#And on top of that the title is a reference to the overall theme as well

[a-weird-cryptid]

Book of Shadows

A quick introduction , October 15th, 1837

My name is Victor King. I was born on August 31st, 1804, in London, England. As of writing this book, I am 33 years old. I have decided to start writing this, for reasons I will be discussing later.

I always felt different from everybody else. Relatives, acquaintances and even partners later in life. People described me as shy, quiet, introverted, but also strange and mysterious. I was always an outsider, doing my own business and going about my day. Strangers talked behind my back and many mysteries surrounded me. Some dared to talk to me, but most felt repelled by my presence alone. Said that something dark always surrounded me. A dark aura, an acient evil presence. Supported by countless psychics. The main reason why my mother decided to hire a private teacher who educated me at home. Thankfully, my family is mostly made of aristocrats and belong to the upper class, being able to allow themselves such a luxury. Being a single child, they did their very best to raise me as one of them, a gentleman.

I very much enjoy learning. Especially the scientific subjects caught my interest. Which lead me to continue my education in the university of Oxford. Though I must say, I was rather disappointed. Especially because back then, noone took any interest in my scientific studies.

After getting my degree in history, I went back to my roots, London. Spending most of my time "alone" in my family's private library, I never made many friends. Not even when I still went to Oxford.

But even though I was alone for most of my life, I was never lonely.

For as long as I remember, darkness attracted me. Welcomed me with open arms, like a mother comforting her child. My playmates, and later friends, were shy. Not showing themselves to anybody but me. For some they might seem threatening, but I've always seen them as friendly creatures.

Shadow people, or shadows, as I like to call them. Ever since I was a little child I was able to influence them. Manipulate them as I wish. They did not mind it. In fact, most of them liked me. As I grew older my fascination with them grew as well. And so I decided to study them and their kind further, writing my findings down in the very same book that you are holding in your hands. As well as any other information about anomalies I collect on my journey.

Next chapter

Author's Note:

This is part 1 of my new "Book of Shadows" series. As my main antagonists got more complex, being just one part of an ever growing system, I decided "Why not write a story from the pov of a scientist, writing down his findings about them in a journal? Similar to Stanford, from Gravity Falls?". I also think that writing a story introducing shadows and other anomalies is way more interesting than just plain info dumping. So this is essentially what this story is all about.

For more original series, as well as reviews, discussions and similar, check out my master list of series.

[raven-at-the-writing-desk]

A fun question your opinion: In each arc, what do you think is the theme of each arc? ( It can be a motif, messages, subject)

These are a mix of jokes and serious thoughts ^^ just to avoid the post from being too heavy overall!

The Rose-Red Tyrant:

Breaking free from perpetuating a cycle of abuse

You are your own person, not a puppet controlled by your parent/guardian

At the same time, you have to take accountability for your own actions (your background can explain your poor behavior toward others but it does not excuse that behavior)

Control that is too constrictive will only push away potential connections and experiences, keeping you isolated and complacent

Anger management classes are good for you, guys

The Usurper from the Wilds:

Let’s play fairly and be good sports!

Judging people for their merits rather than by titles or birth

What makes someone worthy to lead is noble behavior and attiude

Standing up for what’s morally right, even if everyone else seems to be against you

You have value, worth, and hope in spite of what others may tell you and put you down for

It’s totally okay to get revenge on the asshole that tripped you that one time/j

It’s technically not a crime if you don’t get caught (except Leona did, in fact, get caught)

The Merchant from the Depths:

Don’t be ashamed of your past self—embrace it, accept it, and use it as a point of reference for self growth

Be the bigger person rather than becoming a bully yourself

Let your accomplishments speak for themselves

There is no “easy way out” or shortcut; be prepared to face the consequences of your actions

Not everything is as it may seem (think about the “trick” with Azul’s contracts)

… Read the terms and conditions very carefully and think things over before you sign a contract 💀

Schemer of the Scalding Sands:

Wow, this baby can fit so much generational trauma!!

Sometimes you just miss each other’s messages or greatly misinterpret the other’s intentions (Kalim giving Jamil the benefit of the doubt, Jamil obviously being the Bad Guy and everyone else has to point that out to Kalim)

There’s a very complicated relationship between those in power and those without power; this can breed hatred for those at the top

Talent and skill left unacknowledged can fester into resentment

Institutions of higher education can and will accept monetary bribes, what are you gonna do about it?

Not everyone wants to reconcile and make friends; this is okay and should be more normalized

A Beautiful Tyrant:

You can try your best and work hard, but life doesn’t owe you anything (depressing thought, but unfortunately true)

Beauty is not limited to just one’s looks; beauty can also extend to one’s character and actions

Your worth shouldn’t come from external forces; if you are satisfied with yourself, you will always be “beautiful” no matter how you look or what losses you may experience

Public opinion and the entertainment industry are brutal af

Screw gender norms 😤

The Watchman of the Underworld:

The grieving process in general

Moving on from the past instead of fixating on it and letting the past consume your present and hold you back from a future

Learning to forgive yourself

Reaching out and making new support systems/opening up to others to help you cope

Bearing the sins of your ancestors (Shroud family curse)

The Lord of Malevolence:

Change is inevitable, all good things must come to an end; we must learn to accept them and bravely move toward the future

Love endures, transcending race (Sebek), blood (Silver), and time (Lilia)

Self-sacrificial love (Maleanor for Malleus, Lilia for the other Diasomnia boys, Dawn Knight for his own family, etc.)

Is it “true” happiness if it is a fake reality, a convenient dream?

We hate and fear what we do not understand, even though we have the capacity to

You cannot live forever in a happy fantasy world where none of your loved ones/favorite characters leave you, your trauma doesn’t exist, and everything conveniently pans out how you want it to; sooner or later, you must “wake up” and face reality (this point is particularly meta; it applies both in-game and in the real world, speaking to us players and our relationship with the escapist fictional content we consume)

Prologue: Welcome to the Villains’ World and Overall Main Story:

The power of friendship :))

Revisionist history (cuz… y’know… Great Seven and all)

We’re stronger together than alone

It’s okay to rely on others

We may be very different people from very different backgrounds, but it is still possible for us to understand one another

[cacoetheswriting]

honesty: the music video

pairing: rockstar!eddie munson x popstar!fem!reader word count: 2.3k summary: after a long day on set, you can't wait to get it on with your costar.

content warnings: 18+, minors dni: mature themes, literally smut with a minor plot, established relationship, unprotected p in v, overstimulation, praise kink, dom-ish eddie, adult language, heavy use of pet names, mentions of aftercare — if i missed anything in this chapter, pls let me know!

celebrity skin. masterlist <- part of this lil' universe, but can totally be read as a stand-alone. timeline wise, this takes place somewhere after part 3 and before end part 5.

“We want it to be sexy.”

“But not too sexy.”

“Revealing.”

“But not too revealing.”

“Sounds like you guys don’t know what you want,” Eddie chimes in, interrupting the back and forth of your respective teams.

You stifle a giggle.

“That’s ‘cause of the two distinct styles,” someone from your team clarifies, “We wanna be respectful.”

“For sure,” one of the creatives on the Corroded Coffin side agrees. There’s a short pause. “We will have you two kiss at the end, though.”

At that, Eddie smirks. He looks at you from across the table and you could just about melt right there, blood rushing to your face, warming your cheeks.

“That won’t be a problem,” he says confidently and winks.

-

Honesty was a guaranteed hit. Top of the charts. Everybody that’s been so far involved in the project said it. They praised it. From the bass, drums, to the guitar and vocals. The production value was off the scale. A dream arrangement that would stand the test of time.

All the song needed was a music video equally as captivating.

A back and forth discourse began shortly after you first started recording with the band: whose style should the clip resemble more?

Corroded Coffin screamed all things dark, maybe a little gory. Their usual expression featured slightly melancholy undertones and a lot of references to all things Dungeons & Dragons. Imaginative, for sure. An artistry that had rarely been seen in the genre. 

Although it’s been an artistry vastly different from yours. 

The glitter hadn’t necessarily been your idea, but it certainly became a signature of sorts. Anything sparkly, always. And music videos that told a story. Most often one of love since that’s what you idolised ever since you were a kid — it obviously helped that love also sold millions of copies.

Eddie’s team argued that it’s the band’s song and you’re just a feature, therefore the accompanying video should lean into their style. Your management team was hesitant to agree. Calculating risk in case the lines get blurred a little too much and your pristine image shifts to the opposite end of the spectrum. Hours of arguments. Hours of negotiations. None of which you, or the rockstar were even mildly aware of. Too lost in each other's eyes and soft cotton sheets. 

Eventually, a compromise, of sorts, was found.

Ernest Hemingway’s The Killers influenced, in part, a 1946 film noir of the same title, with Ava Gardner and Burt Lancaster taking the lead. The movie, in turn, inspired the black and white music video.

Done up in flair of the characters, Kitty Collins and Ole Anderson (aka Swede), you recreated iconic scenes alongside the brown-eyed rockstar. The rest of the band was also dressed to the nines. Side characters that played their instruments in the background of main shots. They blended in well, while adding a unique spin to the known story. 

Overall, the Honesty shoot quickly became a big spectacle. Bigger than anything Eddie Munson and his band of closest friends has ever been lucky enough to be a part of.

Intricate sets. Glamourous. In front of cameras and bright lights, you and your scene partner, Eddie, mouthed along the lyrics to the song as if they were a script. And with every scene, as if the two of you were the only people actually there, no equipment and no crew, you got lost a tiny bit. Lost in the chocolate of the rockstar’s wide gaze. In the way he smelled. The style of that decade suited the brunette greatly, so you became lost in how he looked in this character. Dapper. Unlike you’ve ever witnessed him before. He committed to the role too. A certain swag in his movements. How he touched you so hesitantly, delicately because that’s what the video required.

By the end of the night, after the director yells, “Cut!” to signalise a wrap, a round of applause for all involved in this project, you’re feeling hot and bothered. Sweaty, though not because you just completed a full day’s work. No. Somehow, you found the Corroded Coffin frontman even more attractive than at the start of that day — something you didn’t think was possible. When you glance in his direction, he’s already staring you down, and you know he feels the same way.

Backstage, inside your trailer, you’re sitting cross-legged on the couch. Fingertips at your lips as you wait for that inevitable knock on your door. You know it’s only a matter of time considering the build up of tension throughout the shoot. From the lingering touches and that kiss the director had you two repeat over and over and over…

Logically, you could wait until the two of you were home. Back at Eddie’s Hidden Hills mansion, away from prying eyes and ears. In a bed that’s become all too familiar. Far from possible interruptions. Logic however, well, right now, logic was taking a back burner ‘cause you needed him now. Desperately. And without a doubt, Eddie needed you too.

A knock. Then again. But the rockstar doesn’t wait for you to answer. He lets himself in. 

“What happened to the wig?” You ask, raising a brow.

“It was itchy,” he replies with a slight laugh, then shakes his head. “I much prefer my natural locks.” 

“That’s too bad,” you say with a slight shrug, “You looked quite smart with that short hair.”

Eddie hangs his head with a smile, though his eyes don’t leave yours. Not even for a second. That’s when you notice the glimmer. That look, the reason he’s here, just like you predicted. So you return the expression. Only yours is a little more sly. Tempting him. Teasing. 

“I had fun today.”.

“Me too.”

There’s a lot that happens in the seconds after you stand up. A lot that happens quickly. 

Eddie reaches for your wrist, pulling you closer before wrapping his, for once, ringless hand around yours completely. He presses it to the middle of his chest, holding it against his heart. You can feel it beating and that’s enough to make you melt ‘cause it’s strong and you swear it skips at the contact. His other hand reaches for the base of your throat. He holds it gently, caressing upwards until he’s gripping your jaw. 

“Kissing you in front of all those other people kinda got me going,” he admits in a low tone.

Naughty, that’s what you want to say, but you don’t get the chance ‘cause his lips crash into yours. Hungry. Desperate. Rough. Heat rushes through your body at the sudden contact, no different than any other time his mouth found yours. You’re at his mercy, always, and he knows it well. 

