have given her consent and urging to Van Helsing on her deathbed to carry out just this procedure, purest pure sweet virginal angel maiden that she was, and 2) the boys had Abraham ‘Definitely not a Saintly Stand-In Patriarch Figure’ Van Helsing to follow as he gives his wise and brilliant and Godly orders (my child).

I get it. You get it.

But most importantly, and barely ever brought up, Jonathan Harker gets it. He has gotten it well before he ever learned about Lucy’s own hell with Dracula.

He had a front row solo-show of three vampires murdering a child. Then overhearing a second child’s death. Not a little sip! Not dainty nursing from wee pinprick bites! The Weird Sisters drank two kids like a three-way Capri Sun. They tried on multiple occasions to hit him with that sexy-soothing hypnosis to take their turns with him and drag him into the undead girl gang against his will. The first time he got away lucky with Dracula’s intervention—he had no clue what was happening, no one there to counter the effect or prove he wasn’t dreaming. They just stuck their hooks in his head and he laid there, frozen. In the ensuing attempts he clocked them and could only run to dodge their effect.

This is the same man who, when all other options were lost, gambled his life on the cliffside and the wolves versus staying locked in Dracula’s stone box to let the Brides drink and turn him. He has more vampiric terror experience than the rest of the cast combined, even with Van Helsing’s secondhand know-how. He gets it.

…But now, here’s Mina.

Mina, Mina, Mina.

Bitten. Turning. If they do not end the Count in time, she will be a vampire.

Already she’s mulling suicide.

(Hello, flashback.)

Already the stalwart men around her are quietly steeling themselves should the worst happen and they must deliver the same mercy they did for Lucy.

(Hello, flashback.)

Already Jonathan has decided he will join her in undeath rather than have her be alone in the condition.

(Hello—wait, what?)

What? Everyone put down your crucifixes and holy cracker crumbs! Mr. Harker, say again?

Let’s look at all this implies on paper. Really look.

1.     Jonathan has witnessed and endured the attentions of vampires with far fewer scruples and friendly attachment than Lucy the Bloofer Lady ever had.

2.     Jonathan has learned of how vastly Lucy changed post-vampirism. Her danger, her ‘wanton and impure’ personality, the crazy demon bat face, all of it.

3.     Jonathan knows she reached for Arthur. She still knew Arthur. She wanted Arthur with her.

4.     Jonathan knows now that if he had powered through the spell of the Count’s inflicted fear and finished him off in his box back in Transylvania—if Jonathan had simply stayed with Mina, stayed awake and kept watch—she would not be in the peril she is. Lucy would be alive. So many would still be alive. Is he damned already for allowing this all to pass? What more is there to lose?

5.     Jonathan is not Abraham. Neither Van Helsing, nor the biblical namesake who would slay the person he loves most under God’s command. It no doubt comes as a shock to him; him who has been protected by the icon of the Cross, has breathed endless prayers for his and Mina’s sake. Yet there it is. He loves Mina more than God. More than purity. More than humanity or sanity. He cannot bring himself to destroy her, regardless of what form she takes. And perhaps that is partly why…

6.     Jonathan will give himself to vampirism, to Mina, to the Devil—Transylvanian or otherwise—rather than raise a hand or stake to her. If the curse cannot be lifted, they will be cursed together. Let Van Helsing and the Suitors kill two vampires if need be. But whatever she suffers, he will too.

7.     Jonathan sees no point in being alive, human or not, if Mina ceases to exist.

Now, here comes the Big Issue.

The trouble of comparing the In-Canon, On-Paper Morality of this stance VS the Metatextual Metaphoric Morality.

On paper, his private oath is at once tragic, horrific, and skirting towards borderline villainous. Jonathan is willing to deny Mina’s desire to be destroyed rather than become a vampire and, by implication, endangering the lives of Van Helsing and the Suitors Three, and any potential future victims, by dint of planning to defend Mina against their wishes.

Now, this could just mean safeguarding her corpse, hiding her away from the others until she wakes as the undead. Hiding in the dark, sleeves rolled up, shirt collar open. Waiting.

It could mean a grudging confession and pleading session as he implores the others to let her wake long enough to turn him, to let them both be slain by their stakes and blades. If not, well, he was willing to die long before any of them. He won’t live long after her either way, so they may as well…

It could mean taking grislier methods if pushed into a corner. Because if Mina’s existence takes precedent over everything in Jonathan’s perspective, including the Will of God Himself, his new buddies will have a violent surprise coming if they try to pull their undead euthanasia routine on his watch.

It could mean, somehow, with all the worst stars aligned, Mina becomes a vampire under their noses, and approaches Jonathan at just the right time to see them both vanish into the night without notice. Maybe they go to join the Count. Maybe they stay behind, forced to follow murderous orders. Maybe they luck into the willpower shown by those mischievous Brides, and skulk away despite Dracula’s explicit commands, two monsters running away; eloping.

But what it absolutely means in all these cases, is that Jonathan is willing to put his friends and who knows how many strangers at risk, while purposefully going against Mina’s plea for holy destruction rather than vampiric existence. Jonathan is putting his own heart over the wishes of everyone else.

He will give all of himself under any other circumstances, will trust in God’s protection as far as he can, but he understands in this moment, without doubt, he will not, cannot, give away Mina. Not to a divine cause. Not to her own martyr’s mindset. Not for anything.

It is selfish, sweet, sad and nearly sinister in how covertly all this must play out in his mind and buried under the text.