His tongue glides along your top lip and you part your lips to accept him without hesitation. He wastes no time sliding into your mouth, letting this tongue work in tandem with yours as he tilts his head to further deepen the kiss. The hand holding yours lets go, instead finding home on the small of your back, pushing you as close to him as humanly possible. His other hand lets go of your jaw, albeit not completely. Ghosting along the side of your neck before you feel him wrap it around your throat, squeezing lightly. It’s nothing new for Eddie to be a little rougher with you, but there’s something about this moment, after a full day of moderate teasing and borderline foreplay, that causes a moan to burst through you when he squeezes again, only harder.

The rockstar pulls back, sporting a devilish grin. “Making such pretty noises for me and we haven’t even gotten to the best part.”

“Do your worst, Eds.” It’s a dare. Nothing sweet about it.

He smirks at the challenge and before you can register what exactly is happening, Eddie is lifting you up swiftly, hiking up your dress in the process, only to drop you down onto the sofa with a gentle thud. You’re wide-eyed as he unbuckles his belt with one hand, the other tugging at the pantyhose the wardrobe lady had you wear for the last scene of the video. He partially rips them off of you, then he hikes his index finger along the band of your underwear, eagerly pulling them down your legs until they’re wrapped around your ankles, with the reminisce of your stockings.

“The heels stay on,” the rockstar instructs, pushing your legs apart with force and positioning himself in between. All you can do is nod. Half-naked, half in costume. Same as him.

In the space of a heartbeat, his lips are on yours again. This time they don’t stay for long, instead moving downwards towards your chest. When he squeezes your breast through the silk material of your dress, he compliments how fucking good you looked, “I wanted to ravish you the second I saw you, baby.”

You whimper at his words, and at the fact that his now freed cock is gently brushing against your wet folds. Not quite breaching, just teasing you further. Only adding to the overall stimulation. 

“God, you’re so fucking hot. So fucking pretty. And all mine.” Eddie’s breathing into your bare chest ‘cause somehow in the moment your dress has slipped down ever so slightly and your tits made an appearance. Fingers from one hand are digging into your hip, holding you in place, while the other has you by the ribs. Thumb brushing your soft skin while his hot mouth is sucking on your hardened nipple.

Your eyes are closed. You’re not sure when you closed them. He’s invading your senses all at once. Just when you feel like you can’t take it anymore, when you want to whither and plead for him to touch you where you need him most, Eddie plunges himself into you without warning and your eyes snap open. 

“Oh God…” he groans, drawing his hips back only to slam them in again, making your body bounce against him. “Fuck, baby. Jesus.”

You sob in pleasure as Eddie knocks the wind out of you with each relentless thrust, still increasing his speed. Heavy panting and grunting fills the trailer, along with the sounds of where his cock slams against your sweet juices. He’s sitting straight now. Eyes are fixated on the mess you’re both making, where his length disappears in and out of you, while you admire the way his locks fall naturally in place. Although briefly, ‘cause you’re arching your back the next second, rolling your eyes to the back of your head when he hits that sweet spot.

“So. Fucking. Pretty.” He growls. “You’re so fucking pretty when you’re all stretched open like this, sweetheart. Your pussy was made for my cock, baby. You take it so well. You take this big dick so well, my good girl. Fucking made for me. Ain’t that right, dollface?”

“Made for you, Eds.” You just about whisper back, nodding your head feverishly.

Slap. His hand makes contact with your thigh and you practically wail. “That’s right,” he praises, “Made for me. So fucking tight for me.” Slap. Slap. Slap. 

Eddie’s cock starts to swell. You can feel it expand inside of you, then again when he thrusts back in. It has you heaving. The speed he’s established is close to becoming a little too much for the two of you and he drops his weight slightly, allowing you to wrap your arms around him, nails digging into his bare back. He can sense that you too are close and he’s trying hard to hold back, make this moment last longer, but his body refuses to slow down. Chasing the way your glistening pussy chokes his length. 

“Where do you want me baby?”

“Inside,” you croak out. “Cum in me, Eddie. Please. I need you to fill me up.”

“M’mph—” He chokes out, movements growing more and more erratic. The whole trailer is shaking at this point, that’s what it feels like to the two of you anyway. “Everybody out there will know what a good little slut you are. Not that innocent. Wanting me to fill you full of my cum, fuck.” 

Slap. Slap. Against your thigh.��

“Please, Eddie.” 

Slap.

“Shh… I’ll give you what you want, sweetheart.” He coos, “Gonna pump you full. Gonna make you see stars while my cum drips out of you.”

That’s when you shatter around him, uncontrollable desperate squeals making him groan louder as he continues. It’s sloppy, messy, and once you’ve completely unravelled underneath him, the rockstar can’t contain himself any longer. He lets out a broken moan as ropes and ropes of his warm spend start to throb into your hole.

His body gives up at the last spur and he drops flat on top of you, although not without a loose kiss placed to your jaw. His cock remains inside of your pussy. You can feel it pulsing until, after a few minutes, it no longer matches the beat of your heart.

Eddie lifts himself then. He kisses you softly and you smile against his mouth. When he eventually slips out and stands, he tells you not to move, that he’ll grab a towel from the small trailer bathroom and will help you get cleaned up.

“Wardrobe is going to kill us,” you call after him, balancing on your elbows as you sit up slowly. “Pretty sure these clothes can never be worn again. Purely for the fact that they reek of sex.”

“At least your wig stayed in place,” Eddie points out lightheartedly when he returns, his pants once again buckled, a towel in his hand. “That’s something the hair and makeup team should be proud of.”

“I’ll be sure to tell them,” you say, meaning it as a joke ‘cause there’s no way you would ever admit to what sins the two of you just committed.

Eddie smirks. “Pretty sure they already know,” he says as if it’s no big deal, “We weren’t exactly quiet, sweetheart.”

as always, thank you for reading! pls comment, reblog & support your creators.

celebrity skin. masterlist | the killers (1946) reference

& the celebrity skin. taglist: @eviethetheatrefreak , @thirddeadlysin , @haylaansmi , @nope-thanks , @tlclick73 , @vintagehellfire , @ashlynnkennedy , @avalon-wolf , @sidthedollface2 , @astheni-a , @bebe07011 , @aysheashea , @papillonoirsworld , @vol2eddie , @spideyanakin-interacts , @rogers-sweatbands , @mimsie95 , @mmunson86 , @eddiesguitarskills - (if your user is crossed out, it means the tag isn’t working. pls check you’ve enabled tagging in your settings)

[himejoshiangels]

batgirl 2000 reread bcs I'm crazyy...IM NUTS!!!

her and that damned rose..what does it all MEAN!!! it makes a reappearance l8r...also I missed this dynamic so so bad. me when I'm in a seeing my kids as an extension of myself competition and my opponent is Bruce Wayne

I always forget how fucking potent and tension filled the first arc of this comic is man. it's like, bcs cass can't speak or even have thought bubbles everything's communicated via her actions or the words of the ppl around her. every panel she's in has to be chock-full of emotion and every time she interacted with someone the implications and the ffUCKKKKK‼️

the atmosphere in this damn comic man

I dunno man not to "back in my day!" when it wasn't even my day. but comics these days don't trust the audience even a little. there's always gotta be paragraphs of text having a character explicitly state every detail of their motivation and like not that old comics didn't also do that but at least the words they wrote were pretty like fuck man who are they hiring to write this shit anymorw

this transition is straight out of a movie. I know we say this with literally everything but if ANY comic in the world should get an animated show it has to be this one. top contender. it's formulated like one already, it's episodic w perfect overall themes and bigger plots. even the vibe is perfect, the grainy mtv cartoon thing it has going. every day I pray for a batgirl 2000 cartoon it'd go so crazy jsut adapt the shit straight

batgirl 2000 just keeps hitting you and doesn't let up bcs in the same episode SORRY issue..where cass meets lady Shiva for the first time is also the same issue where babs first begins to address her as Cassandra

^^WHICH IS CRAZY bcs we have to keep in mind that up to this point cass is nameless, she's only been referred to as batgirl. this is one of the first times she goes out as not batgirl too tho, bcs Bruce benched her. it's GAHHHHH that whole thing where vigilantes angst and drama abt titles and legacies and their individual identities is exacerbated so so bad for cass bcs batgirl is the first name she's ever given. like it's all she ever knew and ever was. Cassandra came after and THIS

THIS PANEL RUGHT HERE ohhh my god it makes me crazy. she's only batgirl. she doesn't even have the words to explain it yet. she's only a reflection of the city she's sworn to protect its all she is and at first its lowkey all Bruce let's her be. not to mention. her relationship w babs, I'll speak on them l8r can't do it now I'll explode

a 1:1 animated series man. it's all I can think about so so many iconic moments. I don't kill but I don't lose either is already as cold as cold gets. the way the comic is formatted already fully visualizes as animated in my brain and it's so so fun to watch

LIKE LOOK AT THIS!! cinematic as he'll and it's not even moving..

both cass and Bruce hit the bullseye like....

Cass's perfectionism is such an underrated character trait of hers (in like the greater batfam fandom and more modern comics not here, never here) bcs she literally sacrifices her life about it. she's so self detrimental about how not perfect she is anymore and Bruce's nonsense doesn't help either. man sees himself reflected in a teenage girl once and looses all his damn sense. I'm just, yea we know "mediocre for a life time or perfect for a year" < god that goes hard, but the true tragedy that is cass's inability to see how unnatural and upsetting it is that her mind works the way it does at all, that she can run into bullets head on but complains that she could do it with more skill when she was 6 or whatever like girl...never evr letting myself become desensitized to her trauma, David cain when I get you...

AND ANOTHER THING AND ANOTHER THING!!! KKKKKKKKK!! the sideplots and b plots and background characters in this comic..each of them are offered so much empathy by the narrative and are written purposefully to reflect or foil whatever cass's current conflic is all while feeling like fully fleshed characters even if they only appear for one issue

^^ I have feeling abt these panels but my lawyers are advising me not to speak atvthis ttime

THFUCKINH THE ROSE!!AGAIN!!! so sure this is old news but my running theory is that it definitely ties into cass's sense of self and identity outside of her living weapon status. this whole issue is prime babs v. bruce custody battle material bcs babs wants cass to be able to have a normal life, to be someone outside of batgirl bcs where she is now isn't healthy even a little bit but bruce argues that cass doesn’t need that, all she needs is her devotion to the mission < now we don't have time to unpack all that but in this moment we see her make the choice, dropping the rose. in the very first panel of the whole comic cass does the very same thing, she drops the puzzle (representing her childhood) in favor of violence bcs at the time its all she knows THE PARALLELS HELP HELP MEEE

AND AND THIS NEXT WHOLE PANEL is so evocative of the first few issues where cass couldnt yet put her emotions into words. just atmosphere and silence. BECAUSE she's confused!!! bruce says justice is what she needs that it will make her feel better, feel normal but it doesn't!! she looks over the city and still feels..feeling!!!! she picks the rose back up and extends a hand out to barbara bcs she was right, she not Bruce, she can't sit in a cave all alone all day and feel better (<which arguably doesn't even work for him either)

in the next few issues she meets steph and tim which is soo fun bcs letting cass have friends her age opens up so much for potential dynamics. especially her relationship w steph, not just in a stephcass way but in a narrative foil way, to me at least

next post I'll probably talk abt cass's guilt, self hatred, and need for atonement but we move‼️

[thesupreme316]

Could I have some of your favourite wrestlers reacting to the fem!reader heel turn

I GOT U (sorry for how long it took me)

Pairing(s): Hook x Fem!Reader (Platonic?), Eddie Kingston x Fem!Reader (Platonic), Darius Martin x Fem!Reader (Platonic), Dante Martin x Fem!Reader (Platonic), Daniel Garcia x Fem!Reader (Platonic?), Samoa Joe x Fem!Reader (Platonic)

Summary: How would these men react to you turning heel?

Word Count: 849

Supreme Speaks: hiiiii, I might do these reaction scenarios more often cause this was fun to write (so please send in more). To @hookerforhook sorry that this took me so long but its here neow. Also I hope everyone is doing well and please remember that you are loved and appreciated.

Warnings: slightly proofread, gifs are not mine, i repeat gifs ARE NOT MINE

Taglist (if you wanna be a part of it, lemme know): @hookerforhook @hooks-martin @sheinthatfandom @wwenhlimagines @triscillal

To the locker room and the AEW fans, your character was a very talented wrestler but always saw the good in people. Which often leads you to be hurt physically and emotionally. So after one too many broken hearts, you decided to turn heel.

How you turn heel is completely up to you so choose your adventure (I also included examples). You either…

Attacked your teammate after losing another tag team match (Bayley on Sasha Banks)

Attacked your good friend due to you being jealous of them (anyone really)

Didn’t allow your tag team partner to tag you in the match, making your team lose (Tbh I could find an exact moment but Layla on AJ Lee)

Attacked the referee and your opponent after losing the title match (Michelle McCool on Maria/Becky Lynch on Charlotte)

You got offered a better deal by the rival team and decided to take it (Seth Rollins on the Shield)

Eddie Kingston

This man would be so calm about it

*after you attacked your friend* “Well, they had it coming”

Would not see you differently

In fact he would just be happy that you’re whooping ass and you’re not taking any shit from people

Still keeps it 100 with you about things

“If you attack them from behind, then you’re a coward. But if you hit them in the face, then you’re a real one”

In his eyes, you’re not a heel but you’re not a face

You’re just a person going through emotions and decided to let them out

Eddie understands you cause no one is truly/fully on one side or the other

I think Eddie would just say as long as you don’t hurt him physically or emotionally, then you’re good

Overall…Eddie is happy you chose violence as your answer

Hook

It’ll definitely surprise him

He didn’t take you one for being a heel

But isn’t mad at the idea

Silent with his opinions 

But tbh I think he would believe the whole 180 change with you is hot

“You look very good…Almost too good.” 

Will tell you that he likes the aggressive yet playful mood you display in the ring now

Loves the change in ring gear and theme song

Will wear your new merch in instagram pictures

Honestly, might inspire him to turn heel himself

Overall…Hook loves to see this new attitude within you

Samoa Joe

OH THIS MAN IS A MENACE

NOW THIS MAN IS AN ACTUAL HEEL

He would automatically smirk and congrats you  

“Welcome to the dark side”

I genuinely believe he would become a fan of you

Constantly reference you or just show his support on twitter (cause that man is a menace)

Gives you tips on how to appear more of a threat to your opponents

I believe that this Joe would become a mentor

100% would teach you the Coquina Clutch

Will laugh when you embarrass your opponent

“I taught them that! I did that!”

Overall…Samoa Joe would be that supportive father who’s just happy you joined him

Top Flight (Darius and Dante Martin)

OKAY HERE ME OUT….they are all for it IM JUST SAYIN-

At first, Darius and Dante would be sad about it

Would be more saddened at the fact you have to stand across the ring from them instead of next to them

But will recognize that you are happier and are getting a lot more credit and camera time because of the turn

Will put your overall happiness over how they feel

Will still hang out with you behind the cameras (obvi)

Helps you decide on new moves or highflying moves you can do

Will hype you up backstage as you kick ass

“Kick her in the face Y/N!”

Will post pictures of you with the caption “We stan with Y/N”

Overall…Top Flight will be so supportive of you no matter what

Daniel Garcia

MENACE PT.2

“I CALLED IT”

Would immediately offer you a spot in JAS (please decline…)

Like Joe, Daniel would also reference you in tweets

I would like to believe that he would also start flirting with you 

Just full on rizz game on 100

“I may not be a photographer, but I can picture us together.”

Like Hook, would also believe this new attitude of yours is hot

Makes fun of your opponents and taunt them backstage (in effort to get you to join JAS, again say no)

Will also make fun of you (lightheartedly) and compare you to him

Will retweet you and start a banter with you just for shits and giggles

“So you think you can take my place as AEW’s favorite child?” “You were never anyone’s favorite.” “Take that back!”

Overall…Daniel would become infatuated with you and is happy for you

[lookninjas]

Love Theme from House of Leaves

So.

POE.

Like I said, I don't usually explain the Bad Descriptions from my Bad Description Song Polls. Some of them I work hard on, some of them are just bad puns on the song lyrics or titles or whatever, but ultimately, the bad descriptions aren't really the point. The point is to get a couple people curious about artists they might not have heard before by erasing any preconceptions they might have about the artist, the genre, whatever. It's a goofy little game about my very serious love of music and my genuine desire to get people to experience the joys of just trying something new.

But then there's POE. Right? Specifically, there is Haunted by POE, an album that just straight up every time turns me into a four-hour video by an obsessed YouTuber down a really deep rabbit hole. Which is absolutely fitting, because as it turns out, Haunted comes from the same place as Mark Z. Danielewski's House of Leaves.

You see, POE's real name is Anne Danielewski. Mark is her brother. And, regardless of the protests of the dudes on the MZD forums back in 2004, HoL and Haunted come from the same place -- the death of their father, Tad Danielewski, and their subsequent attempts to reconcile their complicated emotions about their perfectionist father, their estranged mother, and their shared and separate childhoods. The works contrast and complement -- House of Leaves is a labyrinth for the reader to wander; Haunted is a cache of tapes from a lost loved one that both sheds light on the past and casts preconceived notions into doubt. They reference each other (the "Poe T" in HoL, the "growling voice" in "Hey Pretty"), but don't require each other.

Even their creation is tangled. She read his book as he was writing it; he listened to her songs as she recorded them. He read a passage of his book over top of the album's first single when she was told radio was "just not playing women;" she took him on tour with her when she was opening for Depeche Mode. It was from the start a kind of double act.

And then it just wasn't anymore.

If there's a villain in this story, it is -- in a weird twist of foreshadowing -- WarnerMedia. Specifically, it is the disastrous AOL -- Time Warner merger, which saw POE unceremoniously dropped from Time Warner subsidiary Atlantic Records just six weeks after she'd signed a contract with them for three more albums. Copies of second single "Wild" were never sent to radio. Support for the album dried up. The ensuing legal wrangling saw POE's masters sold and resold from one label to another, while POE wound up unable to tour or record under her own pseudonym for years. So while House of Leaves went on to (deserved) classic status, Haunted disappeared.

I am not alone in finding this terrifically unjust. Mark Z. Danielewski himself calls the album "woefully underappreciated." Granted, he's biased, but so am I. I was a POE fan before House of Leaves was published. I discovered HoL through Haunted, although both came in close succession. For me, part of the mystery of the book is how it tangles with the album, how two people can go through the same maze and come out of it in such different locations, the same story told in different languages. But also...

I mean, it's just a hell of an album. Her voice is extraordinary. Her lyrics blend the metaphoric and the extremely literal in terrific ways. The mix of electronica, hip-hop, pop, and experimental is absolutely wired to my tastebuds (there's a reason she wound up invited on tour with the Depeche Mode, after all), and the overall work is plaintive, empowering, heartbreaking, and occasionally terrifying. It's so good. It's so, so good. I would almost be okay if this were her last ever album, it's that good.

I just wish more people were listening to it, you know?

So consider this my call to arms. If you are a House of Leaves fan, or even if you're not, even if the footnotes left you cold, give Haunted a listen. Just a couple songs. Just a taste.

Someone who loves you left a stack of tapes sitting by a boom box for you. Put one in. Press play.

[yuri-ray]

No-Spoilers Review #1: Otherside Picnic (Urasekai Picnic)

Content Warnings: guns, general horror genre themes and visuals

Starting with a series I own in print, it's Otherside Picnic by Iori Miyazawa, a novel series with manga and anime adaptations. This series is half horror and half yuri romance, about two university students exploring and being harrowed by a world full of urban legend horrors.

Is it good? Yes! I recommend it very highly to anybody who can take a little horror.

After all... as the author said himself... "This too is yuri."

Before I start, yes, it's THAT Iori Miyazawa who popularized the concept of "yuri of absence" in a batshit crazy pair of interviews. I think a lot of people would read that and assume that his actual work, Otherside Picnic, is full of bait and subtext. It's not. It's a slow-burn, sure, but it's legitimately canon and it's really good, OK? This guy knows what he's doing.

Anyway...

Our two leads are two university students, Sorawo Kamikoshi (the brown-haired girl in the art) and Toriko Nishina (the blonde girl). All of Otherside Picnic is told from Sorawo's perspective. While urban exploring, Sorawo stumbles upon a portal to the Otherside, a dangerous realm of urban legends and internet horrors (imagine famous Japanese creepypastas). She meets Toriko and they explore the Otherside and how its horrors leak into the real world and their perceptions, pulling them in and becoming more dangerous over time.

What I love most about Otherside Picnic is how complicated Sorawo and Toriko are as people. Sorawo is both extremely relatable at times and also extremely unrelatable at others. She is not a self-insert protagonist in the slightest, and she's not even a good person. She doesn't care about others very much. Meanwhile, Toriko has some difficulties with social situations and is overall a pretty normal (in comparison) likeable person with realistic worries. The two of them become closer organically and, yes, they do kiss eventually. No one is an idiot and all of their conflicts make sense.

The horror is also good and well-executed. It's decently scary and the world of the Otherside is intriguing and unpredictable, but not in any bullshit way. The horror drives the plot just as much as the romance does, and the manga does an amazing job bringing the novel's descriptions to life with creative paneling and art.

A supporting character, Kozakura, is that classic maligned trope of an adult that looks very young because she's short. However, Kozakura genuinely acts like a normal independent adult, and is a very likeable character who is the voice of reason.

As a side note, Iori Miyazawa also happens to like guns. The leads carry them as defense against malicious Otherside entities and there's a scene where Sorawo expresses pretty abject disgust at a tank designed to kill civilians, so it's not pro-military or whatever. It doesn't go in-depth because neither Sorawo nor Toriko care for them.

Final thoughts:

THE ANIME IS REALLY BAD. It totally misses the point and all of the things that really makes this series stand out--the episodes got shuffled for no reason which caused plotholes and character progression issues galore, and it cuts out all of the scenes where Sorawo and Toriko actually talk properly to each other. Plus the budget is like, one corn chip.

THE MANGA IS REALLY GOOD. It takes a lot of care to really adapt everything from the novel, which means that although updates are slow, you get to see everything Sorawo feels and thinks.

This series is one of my top favorite yuris, which I recommend to basically anyone who likes romance and doesn't mind some spooky visuals (or anyone who likes horror and doesn't mind some girls navigating complex feelings). It has close to no explicit gore. I'm currently up to date on everything... I can write a lot more on this, but these are my spoiler-free thoughts. The title references Roadside Picnic (the inspiration for the game S.T.A.L.K.E.R.) which is an inspiration for the series, but as I've never read it, I can't say more than that.

[linkspooky]

BUFFY SEASON 2, EPISODE 7: Lie to Me Thoughts

Hello this is part of a new series I'm working on where I plan to cover all of my favorite Buffy episodes through all seven seasons, and the deeper themes and character ideas hidden within.

Buffy is a special kind of show. I'm far from the first person to write essays trying to cover the content within it. It is a show I'm so passionate about that I have repeatedly forced my closest friends to watch through the series on me. One thing I've noticed is during every watch though, my friends will experience a moment where they cross the line from being entertained by the show, to deeply invested. Which episode "Hooks" them depends on the person, but for me personally Buffy crosses the line from a fun adventure of the week style show with the neat little idea of having the protagonist be a blonde, peppy high school girl who would usually be the victim of the vampires rather than what they fear.

Season one is obviously entertaining, and it doesn't coast on that premise by the end it's already started to dig deeper into the ideas of the show. However, there's a marked change between season one and season two where the writers become invested in creating an overarching theme for the entire season that not only digs into the genre of the show, but also continues on a lot of ideas from season one. I've told my friends that season 2 is "nothing but the hits, baybee" and I think it speaks to the strength of the show that some of the series best episodes happen already in season two.