So it must also look through the bluntest take on the novel and Stoker’s messages of Madonnas and Whores and the Preservation of Purity and the Heroic Killing of Evil that keep being cudgeled in throughout the narrative.

…But, even without a 21st century lens, you only need about two seconds’ worth of examination to see the metric ton of metaphoric power underscoring the difference between how Jonathan Harker loves and how Arthur, Jack, Quincey, and Van Helsing love. In plainest terms:

Jonathan Harker’s love is unconditional and all-encompassing.

I will love you no matter what you become. Whatever we must weather, I will weather it with you. I will take on any pain you have and make it my own. I will never abandon you, never hurt you, never judge you. I will love you forever, and if you must be a monster, I will be too.  

Van Helsing and the Suitors’ love is conditional and hinges on the fair maidens in their lives being, ‘pearls among women.’

You are not what you were, despite all my efforts to stop this change. I will destroy the imperfect Thing that has usurped you. This is all I can do. All I will do. I will love the memory of what you were before I had to kill you.

Now, obviously, there is some nuance to appreciate here. There’s a whole separate essay to be had in examining the toxic nature of relationships built on a partner loving the other half to the point of worship, refusing to find fault or leave the romance when it’s clearly gone sour or dangerous. If Jonathan had fallen in with a legitimately cruel partner, with or without a monster angle in play, that talk might hold water. But not here.

Not when the whole crux of the vampirism threat for Lucy, Mina, and the Brides—once you scrape Stoker’s varnish off—is the Threat of the New Woman.

The Threat of Power Equal or Greater Than Men’s, Unrestrained Sexuality, and Unmaternal Behavior from the Pretty and Virtuous Young Lady. Or, considering the undertones of focusing on madness as another horrible affliction, vampirism as a mental illness and/or the assumption of mental illness.

(What’s up, “The Yellow Wallpaper,” parallels, didn’t think you’d make it in here!)

Or, if we want to knock down all the era-specific boundaries, vampirism is the conversion into, or revealing of, Otherness. The vampire is Wrong. The vampire is Not Like Us. The vampire is Unholy, Imperfect, Impure. Insert your marginalized group of choice here.

Against the Vampire-Other, we see Van Helsing and the Suitors positioned as the moral defenders, destroying the tainted and converted Bloofer Lady, preferring to see this New Lucy dead rather than suffer her vile voluptuous self to exist. It is too much! She would not want this any more than we would! Away, demon!

Then we take this hard swivel to Jonathan Harker, fully aware of their stance, of the full spectrum of vampiric menace, of Mina’s own hardwired, ‘Martyrdom! I am sullied and unclean because I was violated against my will! Self-sacrifice! I must give of myself until there’s literally nothing left!’ mentality, and of how it’s been painted that ending her may be the only way..!

And Jonathan discreetly but emphatically flips the bird to the whole concept.

Mina’s changing? Mina might be different? Mina is possibly doomed to be a monster, to be the Other, seemingly ruined by the very explicitly rape-coded assault on her by a predator? Hm. Hmm.

Fuck that, decides Jonathan.

He will not abandon her, period. No equivocations. No moral quandaries. No hand-wringing hemming or hawing. Just:

“Mina might become a vampire? Shit, I’ll have to be a vampire too. Let the rest of the world deal with it.”

Oh, sure, he’ll give it his all to prevent her turning with the rest of the vampire hunter gang. Even if vampirism didn’t come into it, he has a hell of a grudge to settle with Dracula for all the shit he’s pulled. But if that isn’t enough? If the fatal blow comes too late and Mina turns? That final choice is already premade in his mind. Whatever Mina is, he will be. Whatever fate waits for her, he will take it himself. Simple as math.

And, because you read the title up there, we must also address Mrs. Harker herself. Dear, devoted, devastatingly down for self-sacrifice Madam Mina, who would have herself destroyed by her husband and the others just as Arthur slew Lucy.

It is what’s right!

It is what must be done!

She dare not risk harming another as a foul new pet of the Count’s..!

Unless, we have to wonder.

Unless the shoe was on the other foot.

What if it was not her, but Jonathan in her place?

Jonathan, freed from considering his wife’s impending conversion, Jonathan, who was already prepared once to get himself killed for the sake of avoiding the Brides’ kisses, Jonathan, who is so much a mirror of Mina’s caring and self-giving nature that I can picture him parroting her own demands for a proper destruction rather than rising as a vampire to imperil the others.

What then, Mina?

Mina, who witnessed Jonathan at his lowest—struck down by fever and trauma and a shock so powerful and mixed with physical illness that it left him too weak to stand even for their wedding vows.

Mina, who fell in love with a gentle and sweet Jonathan, a boy so many, many leagues away from the lauded Man’s Man archetype. The inverse opposite to the New Woman, so endearing and warm and kind and eager to be an equal with her rather than a bully or married warden.

Mina, who chose a sweetheart over a common chest-pounder groom, who never thought less of him when shock and sickness left him weak, who chose again and again in a hundred little ways to stay by him, to love him, to protect him, to never abandon him, no matter his condition.

Mina, who would give anything for the man she loves.

Mina, who, I cannot help but suspect, would give her humanity and eternity itself.

(In another world, in another story, the quote changes: ‘To one thing I have made up my mind: if we find out that Jonathan must be a vampire in the end, then he shall not go into that unknown and terrible land alone.’)

Do not endanger yourselves with my devilish form! Destroy me, save yourself!

They are hypocrites, these two. They are selfish. They hold one another above all else, beyond good and evil, God and Devil.

To the point of madness in the book.

And to us outside the pages, to the point of holiest love.