Tvtropes defines a Myth arc as being like a story arc, but spanning the entire season. The term originated with the X-FIles, whose writers used it to refer to the alien conspiracy that stretches the whole series. As X-Files is a show divided into one-off episodes where they search for big-foot, and plot episodes where they advance the conspiracy.

I'd tweak this definition for buffy, because while there's no conspiracy the characters are chasing that spans all seven seasons as each season has a standalone story arc, there is a theme which ties into every season. The overall theme is the fantasy retreating from reality.

Summarized by Spike in one song lyric in the widely acclaimed musical episode.

Life's not a song; Life isn't bliss. Life is just this. It's living You'll get along The pain that you feel You only can heal By living You have to go on living So one of us is living.

Life is just living. A lot of people expect life to play out like a story or a song, beucase as people we want to feel like the main characters of a story. However, reality will always trump the fantasy. No matter what fantasy you try to build out of life, in the end life is just lived day to day. You have to live in reality, because a fantasy doesn't really exist that's what makes it a fantasy. A fantasy is no different from a lie.

What makes "Lie to Me" such a standout episode is it's the first episode where this theme is solidified. It's literally in the title "Lie to Me." It's about how fantasies are ultimately just lies we tell ourselves, or lies we tell other people, but on top of that people actually want to be lied to, because some lies are comforting and inviting rather than facing a harsh reality.

Lie to me, is an episode where several characters are liars. What makes it so nuanced is it's not just the villain Ford that's lying, Buffy, Angel pretty much every important character is either lying to themselves or telling a lie to someone else. They're all avoiding an uncomfortable truth that they'll be forced to confront either this episode of later in the season.

1. Buffy

Buffy Summers is the protagonist of the show. In normal narratives, the entire narrative and the world crafted tends to center around the protagonist, their thoughts, and viewpoints for simplicity's sake with other characters being side characters.

When you say someone thinks they are the "protagonist of reality" it's usually a joking about a person who is self-absorbed they think everything revolves around themselves. Buffy is someone you could make the argument that she is the literal protagonist of reality, because the universe marked her as "the chosen one" and she is the only one slayer.

Buffy is a heroic selfless character, but I'd argue she's not the "hero" of the story. In BTVS's efforts to deconstruct the myth, the show goes to great lengths to show the person behind the hero. Buffy's a normal girl, who has been destignated a hero by some otherworldly forced that marked her as the chosen one.

In a way she's forced to be a hero, both by moral obligation if Buffy does not slay vampires they will kill other innocent people, by situation sometimes these villains will attempt to destroy the world and you know Buffy lives here. Finally, she is pressured by the people around her into acting like a hero, all of her friends who have been saved by her on multiple occasions tend to call her a hero, and idealize her. In fact it's one of the unhealthier aspects of the Scooby Gang dynamic, that her friends have such an idealized image of her that when Buffy shows human flaws they tend to be overcritical of her.

Buffy sees herself as the hero of the story, as a way of coping with both the harsh reality of being a slayer, and the various pressures it applies to her life. Not only that she is also a teenager, and teenagers are naturally prone to black and white thinking because they are not emotionally mature.

All of this to say, during the episode itself when Buffy accuses Ford of pretending that everything is just a movie in order to justify his actions, she's guilty of doing the exact same thing. BTVS as a show shines because it's capable of being just as critical as its protagonist as it is of its villains. Especially in early seasons where Joss has stated on multiple occasions that the vampires are metaphors for the struggles of teenage life. The vampires weren't originally meant to be nuanced characters, so the character drama has to focus on the flaws of the protagonists because most vampires in this show are chaotic neutral demons with no souls. It goes into the mythos of the show itself, that vampires are not the people they formerly were, they're corpses that are ressurected by placing a demon inside of them.

So, following Buffy throughout the episode and the lies she is struggling with, we start right away with her witnessing the encounter between Drusilla and Angel.

Drusilla: The slayer. Your heart stinks of her. Poor little thing. She has no idea what's in store. She stops -- actually sensing Buffy watching. She glances at the girl, smiling to herself. Angel: This can't go on, Drusilla. It's gotta end. Drusilla: Oh, no, my pet... She leans in for what looks to Buffy like a kiss, whispers in Angel's ears: Drusilla: This is just the beginning.

The big lie Angel tells Buffy in this episode is his relationship with Drusilla. While Angel is actively lying to Buffy by concealing information, Buffy is also lying to herself on some level which is what makes it easy for her to fall victim to the lie.

Drusilla's statement "she has no idea what's in store" seems at first brush to be just a generic ominous statement a villain might say, but it's strong foreshadowing for the mid-season twist. Season 2 is a pretty well structured season in terms of foreshadowing and payoff, the first half indicates several times Buffy is deliberately blinding herself to Angel's true nature leading up to the mid-season twist. "She has no idea what's in store" in this context means that Buffy is completely blindsided to Angel's true nature, partly because of the fantasy she's constructed about him.

Which is where I say that Buffy is lying to herself. The thing is Buffy's initial reaction to this scene is not horror that Angel may have some connection to the series villains, but romantic jealousy. In a way, Buffy gets insecure and sees Drusilla as some sort of a love rival. In the halloween episode, Buffy sees a portrait of a woman who heavily resembles Drusilla and assumes that it's Angel's "type." The scene is written, and Buffy talks about it with Willow later, like Angel's seeing another girl behind his back.

So, this lie distances herself from Angel, and shotly afterwards Ford walks back into her life.

Ford as a character almost seems like a retcon. Hey, here's a guy from my old school that I've known since childhood, used to have a crush on, who knows me better than all of my current friends that I never thought to mention until now.

The story however, uses the abruptness of Ford's appearance in its favor, because the very first lie that Ford tells Buffy is his reapparance back into her life. He's not actually transferring in, he only came to Sunnydale to become a vampire. That's one of the first things they dig up about him that clues the main characters into how shady he is.

However, the lie this scene represents is also how inviting it is for Buffy who has difficulty opening up in front of others because of the parts of her life she has to keep a secret, have this friend who's known her for so long she doesn't HAVE to open up.

Xander: "This is ford, my bestest friend of all my friends." Jeez, didn't she know any fat guys?

And, then how convenient is it that Ford spots her slaying a vampire at the Bronze, but oh she can avoid that awkward conversation because it turns out Ford already knew even before she left Los Angeles.

This is where we get into the Ford and Angel foiling, because both of them are in this episode important men in Buffy's life who lie to her because they want to use her on some level. Angel, because he wants to use Buffy as a comfort, this is something he admits out loud in the Christmas episode. Ford, because he is literally using her as a part of his scheme to be a vampire.

Then, there is Buffy who falls for these lies easily, because she has this romantic desire for someone who can share the darker parts of her life with. As she believes in episodes like "Never kill a boy on the First Date" that she can't really date, or connect with normal people because either they'll be in danger, or they won't be able to understand what she is going through.

Part of the appeal of Angel to Buffy, is that as a vampire he can survive the danger of her lifestyle, and at the same time he will understand the slayer part of her because of the connection between Vampires and Slayers. You could say that part of the reason Buffy keeps going back to Angel even when it's clearly not working, is because she doesn't want to give up on the comfort the ideal of Angel brings to her, that he's someone who she can talk to about this part of her life and she'll just get it.

When she starts becoming suspicious that Angel is holding secrets for her, she immediately retreats to Ford, because he represents the same idea. Sure, he's not a vampire but unlike Angel who there's a pretty significant age difference and Buffy is constantly at odds with the fact she doesn't know anything about his life, Buffy knows everything about Ford, except that's not true either.

However, Buffy's personal failing to see through Ford and Angel's lie doesn't just impact her. Other people are put in danger, because Buffy fails to see through them in time. Jenny even dies later on in season as a direct result of Buffy's inability to slay Angel on time, something Xander blames her for and he's not... totally incorrect.

Buffy both fails to see what is suspicious about Ford in this singular episode, and for the first half of the season is unable to see the dangerous aspects of Angel, because she's caught up in her romantic fantasy of who she wants him to be, rather than who she is.

Antoher big part of the second season of Buffy is deconstructing romanticism. A lot of people have told me they don't really "get" Angel's character, until the end of season 2. Which is in part due to the fact in season one he's just a guy who shows up, gives information and then leaves. The writers were clearly figuring out his character as they go along, and his season two characterization goes with the deconstruction of Angel as this sympathetic, Anne Rice vampire who's lived a long life feeding on other people, but he's really sorry about it guys.

Which is where we get to Buffy's confrontation about Angel lying to her about his meeting with Drusilla. Once again, Buffy approaches the conversation seeing Drusilla more as a romantic rival than like a dangerous person that Angel clearly is associating with. I mean, as a slayer her first priority should probably be that Drusilla was literally about to kill children, and while Angel protected the children he also let her go rather than slaying her on the spot.

Then we get to the real meat of why Angel is lying.

Angel: I did a lot of unconsciouable things when I became a Vampire. Drusilla was the worst. She was... an obsession of ine. She was pure, and sweet and chaste. Buffy: You made her a vampire. Angel: First, I made her insane. Killed everyone she loved, visited every mental torture on her I could devise. She eventually fled to a convent and the day she took her holy orders I turned her into a demon.

The information she hears immediately destroys the romantic fantasy of Angel as a vampire, with a soul and a troubled past. Angel didn't just feed on people, he went out of his way to twist the knife in the most horrific way possible. Buffy knows Angel has killed people, but she's never had to see one of his victims. She doesn't know the details, and Angel clearly intentionally keeps these things from her because he wants Buffy to like him.

By not ever truly confronting the fact that Angel is capable of doing these horrible things, things that stand out even from other vampires, she's ignoring the danger both to herself and others.

Drusilla in this scenario is a clear foil for Buffy. Angel's feelings for Buffy stem from the purity and innocence of her, she's a teenage girl who he pretty much developed feelings for her on the spot, much like he immediately took an interest in Drusilla. When he loses his soul, his obsession with tormenting Buffy is a clear parallel to what he did to Drusilla. Angel is also positioned as an older man, taking advantage of someone who is young and innocent in Buffy the same way he did to Drusilla, heck even before he loses his soul he often lies to her or uses his age to talk down to her.

Age difference is a thing in vampire novels, which like you sometimes have to just look past because it's a romantic fantasy, but in this case the story deliberately draws parallels to real life where they refer to Angel as a "College Boyfriend" and "Older Man" and Buffy's way of telling her mom about the situation with Angel is that after dating him he turned out to be someone she didn't expect him to be. They're making it out to be a situation where Buffy is groomed by an older man, who after sleeping with her, reveals his true nature. Heck, the way he treats her the morning after losing his soul has some clear parallels to how Parker treated her the first few episodes of season four.

Not only is there a strong foiling between Buffy and Drusilla. They are both people with prophetic dreams, in fact Buffy and Drusilla even share the same dream at one point with Drusilla aware Buffy is there. They are both women who are victimized by Angelus. There are even fan theories that Drusilla's power of prophecy might have come from the fact she was a potential slayer who was vamped before she ever was activated. Later on, they both share a connection to Spike. There's even a bit of a love triangle, one of Drusilla's primary goals in the season is to get Angelus back from Buffy so she can reunite her family.

You could even make the argument that it's Drusilla who's the main villain of the season, not Angel or Spike. There's the captain and tonille monologue after the piano organ falls on Spike where it speculates that Drusilla was the one pulling the strings all along. As crazy as Drusilla seems, in her more lucid moments she's clearly capable of manipulating both Spike and Angelus by pitting them against each other.

Most important of all, I would say that Drusilla is the only character with a real reason of wanting to unleash a demon into the world at the end of the season to turn it into a hellscape. Spike doesn't want to destroy the world, he's all talk, he likes the world. Angelus doesn't really care about destroying the world, he only wants to remove the sword from the stone because it makes him feel like he's chosen and special. Drusilla is the vampire with a tragic backstory, she's the one stuck as an insane, evil thing. She has the most compelling reason for wanting to unleash chaos, because it will either end her life, or make other people suffer for what she's suffering.

Drusilla has a personal motivation against Buffy too, because like I said she views Buffy as having stolen Angelus away from her. Angelus is the father of her family which is the only thing that brings any sense of stability in her life.

Not only does Buffy not see anything she has in common with Drusilla, she also just completely ignores the fact that Drusilla is also a victim of Angel. There's a few little moments where she deliberately ignores the humanity of Drusilla. Such as when she takes Drusilla hostage, and Spike completely drops everything because Dru's safety is more important to him than anything. Which directly contradicts Buffy's view that vampires are incapable of love.

She also, doesn't want to see Ford as a victim later on in the show when forced to view the truth of his situation.

Ford: Okay, well, you try vomitting for twenty four hours straight because the pain your head is so intense, and then we'll discuss the concept of right and wrong. These people are sheep. They want to be vampires because they're lonely, miserable, or bored. But I don't have a choice. Buffy: You have a choice. You don't have a good choice: what's behind door number one there is pretty mcuh a dead fish but you have a choice. You're opting for mass murder here and nothing you say to me is gonna make that okay. Ford: You think I need to justify myself to you? Buffy: I think this is all a part of your little fantasy drama. Isn't this just how you imagined it? You tell me how you've suffered and I feel sorry for you. Well I do feel sorry for you, and if those vampires come in here and start feeding I'll kill you myself. For a moment, Ford betrays an entirely genuine affection. He almost smiles, and quietly says: FORD: You know what, Summers? I really did miss you

Which leads to Buffy's struggle in this scene. The tension between the natural empathy she feels for Ford, but also the fact she has to shut her emotions down and do her job, because people are going to die. Buffy sounds pretty unsympathetic here, but if you watch the clip rather than reading the script Sarah Michelle Gellar's acting really drives home this struggle, Buffy's tearing up as she's saying these things.

Buffy's accusation of Ford treating this like it's all a movie, is also hypocritical on her part because it's something she does too, she just assigns herself the role of hero rather than villain. Which doesn't sound bad, because she does save people, she's in general someone with strong morals, in fact it's her moral obligation to protect people that makes her shut down her sympathy for Ford.

At the same time, Buffy later goes on to apply this Black and White thinking to characters who aren't as clear cut as Ford. The biggest example is Faith, which I will cover in depth later, but before Faith even did anything wrong Buffy was desperate to see her as "The Bad Slayer" to make Buffy herself look like the "Good Slayer." To the point where she was practically waiting for Faith to screw up, and when she did jumped on her. Buffy's victim blaming of Faith in her time of greatest need is some pretty callous behavior, especially since her ousting Faith played a role in what drove her to the Mayor in the first place. Buffy is a middle class kid, who has a stable circle of friends, a supportive mom and a school life and in addition to that a watcher.

Faith is a poor kid, a victim of abuse, someone who lives in a motel, and has no stable watcher and Buffy refuses to see any of this and is quick to jump to the idea that Faith just had these violent tendencies to begin with.

So, Buffy will villainize people besides Ford, and refuse to extend sympathy to them before they really do anything wrong and this has consequences. In this situation she's morally right and justified, but Buffy will continue to do this as time goes on and her inability to see herself as anything but the hero will cause her to not own up to it when she is behaving badly.

Buffy: You mean life? Giles: Yeah. Does it get easy? Giles: What do you want me to say. Buffy: Lie to me. Giles: Yes, it's terriby simple. The good-guys are stalwart and true. The bad-guys are easily distinguished. by their pointy horns or black hats and we always defeat them and save the day. Nobody ever dies.. and everybody lives happily ever after.

However, she has a sympathetic reason for doing this, and it's because Buffy's life is hard, and she wants a comforting story to tell herself. She wants to do this because her life is very hard. In a way, she also parallels Ford even further.

FORD: A couple more days and we'll get to do the two things every American teen should have the chance to do. Die young and stay pretty... BUFFY: I may be dead, but I'm still pretty.

Buffy, like Ford is faced with the prospect that she is probably going to die young, and in a gratuitously painful way, so in that situation who wouldn't lie to themselves?

2. ANGEL

As mentioned above, a lot of people have told me they do not get Angel until they watch Becoming and then it clicks for them. This is actually understandable, because not only does Angel lie to Buffy throughout the whole season, but Angel himself is kind of not a person.

In the Christmas Episode in Season 3, Jenny / the First draws attention to the fact that before Angel became a vampire, he was just a drunken disappointment to his father. Angel is someone lacking in any identity, and because of that he leans into the role that Darla offers him as her soulless partner in crime because at least that's something.

The duality between Angel and Angelus is that when he is Angel, he's a mostly boring and stuff brooding vampire who doesn't want to socailize and is at best emotionally distant even to someone like Buffy who he claims to passionately love, and when he's Angelus he's almost cartoonishly evil, but this split means neither of them are really a fully fleshed out person.

Angel is someone who is at the same time questing for identity, and also someone who doesn't want to form his own identity, because to do so he'd have to live in the world the same as anyone else and he doesn't want that.

Angel and Buffy are foils, because they both see themselves as the protagonists of reality. However, unlike Buffy who longs for a normal life and to live in the world, Angel wants to be the champion of his own heroic myth. Which is part of his attraction to Buffy, she is the chosen one, and by his association with her he's also special. As much as Buffy wants to lean into the Romeo and Juliet tragic lovestory aspect of their relationship, Angel wants that too because being the special someone in Buffy's eyes uplifts him.

Before seeing Buffy and making the decision to change his life, Angel was eating rats in an alleyway for more than 100 years. Buffy is the inspiration for him to actually make an effort to be someone. In worlds where he does not meet Buffy, and does not meet Cordelia, the isolation eventually drives him insane, he's being tortured in Anya's wishverse, and in the world he doesn't meet Cordelia he's an insane prophet who's constantly chattering nonsense like Drusilla.

Here's where I'll give Angel the benefit of the doubt, I don't believe his initial reasoning for trying to be a part of Buffy's life was to groom her to have a romantic attachment to him. I do think he sympathized with a teenage girl and wanted to help make her life easier by being an ally. Angel's capable of being a sympathetic guy when he lets go of his various issues, just look at his much stronger platonic relationship with Faith. However, Angel's intention became mixed when he developed romantic feelings.

Angel: Because I wanted to! I want you so badly. I wanna take comfort in you and I know it'll cost me my soul and part of me doesn't care.

Not only is Buffy unaware of the danger that Angel presents to her, Angel is lacking self awareness on the unhealthier aspects of his relationship to Buffy. As I said Angel doesn't have a fully developed sense of self, and his compromise on this is to try to become important in Buffy's life rather than working on himself. IT's why Angel's character development doesn't really begin until he gets his own series and is forced to separate from Buffy and build a life outside of her.

Angel is all too happy to play along with Buffy's romantic fantasy of him as the brooding tortured vampire, because it provides him comfort. There are two lies Angel tells Buffy this episode. The first is when he begins to sneak around and investigate Ford behind her back.

While this doesn't seem too bad because it's done with her best intentions, Angel's not treating her like a person with agency. He doesn't come clean with her and talk to her about his suspicions, he goes behind her back and just does it. He doesn't have respect for Buffy's opinions on this situation because his will trumps hers. If it were a one time instance it would be one thing, but Angel constantly either goes behind Buffy's back, or talks down to her like she's a child and he's an adult therefore taking the high ground in their relationship.

Angel: Buffy. May I come in? Buffy: Sure. I thought once you'd been invited you could always just walk in. Angel: I can. I was being polite. Buffy: Oh. Angel: We need to talk. Buffy: Do we? Angel: It's about your friend Ford. He's not what he seems. Buffy: Well, who is these days?

There's a lot of double meaning in this statement. Starting out with the fact Angel asks Buffy for permission to come in the house, and Buffy highlighting the fact he usually doesn't do this. Which is something he should do, you know as a boundaries thing. This becomes darker later on in the season where he breaks into her house to leave drawings on her bed, when earlier the idea of him coming into her room to watch her sleep is romanticized. Even Angel asking Willow for permission to enter her room late at night, allows him to break into her room after losing his soul to kill her fish and leave yet another direct threat to Buffy. Things that seem minor or even romantic early on in this season, turn to violations of her boundaries.

Which also supports the idea that as much as Angel wants to deny it, him and Angelus are the same person. Even before losing his soul again, he was clearly walking all over Buffy and not treating her well it just became obvious when Angelus started putting the screws to her.

Angel says Ford is not what he seems, when he himself is deliberately presenting a false image to Buffy. He wants to tone down his greater crimes, because Buffy loving him is a comfort to him and he fears her rejection. It's something he even deliberately asks for when we get to his second lie, his concealing of his relationship with Drusilla.

Angel: Sometimes the truth is worse. You live long enough, you find that out. Buffy: I can take it. I can take the truth. Angel: Do you love me? Buffy: What? Angel: Do you? Buffy: I love you. I don't know if I trust you. Angel: Maybe you shouldn't either. Buffy: Maybe I'm the one who should decide.

So, to put aside the topic of whether Angel is deliberately grooming Buffy here even before he becomes Angelus, the very fact he needs to confirm her love for him before telling the truth speaks of his priorities. He's not telling this lie for Buffy's sake, but for his own.

Just this conversation is a pretty manipulative action, whether or not you think in a broader context that Angel approached Buffy to begin with having the intention of manipulate her. Buffy even points out that it's up to her to decide whether or not she trusts him. Angel wants to take this choice away from her, because he's afraid of that rejection. He pretends that he is lying to her for her own good because she can't handle his darker nature, but it's Angel himself who can't handle or come to terms with what he did in any real way.

Which is what Whistler says to him way way later in Becoming, that the best thing to do for him would be to try living in the world the same as everyone else, in spite of what he's done. Angel here is choosing the romantic fantasy Buffy has on him and trying to preserve it, rather than just admitting what he has done and letting Buffy decide for herself how she wants to judge him.

There's also small moments in this episode, where Angel playing up to vampire tropes is pointed out. They're played off as jokes, but like I said Angelus whole identity is just "evil vampire", because if he's not evil then he's just a loser.

Angel: Things used to be pretty ismple. A hudnred years just hanging out, feeling guilty. I really honed my brooding skills. Then she comes along... [...] Angel: These people don't know anything about vampires. What they are, how they live, how they dress. THE same moment he says that a club member walks by in THE EXACT SAME OUTFIT that angel is wearing. Angel looks sheepish for a moment as Xander and Willow eye him sardonically.

So you have two lampshades, number one Angel making himself out to be the brooding vampire who falls head over heels in love, number two the vampire worshipping cult dresses exactly the same as Angel the broody vampire who dresses in all black and wears leather pants.

This is an episode that commentaries on the pop culture idea of vampires in general, because as I said, there's a vampire worshipping cult of people who have this idealized image of vampires as tortured and lonely souls when according to the lore of Buffy, they are demons who are possessing corpses.

BUFFY: I got a newflash, braintrust. That's not how it works. You die. A demon sets up shop in your old house. It walks and talks and remembers your life but it's not you.

Which again speaks to Angel's lack of identity. It's ambiguous later on if who you are as a vampire is the same or different from who you were as a demon. Drusilla believes that you remain the same person. Angel believes that soulless Angelus is an entirely different person than him, while Angelus insists the opposite. Spike after being souled, develops a conscious and the ability to self reflect on the morality of his actions but pretty much acts the same.

Angel however, has three identities. Liam was a loser. Angelus is a soulless monster. Angel is someone who wants to be neither of these things, but fails to form an identity of his own. Angel clearly believes that being a vampire he cannot be human or a person in the world in any way that counts and uses this fact to separate himself from others which further inhibits his ability to form an identity.

Which is the foiling with Buffy coming back in again, they both fall into the Vampire and Slayer forbidden love, because in theory it should work. There's some things about Angel's life that only Buffy would understand because she is a Slayer. At least Angel believes so. Angel who thinks he's incapable of connecting with normal people tries to form that connection he's lacking with Buffy. Also, as I've said I do believe Angel WANTS to be there for Buffy, and WANTS to be the person she can confide in. It's just his lack of identity makes it impossible for him to be those things, because he can't set healthy relationship boundaries.

He's in love with Buffy as the hero, just as much as Buffy is in love with him as the brooding vampire. Which is why Angel has the much more selfish angle of wanting to get into the relationship because it uplifts him and makes him feel special. It's no coincidence that when Angel is granted his wish of being human again, he immediately goes back in time to undo that fact when he finds out he's not as strong in a fight against Buffy. There are other characters who are just normal human beings with no powers like Giles and Xander who support Buffy just fine, but Angel can't do that.

Angel believes Buffy is a special person in a way that he is not, and this is a big part of his attraction to her. He literally says as much in Halloween, the previous episode.

Angel: I hated the girls back then. Especially the nobelwomen. Buffy: You did? Angel: They were just incredibly dull. Simpering morons, the lot of them. I always wished I could meet someone... exciting.

Angel pretty much says he likes Buffy because she's "Not like other girls" which sort of misses the point, Buffy is exactly like other girls, and what she longs for his normalcy.

It's not an insurmountable obstacle in their relationship, because Angel could make an effort to learn the person who Buffy is behind her role of the hero, but he doesn't do that.

In fact, idealizing your partner isn't healthy, but Angel goes a step beyond that. His latter half of season two actions with Buffy are a direct parallel to what he did to Drusilla. He was similiarly obsessed with Drusilla at first sight, and he went out of his way to cultivate her into what she is now. He saw Drusilla as special, and then twisted her around his finger.

Angelus obsession with Buffy, mirrors the way he saw Drusilla. In a way he almost wants to knock her down from her pedestal, because that's what he did to Dru. He made Drusilla into a vampire like him, reducing her to someone on his level.

Even as Angel, he constantly takes the higher ground on Buffy in his relationship with her, asserting that she is a kid, and he knows better on a few occasions. In a meta-sense, it's almost like he wants to take the role of hero away from her. In a standard narrative b/c most narratives are male centric, Buffy would be the love interest, and Angel the hero.

This is a joke in the Jonathan episode of season four, Jonathan is made into the special hero who everyone else revolves around and despite being the Slayer, Buffy is reduced to a more weak-willed and unconfident version of herself that needs to go to Jonathan for advice. Angel's so desperate to be a champion he's almost going out of his way to supplant Buffy's role as the main character.

He does it passively as Angel, by just being manipulative and not respecting her, and then actively as Angelus by literally trying to tear her down. Which is another thing that Angelus wants to go out of his way to punish Buffy BECAUSE he made him love her. Angelus like Angel is a non-person, and part of the reason he goes out of his way to be especially cruel is because of his rejection of human emotion. When a ghost possesses his body and makes him feel love, he literally starts scrubbing himself in the shower until his skin goes raw.

Angel plays the brooding hero on a mission of redemption, Angelus plays the villain, neither of them are at this point in their character arc making an effort to just be a person. Which is what really sabotages his relationship with Buffy, because Buffy DOES love Angel and wants to know who he is as a person. If Angel could just let go of the fantasy romeo x juliet aspect of his relationship with Buffy they could make an attempt at having a real relationship, but he can't.

3. Lie to Me.

This episode is essentially where it all starts. At this point it's like Buffy is locked into the tragedy that's going to hit her in the latter part of the season. Her decision to ignore the clear warning sirens that Angel is giving off here, is what makes his turn to Angelus blindside her so hard.

That's also what's interesting about Buffy as a show in general, because as much as this episode seems like a one-off standalone, it contributes to the myth arc. Buffy doesn't stop lying to herself at the end of the episode. She still keeps lying until the reality slaps her in the face. The themes of this individual episode carry on for the rest of the season.

Which is what makes the final quote in the show between Giles and Buffy so meaningful, because she asks him to lie to her, and being confronted with those harsh lies Buffy doesn't really have a revelation she goes back to the lie because she can't let go of that comfort. The fantasy is peeled back and we're shown reality for just a moment, only for Buffy to retreat into the fantasy again, something she will continue to do for almost the entire show until the very end when the chosen one myth is deconstructed fully.

[lordisitmine]

TTNBD BLOG: PART TWO

Welcome once again, to the extended author’s notes! That’s kind of how I’m thinking of these posts. This post covers the details of chapter two of the story, (chapter 3 on ao3 if you’re just looking at the numbers), entitled What a Tangled Web We Weave. So, spoilers if you haven’t read that yet.

HISTORICAL ACCURACY

In this week’s retrospective, I’d like to talk a little bit about historical accuracy. If you’re anything like me, you like watching and reading a lot of things that take place in past eras. If you’re like me, you hate when something- be it a phrase, an outfit, a hairstyle, or a reference to people/events- is egregiously incorrect to the time period being portrayed. Big anachronisms drive me crazy.

However, there’s a level of inaccuracy that I don’t actually mind- if it helps better the story without taking me too much out of the fantasy, or if it adds something to the setting while not detracting from the believably- I’ll allow it. Basically, what I’m saying is that, like a lot of other aspects of writing/art, historical accuracy is about finding the right balance. Or, getting as close as you can to the target of perfect. With fanfiction, I think the margin is even wider- I try not to take this medium too overly seriously, especially when I’m reading and enjoying something someone else has written. I’m a little tougher on myself, though I hope not too tough.

I like to call what I do ���movie-accurate”. A lot of my favourite period films have things in them that just aren’t correct, but because I love those movies so much, and because the overall vibe is close enough to what I know about history, I let it slide.

For example, in the 2005 film Pride and Prejudice, the hairstyles of the young women, as well as some of their dress styles are quite off from what women’s fashions were actually like at the time in which the novel/movie was set. The 1995 BBC miniseries adaptation is far, far more faithful in terms of aesthetics. However, the 2005 film is incredibly beloved by a lot of Jane Austen fans, despite its inaccuracies! Because it’s a fucking good movie, which sells the characterization and romances so well that you can sort of excuse the “dumbing down” of the details. It’s one of my favourite period films, and films, period.

Obviously there are bad movies that don’t even try to be accurate, but when I say “movie-accurate” know that I’m talking about the good ones.

During the course of Though the Night be Dark, I’ll be making a lot of references to/descriptions of outfits and hairstyles, because I’m pretty sure I was a fashion designer or personal stylist in my past life, but not all of them will be totally accurate to the years 1899/1900. That goes for stuff like technology, too- it won’t ever be over-the-top (i.e. they’re not gonna have television in the year 1900) but if you notice stuff that seems just a little out of place, know that I felt it was necessary to fudge the numbers, so to speak, in pursuit of the characters, the romance, and the story itself.

This same sort of “movie-accuracy” applies to the settings. I’ve never been to Paris or London in my life- I’m broke and there’s a whole ocean in between me and Europe. I do my best to research and reference actual places and landmarks, but if you do live in either of those places and what I write seems fantastical or inaccurate, I am sorry, believe me. Please forgive me, and do your best to imagine these as like, imaginary versions of these places.

I don’t know why I’m defending myself- most people probably don’t mind, and some probably don’t notice things like this. But it’s important to me to be as accurate as I can be within the scope of my ability, and it’s important to me for people to learn about my process if they want to. I digress.

CHAPTER TWO: WHAT A TANGLED WEB WE WEAVE

Sometimes I pick titles because they’re references to things, and the words/themes of the things in question closely fit the character and the story. For example, To the End of Everything is a lyric from the Adam Lambert song Sleepwalker, which was on my SebaCiel playlist back in 2014 when I was first writing it. It fit the story of the end of Ciel’s life, and the end of his contract with Sebastian, and it’s such a nice set of words to say out loud and look at on a screen.

The first chapter of this fic, A Far, Far Better Rest, is a reference to the final line from A Tale of Two Cities by Charles Dickens. Two cities, London and Paris, both of which are the settings for TTNBD. Not a super deep reference, but there’s a reason for it.

What a Tangled Web We Weave is also a reference to something- part of a famous line from am 1808 poem Marmion: A Tale of Flodden Field by Sir Walter Scott. It’s set in the time of Henry VIII and tells the romantic and ultimately tragic story of some rich guy and his affair with a woman. The full line is what a tangled we weave/when first we practise to deceive.

I picked this title for three reasons: one, because it has the word web in it, and Claude is a spider demon. Two, because it’s about lies, and lies are the basis for some of the upcoming conflict in this story. And three, and most chief among the reasons: it sounded cool.

What can I say. Sometimes I write/use things are deep and profound, and sometimes I just use things I think are kinda neat. I try, as always, to strike a decent balance.

Alright, let’s break this chapter down.

We started off with a remix of a scene from the second season of the Black Butler anime. It’s a little infamous, to be sure. I’m speaking of course about the scene where Alois shoves his finger into Hannah’s eye socket! I know that in the original scene he doesn’t actually pull out her eyeball, but I wanted to go whole-hog, I think it’s just extra insane and I wanted you to know what kind of Alois Trancy character I’m playing with here. He’s an adult here, whereas he was a kid in the anime- I don’t know, I just thought the increased level of brutality suited him.

I pulled actual dialogue from the scene and repurposed it, which I love doing and have done many times in my fanfic writing career (side-eye at my Supernatural fics). I wrote it from Claude’s POV because I love that outsider POV in a scene. I also wanted to establish his thoughts and feelings about Alois right off the bat.

Cards on the table: I haven’t watched the second season of the anime in a very long time. I watched the first few episodes some time last year I think??? When I was deciding to write this story, just to get a feel for their characters/relationship again. I’ve seen them portrayed in fanon as everything from a toxic couple to a couple who are more actually in love, like Ciel and Sebastian- I very much don’t see that for these two. Their tension is different, and in the context of this story, it’s been years, and that tension is heading towards a boiling point.

What I’m saying is that I’m sorry to any real die-hard Alois and/or Claude fans in advance if I do stretch them too far out of the OOC allowance margins… but also no I’m not hehehehehe.

Claude mentions Alois reading penny dreadfuls. Penny dreadfuls were these cheap little serialised fiction zines you could buy for a penny, hence the name. Every volume was like, an 8–16 page chunk of a story. The dreadful part comes from the fact that they were highly sensationalised and sometime salacious stories about murder and highway robbery and pirates and stories of real-life criminals doing heinous murder and such- sometimes sold at public executions! Overall, these things weren’t considered Proper English Literature. Which of course meant that they were VERY popular. Mostly in the early to mid 1800s. As far as I know, they started to lose ground in popular culture by the turn of the century, but they existed, I think they were cool, and therefore I can include a reference to them!

Penny dreadfuls weren’t really about romance or sex but they were super popular among young people, and the idea of Alois reading trashy romance novels in general is just hilarious to me. And like I said, I just really wanted to reference something so undeniably Victorian.

And yes, for the purposes of this story, he does in fact know that Hannah is a demon. Did he know that in the anime? I think maybe he did, but like I said, it’s been a while, and I don’t remember. I could go back and watch it again, but I don’t want canon to mess up my fanfiction. Anyway, the fact that Alois knows Hannah is a demon will become relevant and important as the story continues, so I won’t say too much more about it.

Back to Paris- it’s time for more Lizzy content! There’s quite a bit of that in this chapter. Originally, this chapter and the next one were originally just supposed to be one chapter, but the whole thing got too long/had a natural breaking point in my mins, so I split it up.

These parts of the story are more difficult to write- they involve the OCs a lot, and there’s lots of things to establish. It’s hard to do that without getting to in the weeds or being really clunky, but on the other hand, I can’t forget that anything outside of canon references is in my brain and no one else’s, so I have to make sure to cover the important stuff.

This is my first time writing F/F romance! That’s not quite true. I’ve been writing original stories with F/F romances in them for years and years- this is my first time writing an F/F romance that other people are actually going to read. Thankfully, being a lesbian, I have actual experience falling in love with women, so I have lots of real-life stuff to draw from. I didn’t realise how much of my own past and current crushes and preferences wormed their way into the Lizzy/Sybil dynamic. I’ve read posts before about how romance/sex scenes are always revealing of the author’s preferences/feelings/kinks, and I was like “not me haha I am Unknowable” but I guess I can’t say that anymore oops.

When it comes to labels for fictional characters, I don’t like to use them/talk about them unless it’s been explicitly stated in canon. For example, I would never say a canon bisexual character is exclusively gay, that would be bi erasure and we don’t do that shit here. This is especially relevant when it comes to time periods where terminology was different, and labels hadn’t been invented yet/didn’t mean the same things.

I’m trying to write Lizzy in a way that the reader can interpret any way they want! If you want to read her as bi or as a lesbian, that’s fine, I have no hard opinion on the subject! I think it makes a lot of sense that she’s bi, I think that there’s a case for her being a lesbian who’s had to deal with some hardcore compulsory heterosexuality.

However, Sybil is my character and therefore I do get to say what she is, and she is a lesbian. Stone cold homosexual. Again, not that it matters, I just like saying it.

Lizzy and Sybil’s romance isn’t a full-on slow burn per se, but I’m really enjoying building it up here brick-by-brick. At this point, she and Lizzy have been friends for a long time and already know each other really well, so the “to lovers” part can kind of come into play early, but I’m not going to give it all away at once- where would the fun be in that?

Let’s talk about Verity. Madame LaChance if you’re nasty. Verity, of course, means truth, and la chance is French for luck. I kind of wanted her to be straight up called “Lady Luck” but that was a bit TOO hokey, even for me. I wanted there to be an auntie-like side character, and I said to myself, what if there was a character who was like, all the good, lighthearted parts of Grell and Madame Red without any of the “oh btw I’m insane/also a serial killer”. I thought it’d be funny if she was sort of a go-between, having friendships with both Sybil & Lizzy as well as Ciel & Sebastian without any of them being aware of it. She became a bigger part of the story than I’d originally intended- she sort of stole my heart, maybe she’ll steal yours too.

She’s a little mysterious, but I can promise you she is a normal human. She’s just very… unique, I guess you could say. No more spoilers.

I’m being sort of vague about the club and what it’s called and what it looks like, there’s a lot more about it in a future chapter, don’t worry. Also, Madame refers to Ciel as Monsieur Phénix and Sebastian as Monsieur Corbeau. That’s French for phoenix and raven respectively. Stage names. Code names. C'est très dramatique. (No, I don’t actually speak French, beyond some very basic words and phrases.)

I hate to admit it, but I felt woefully out of my element while writing this part and I'm not 100% happy with how it came out I knew I wanted to have some reason to show Sebastian and Ciel going about their day-to-day lives, but I was also struck by the lack of, like, drama or action so far in the story. I fell back on the old adage of “write what you know” and had the boys not solving crime per se (there will be time for that later) but perhaps avenging somebody. I don’t think Ciel will ever give up his vengeful nature, whether its on his own behalf or someone else’s. And for Sebastian, it’s just bad business, and we can’t have that, can we?

There are a whole two paragraphs from Little Women by Louisa May Alcott in this next scene. I don’t know if that book is meant to be sad, but it made me terribly melancholy when I read it as a kid. Also, there I go again referencing literature. I pulled the same trick in next week’s chapter too, which I didn’t even realise I was repeating until I’d already done it. Oops.

“-And nobody saw Beth wipe the tears off the yellow keys, that wouldn't keep in tune, when she was all alone. She sang like a little lark about her work, never was too tired for Marmee and the girls, and day after day said hopefully to herself, "I know I'll get my music some time, if I'm good."

"There are many Beth’s in the world, shy and quiet, sitting in corners till needed, and living for others so cheerfully that no one sees the sacrifices till the little cricket on the hearth stops chirping, and the sweet, sunshiny presence vanishes, leaving silence and shadow behind.”

I wanted Lizzy to be reading aloud in this scene and this reference jumped out at me when I was trying to think of books that existed at the time and that characters this age might have access to. Beth of course is short for Elizabeth, and Lizzy’s arc in this story is about her becoming her own person in a lot of ways, or like, realising who she is, and this quote about Beth feeling like she’s in everyone’s shadow and only exists to do things for other people seemed really appropriate.

There’s a little more insight into Simeon- I drew the photograph described in the scene so you could get an idea of what Simeon looks like. I really like writing Simeon. He’s such a Good Dad. I mean, he’s bound by his word to be a good dad, but he really loves Sybil so much and wants her to be happy. But there’s also so much going on beneath the surface. I know most of you have figured out his true nature by now, but I hope that I still have the ability to surprise you in the long run when it comes to him.

Once again, thanks for reading! Comments and questions are always welcome, and I’ll see you all again next week! Special shout-out to vandorttranslations, who is translating this story into Russian as we go! It will never not be amazing to me that someone feels strongly enough about my work to undertake such a task!

-lord_is_it_mine

[stevetown]

Signalis

Playtime: 8h50m Completed: October 27, 2023

My initial impression of Signalis was...mixed.

Its classic survival horror PS1 aesthetic was exquisite in its presentation. The UI and blocky character models were all spot on, retaining the chonkiness of CRT-era games of yore while making the whole package just more accessible and smoother to play. The lighting in particular is masterful, bringing bloodstained hallways and derelict spaceships to new horrifying light in ways original hardware couldn't.

All the pieces of a survival horror classic were there, which is why the game frustrated me with its neverending references to other horror titles. The rugs in The Shining making a few appearances. Direct dialogue from Silent Hill 3 was injected into the game that served no purpose other than to be a reference. Some sound effects come right from Alien. The game can be anchored down by being a homage to everything that came before it.

I suppose this had a purpose. Like the mangled memories of the anime androids we were unearthing, these references are made to reflect the memories of the players back at them, intentionally invoking a feeling of "wait...have I been here before?" I'm sure there's no shortage of spilled ink about these references and the games overarching themes of cycles and memory, but I had very little interest in that dead-end commentary as I was playing the game.

Instead, when the game does attempt to make something new, it almost always succeeds. The radio-based puzzles were fresh and unnerving, and the handful of boss encounters are clearly well thought out. The presentation, which almost too often had an air of unearned pretentiousness, still manages to make the game stand out and resulted in a few chilling sequences.

When I think back on the game after it's distilled in my mind, those unique moments are what float to the top. Signalis is overall great, certainly one of the best survival horror games of the last few years. I just wished that it pulled more on its own unique style instead of being stuck in the past.

Also it made me lose it every time the game would cut from gorgeously rendered 3D scenes like this:

To C-tier anime art like this:

Just took me right out of the game...

[peakysdreams]

my overall take on the tortured poets department is that overall it is better than midnights, but does not hold a candle or even a flicker of a flame to folklore and evermore. those her albums were her magnum opus and i don’t think she’ll ever create something as good as those albums again. this is merely a rant and it’s coming from someone who considers himself a fan of her music (not her as a person).

I think this album had some good songs, some great ones with great lyrics but it’s sandwiched between some bad songs. on top of the fact that it’s a very long album it felt like a chore to get through all 31 songs and it does not help half these songs sound the same and felt like one long song. jack antonoff uses the same format of beats and instruments to create the songs. we’ve seen this in her previous album like midnights and reputation where it feels overused . perhaps even lover too.

some of the lyrics are badly written and some are good but the bad ones…. are REALLY bad which doesn’t help taylor at all in whole argument of if she’s a good lyricist or not. i personally think she is after folklore and evermore but …. this doesn’t help. the production of the album doesn’t help , jack antonoff needs to leave at this rate 😭. aaron dessner deserves his flowers but overall taylor needs a new producer who will fight back and be like this is absolute crap and not let her get away with lyrics like *checks notes* touch me while you play grand theft auto?

the biggest disappointment of the album to me would be the fact that it’s about MATTY HEALY. the racist, homophobic and morally horrid man that is him. and essentially defending that decision to be seen with him and date him, whilst using the breakup with joe, album title name similar to his GC name with friends knowing full well she uses little easter egg references in her music, + purposely using sad lyrics that allude to an end of relationship to promote the album and do nothing to shut down the absolute endless hate, death threats etc that he’s received? (but doing it for john mayer… )

the execution of the album was done badly, i think the themes of being unhappy with her profound fame are interesting and just the talk of mental health and struggle . but if she’s talking about how unhappy she is with her fame, i won’t take it seriously and neither will the swift fans with some brain cells if she’s doing while talking about matty healy. taylor is not above criticism , no matter how famous and well loved her music is. she deserves and should hear all the criticism that comes her way especially regarding choices such as dating matty (and that doesn’t ever cover the other horrible decisions she’s made). you talk about what your fans and how they treat you and write soliloquies about your dating life , perhaps don’t date a person with harmful and vile ideals while talking about how much of a feminist you are?

disclaimer but i want to say i’m no expert in music and these are just my thoughts and opinions that’s it . if i misused a term please do correct me <3

[theonlyadawong]

was tagged by beloved mutual @devilbrakers in this tag game :D

01. a character you love.

i shant go on about ada wong, the evil resident so instead i will talk aboooooooooooooouuuuut ummmm lucie jurin! from martyrs (2008) she murdered the family that abused her as a child and i think that's wonderful. she is also living with intense survivors guilt and she has a friend who is a girl (girlfriend?) who is by her side (for the most part)

02. your favourite food from your culture.

BAKED SWEET POTATOES MMM MM MM!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! DELICOUS!!!!!!! also carne guisada ❤️

03. what your dream apartment / room / house is like.

🤔 well, it has to have lots of open space. i absolutely HATE when my living quarters feels cramped. i would also like it to have greenery (even though i can't take care of a plant to save my life), and i would like some green walls and nice brown wooden decor. and all my decorations and knick knacks would probably be nature themed. oh!!!! and also, i would have a papasan :)

04. your personal style or aesthetic.

i wear lots of overalls, tank tops, turtlenecks, skirts, boots, and sneakers, and it's all neutral colors. not a very interesting answer but idk how else to describe it

05. a happy memory.

one time when i was a kid, i won the jackpot on that wheel of fortune game at a putt putt! it was especially cool because i didn't even know what i was doing, i was just pressing the buttons. also one time i won a minor prize playing the stacker arcade machine and it glitched, and it gave me all the carabiners inside.

06. your favourite way(s) to spend time.

drawing (digitally) which ive only been doing since october 2020!!!! aaaaaaaand also watching TV and movies. i recently watched the movie martyrs (2008)for the third time in a month and i just love it. the love between anna and lucie is so palpable and the actors are just stellar. i also love thr sopranos and i have the box set!! I've watched it all the way through 3 times over the course of last year (and a little bit into this year) and it's just so good (though i will day the racism grates at me lmfao.) i also love futurama but ONLY the first 7 seasons. but for the past month ive been playing re4r (which im sure my followers know by now lol) and im having lots of fun!

07. story behind your url / title / quote / description / icon.

obviously, my url is a reference to THEE ada wong buy it specifically comes from me being absolutely positive ada made some reference to her saying she was, "the only ada wong," in re6 but alas she says, "the real ada wong." so i was wrong.(fake fan moment 😔) but once i realized this, i didn't want to change my url bc it stuck with me. and my icon is canceled ada because i get such a kick out of it. it's so funny

08. something that comforts you or brings you joy.

SHELL COLLECTION!!!!! SHELL COLLECTION OF REAL SHELLS FROM REAL BEACHES THAT I REALLY PICKED UP!

09. what you’re looking forward to.

ik this is a tiny thing in the grand scheme of life but i just bought the infinite rocket launcher in 4r so im really excited to play a whole game with that! >:)

10. something else that’s important to you.

THEATRE! im sadly not much into it now but i love every single aspect of live theatre so much you don't even know. a chorus line, hair, and shuffle along are my favorite shows EVER!!!

uhhhhmmm idk who to tag! but it you see this and you want to do it, then pretend i tagged you!!! :D

[reversemusic]

Touch Me” by The Doors is a captivating song from their 1969 album The Soft Parade. Written by guitarist Robby Krieger, it weaves together elements of soul, proto-prog, and traditional pop music. Let’s delve into the themes and musical nuances of this iconic track: Lyric Exploration: The song was initially referred to by various working titles, including “I’m Gonna Love You” (from a line in the chorus) and “Hit Me” (a reference to blackjack). Lead singer Jim Morrison changed the lyric from “C’mon, hit me … I’m not afraid” to “Touch Me” out of concern that rowdy crowds at their live shows might mistakenly interpret “hit me” as a challenge to physically assault him. At the end of the song, Morrison can be heard shouting “stronger than dirt”, which was a slogan from an Ajax commercial. Musical Style and Structure: Influences: The track incorporates influences from traditional pop music. Intro: The introduction is notated in the key of Bb Minor with a 4/4 time signature. Guitar Riff: Krieger interpolated the guitar riff from the 1967 Four Seasons song “C’mon Marianne”. Saxophone Solo: The song features a jazz-inflected saxophone solo played by Curtis Amy—a rarity in rock hits at the time. Overall Style: Critics have described it as a “solid gold soul classic” with a touch of pop and lounge style. Chart Success: Released as a single in December 1968, “Touch Me” climbed to No. 3 on the Billboard Hot 100 (their last Top Ten hit in the US) and No. 1 in the Cashbox Top 100 in early 1969 (the band’s third American number-one single). The single also performed well in other countries, reaching No. 1 in the RPM Canadian Singles Chart and No. 10 in the Kent Music Report in Australia. In summary, “Touch Me” combines soulful melodies, brass, strings, and a memorable saxophone solo, making it a standout track in The Doors’ repertoire. Its themes touch upon desire, vulnerability, and the power of human connection. 🎶🚪🔥

[vampireboy2003]

Weekly comic reviews N°1

The book tour, by Andi Watson

Published First in 2019

This book came in to my possession almost by chance. I had some money to spare this month and wanted to spend it on a graphic novel (living lavish, i know) this one, out of all the other ones in the book store that day, looked most appealing to me after a quick sift through the pages. Its fitting then, that the book is all about a guy that gets majorly screwed over by circumstance.

The book tour tells the story of G.H Fratwell, a relatively unknown english author who, upon the publication of his latest novel has to now go on a book tour to promote It. The book tour is a colossal disaster from day one, and on top of that he becomes the main suspect of some murders he didnt commit.

The story is almost simple in its structure, with Fratwell going from bookstore to bookstore, and hotel to hotel, and misfortune to misfortune, all without cracking that very British "politely inconvenienced" face.

Its a very kafkaesque tale, not only in its themes and presentation, but with a lot of references peppered in. For example, the title of Fratwells novel -- "No K" is one of many references to The trial, a short story that this book is clearly inspired by. You can see a very heavy kafka influence not only in the plot itself but the tone of the story, finding humour in the absurdities that Fratwell goes through, and in Fratwell himself almost perpetuating some of the things that happen to him by wanting to not inconvenience whoever It was that was making him miserable at the moment. It is a book ultimately about Fratwell and his downward spiral, as he realizes no one around him really cares about him, his book, or wether or not he killed a woman. I wont spoil the ending here, but make sure to be prepared If you like things neatly tied up. The ending DID work for me, and it kind of gets me reflecting upon the work and making me want to read again, which is good!

The art also wraps around the story pretty perfectly, with very simplified designs for every character (especially our main character) and more detailed backgrounds and buildings. It is pretty to look at and delicately drafted, and gave me the feeling that the street itself was swallowing up Fratwell, while providing a lot of character to all of the generic european towns and bookshops he visited. One of my favourite sequences in the novel is the opening one, where we see a character arriving in town through a lot of big wide pannels of cityscape. It reminded me almost of a movie, and in fact the timing displayed throught the whole story is really tight, this being not only pacing, but the pannel-to-pannel and page-to-page timing that really makes you feel those akward situations Fratwell puts himself in, and even the timing of the "jokes" the book has.

Ultimately, while i could write a lot more about the themes and overall message of the story (its pretty dense and would take me at least another re-read), its a light read that one could do in a rainy afternoon. It IS quite derivative of Kafka, but in a way that didnt bother me as someone who didnt really know all the references going in (but might bother someone who does for all i know) id definately reccomend this if you want a real dream-like experience, where in the end you can really chew on the story for a while.

I give It

7 kafkas out of 10.

Thanks for reading and make sure to tune in next week where i will read uhhh another comic.

[ereborne]

Hi 👋 for the book ask: 7 & 8?

7: What book do you love but usually not recommend because it's weird or intense, etc?

This is a really fun question to answer (aren't you OP?? thank you for this ask game!) because it's kind of context-dependent, I think. For instance, I recommend Rescues & the Rhyssa by TS Porter to folks on tumblr all the time, because the world-building is incredible and the main characters have such a wonderful dynamic and the plot and pacing hold it all so well--but I never recommended it to my former boss even though she asked for sci-fi romance titles, because some of the sexual elements were more than I thought she could take in stride. Somewhat similarly, a friend enjoyed Nora Roberts' relatively recent Nightwork and asked me what other Nora Roberts books she should check out, but I can't recommend my top favorites right away, because they're actually part of the In Death series NR writes under her JD Robb pseudonym. There are threats of violence in Nightwork, and the protagonist is a gifted cat burglar so there are plenty of criminal elements, but the In Death series is more like a mystery/suspense series with romantic side-plots, so I'm gonna throw some romantic-suspense softballs at my friend before I wallop her with In Death's major trauma-assault-murder themes.

On a more general note, though, I keep thinking of The 5th Gender by Gail Carriger. It's a good book, and I do enjoy it and think other people would too, but I could never in good conscience recommend it as an example of the genre it seems to be marketed for. The book blurb lists it as "a cozy sci-fi mystery" and refers to Gail Carriger as a romantic comedy author, and it's true that the protagonist is absolutely adorable, and his antics with his love interest are definitely sweet and funny! But also the mystery in question unfolds into a truly heart-wrenching depiction of societal pressure and reproductive abuse. I reread it when I want to experience a speedrun of the full emotional spectrum, definitely not when I want to enjoy a cute cozy sci-fi romance. Reading it for the first time was like when my brother put scotch bonnet in my mango smoothie. It was good! But it would've been better if I'd been braced for it, and I wouldn't do it to people I like without warning them first.

8: What series has most pleased you?

Also a very fun question! My overall favorite series is the Toby Daye books by Seanan McGuire, my favorite for narrative arc and satisfying conclusion is the Kate Daniels series by Ilona Andrews, and those In Death books are perfect for grabbing one to reread at random any time there's a lull, but for sheer giddy joy of reading, I'm gonna say The Pride series and its accompanying Honey-Badger Chronicles by Shelly Laurenston. The Mane Event, The Mane Squeeze, Big Bad Beast, Bear Meets Girl, Wolf With Benefits, Bite Me, Hot and Badgered, Badger to the Bone, Breaking Badger--literally just the titles make me so happy. I can't wait until Born to Be Badger comes out in the fall.

[keepalivebollywood]

From Goa to Maldives: The Ultimate Bollywood Beach Playlist for Your Next Vacation

Grab your sunglases, pack your swimsuit, and get ready to dance in the sand because we have the ultimate Bollywood beach playlist for your next vacation! Whether you’re lounging on the shores of Goa or soaking up the sun in Maldives, these tunes are guaranteed to transport you straight into a Bollywood movie scene. So turn up the volume and let’s dive into our top picks for a perfect day at the beach with some seriously groovy beats.

Introduction to Bollywood and its Music

Bollywood, the vibrant and thriving Indian film industry, has captured the hearts of millions worldwide with its captivating storytelling, colorful visuals, and, of course, its soul-stirring music. The music of Bollywood plays an integral role in shaping the emotions and narratives of the films, creating a unique identity that sets it apart from other cinematic experiences.

Bollywood films are characterized by colorful costumes, vibrant music, and elaborate dance sequences. Bollywood movies are often musicals, and feature songs that are integrated into the story. These songs are known as “filmi” songs, and are often very popular in their own right.

Bollywood music is characterized by catchy melodies, energetic rhythms, and emotional lyrics. Filmi songs often make use of traditional Indian instruments such as the sitar, tabla, and sarangi, as well as Western instruments.

If you’re looking for some Bollywood tunes to get you in the mood for your next beach vacation, check out our ultimate Bollywood beach playlist below!

Top 10 Bollywood Songs About Beaches

Bollywood has always been fascinated by the beach. Whether it’s shooting a romantic song against the backdrop of the setting sun or a group of friends frolicking in the waves, there’s something about the beach that just makes for good cinema. Here are our top 10 Bollywood songs about beaches:

“Oh Girl You are Mine” – Housefull “Party On My Mind” – Race 2 “Tumhi Ho Bandhu” – Cocktail “Sunny Sunny” – Yaariyan “Shut Up And Bounce” – Dostana “Salaam Namaste” – Salaam Namaste “Slowly Slowly” – Go Goa Gone “Ghungroo Toot Gaye” – War “Besharam Rang” – Pathaan “Aaj Dil Gustakh Hai” – Blue

These songs are known for their catchy tunes, beach visuals, and foot-tapping beats that make them popular choices for beach parties or a fun day at the shore.

How to Create a Beach Playlist for Your Next Vacation

When it comes to packing for a beach vacation, there are a few essential items you’ll need: sunscreen, swimsuits, and of course, a great playlist. Whether you’re headed to Goa or the Maldives, we’ve got the perfect Bollywood beach playlist to get you in the vacation mindset.The right music can create the perfect ambiance, set the mood, and make your time by the ocean even more memorable.

Consider the Vibe:

Start by envisioning the overall vibe you want to create with your playlist.Are you looking for a relaxing and laid-back atmosphere, or do you want to infuse your beach experience with high-energy and excitement? Consider the type of beach you’re visiting, the activities you plan to engage in, and the overall mood you want to set. This will help you select songs that align with your desired beach experience.

Include Beach-themed Songs:

To capture the essence of the beach, incorporate songs that directly reference the ocean, sand, sun, or summer. Look for tracks that have lyrics or titles related to the beach. These songs will instantly transport you to the seaside and add a touch of tropical charm to your playlist.

Explore Genres:

Beach playlists don’t have to be limited to a specific genre. Experiment with different styles of music to cater to different moods and preferences. Consider including genres such as reggae, tropical house, surf rock, indie pop, or even Bollywood beach tracks. Mix and match various genres to create an eclectic playlist that keeps things interesting.

Balance Upbeat and Chill:

A well-rounded beach playlist strikes a balance between lively, upbeat tunes and more relaxed, soothing tracks. Include energetic songs to keep the energy high during beach games, water activities, or parties. Simultaneously, include softer melodies that allow you to unwind, soak up the sun, and enjoy the serene beauty of the beach.

Timeless Classics and Contemporary Hits:

Blend timeless classics with current chart-toppers to appeal to a wide range of musical tastes. Iconic beach-themed songs like “Kokomo” by The Beach Boys or “Under the Boardwalk” by The Drifters will evoke a sense of nostalgia, while recent hits can add a fresh and modern touch to your playlist.

Collaborative Playlist:

Involve your travel companions in the playlist creation process by setting up a collaborative playlist. Encourage everyone to contribute their favorite beach tracks, ensuring that everyone’s tastes and preferences are represented. This collaborative effort will make the playlist more diverse and personalized, creating a memorable soundtrack for your vacation.

Mood Transitions and Flow:

Consider the flow and mood transitions between songs to ensure a seamless listening experience. Group together songs with similar energy levels or complementary themes. Arrange the playlist in a way that builds up and eases down when needed, creating a dynamic yet cohesive journey through the music.

Conclusion

With this Bollywood beach playlist, you can look forward to an exciting vacation full of fun and unique experiences. From the beaches of Goa to the beautiful waters of Maldives, these songs are sure to get your toes tapping and your heart racing as you explore all that these amazing destinations have to offer. So what are you waiting for? Pack up those bags – it’s time for a memorable vacation!