#Dracula is a monster and murders people | Explore Tumblr posts and blogs

frenchkisstheabyss · 8 months ago

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⛧ 𝙽𝚊𝚝𝚞𝚛𝚊𝚕 𝙱𝚘𝚛𝚗 𝙺𝚒𝚕𝚕𝚎𝚛𝚜 ⛧

⛧ Pairing: poly!slasher!minsung x chubby!fem!reader

⛧ Genre: slasher au/horror/fluff/angst

⛧ Summary: It's Halloween 1996, you've just broken up with your toxic ex, and there's a killer on the loose. When you go to the local video store to find your next distraction, you run into your longtime crushes who have their hearts set on looking after you. But you must be careful. Not everyone's who they appear to be.

⛧ Word Count: 2.1k

⛧ Warnings: brief discussion of murder, implied possessive ex, intro to knife play if you squint, suggestive, psycho Minsung, you probably have a killer fetish, & that's all my loves. It's otherwise quite fluffy tbh.

⛧ A/N: I'm starting this series as my love letter to 90's slasher films aaaand because I just love Minsung. I'm writing this in "tapes" instead of chapters for ✨ ambiance ✨ so I hope the vibes come across. I'm already working on part two so I'll have my knives and fingers crossed you babes enjoy this one.

💀 >>> Go to Tape 2 >>> 💀

A bell dings overhead as you step through the door of Topline Video. A crowd of middle school kids dart by, nearly knocking you over in their excitement to get home with some cheesy slasher flick they definitely shouldn’t be watching. All are in full costume, wearing the kind of plastic masks that smell sorta funny when you put them on.

The kid dressed as a goblin turns back for a second, peeling up the murky green mask to reveal an apologetic face. “Sorry, lady!” he shouts, taking your gentle smile as a sign of forgiveness and racing to catch up to his friends. “Lady?” you whisper to yourself, the door creaking shut behind you, “Great, now I feel ancient.”

Lucky for you there’s no time for an existential crisis as you’re swept into the frenzy of the video store. The walls are packed with what must be a thousand VHS tapes. Double sided displays line the aisles with hundreds more. Every one of them is some brand of horror movie with even the most obscure subgenre present.

Black and orange streamers travel from one end of the ceiling to the next with tiny spiders dangling from them. Giant skeletons lurk in the corners guarding jack o lanterns with flickering eyes. Every year people eat it up but this year is particularly spooky. It sends a shiver down your spine when you recall why.

“I heard they found another leg” a red haired girl says, casually smacking on a piece of bright pink bubblegum. Beside her a shorter girl files through tapes under a large bloody hand drawn sign reading SERIAL KILLERS.

“I thought they already found both of his legs. A guy can’t have three legs.”

The red haired girl shakes her head, smiling mischievously. “That is not true. I hooked up with him once. You could for sure consider that thing a third leg.” The girls break into a fit of giggles. Dodging their insensitivity, you squeeze yourself into the Monster Movie section.

“Hey Drac” you sigh, staring up at the Dracula cutout looming over you, “I live in a town of idiots.” “You don’t mean everyone, do you?” a voice answers back with the worst Dracula impersonation you’ve ever heard. Suspicious that it isn’t coming from the cardboard cutout, you peek around to see a familiar face stocking the shelves.

Your heart immediately begins to flutter, a blanket of warmth encompassing you. Han Jisung. If you flip through the dictionary you’ll find him under D for dreamy. The glow of the setting sun kisses his dark curly hair, making it almost sparkle. And those brown eyes, they’re so…no…keep it together.

“That’s a terrible Dracula voice” you tease, arms folded across your chest. “I don’t know what you mean. Bleh, bleh, bleh” he carries on, pretending to bare his fangs. Now it’s you who’s giggling and you can’t stand how easily he gets you to.

“You are such a dork, Han.”

Returning to his normal voice he only shrugs, “But that’s why you’re so insanely in love with me isn’t it?”

His words intensify the heat moistening your palms. Fidgeting with the sleeves of your jean jacket, you wrack your brain for some witty response only for nonsense to tumble out.

“No. What? I…uh…um…early.”

Popping a copy of Megaverse Massacre 2 onto the shelf, Han raises an eyebrow at you, “Early?”

Your brain finally catches up to your mouth and you spit it out. “Uh, yeah, early. I heard you guys were closing early because of the…”

“Body hacking psycho killer?” a voice cackles, gripping your shoulders from behind. You let out a blood curdling scream that draws the attention of a few nearby shoppers. Swinging around, your fist ready to dish out a debilitating gut punch, you come face to face with Lee Minho. You haven’t quite decided if he can be filed under “dreamy” or “asshole” yet.

Minho grins, never finding you cuter than when he’s getting on your nerves. “I’m sorry, babe. Didn’t hurt you did I?” he teases, straightening out your clothes with a gentleness you weren’t expecting. The sun’s doing that thing again. The sparkle. The glow. The radiant brown eyes searching yours, threatening to make you fall even deeper into them than you already have.

Han dips between the two of you, separating you before you rip Minho’s head off. “I’m sorry. Really. He was deprived of air in the womb. Being an asshole’s just a side effect.”

Over Han’s shoulder Minho frowns, “Hey! Rude much?” Digging into his pocket, Han pulls out a lollipop. It’s sugar blown into the shape of a blood drenched kitchen knife. “Are you bribing me with a sugary murder weapon?” you ask, staring at it skeptically. Han flashes you a close lipped smile, his cheeks so fluffy it’d be a crime to deny him.

Snatching the lollipop you waste no time popping the wrapper off and tapping Minho on the head with it. “Hey! What was that for?” he winces, wiping lollipop residue from his head. “Sorry, babe” you grin, sucking on your tool of revenge, “Didn’t hurt you did I?” Han buries his face in his hand but it does nothing to hide the joy he takes in his best friend’s pain.

This is nice. Laughing with someone. With them. It’s been a while since you felt this light around other people. The recent weight on you hasn’t been of some invisible boogeyman sneaking off with one of your limbs. No, your boogeyman was someone you knew well, or at least thought you did, and he’s haunted you every chance he can.

Speak of the devil…

A bell dings, drawing your attention to the door where a man in a demon mask scans the room for someone. You recognize him immediately. Those boots. Those pants. That flannel shirt you always found totally hideous on him. Your heart sinks, the lollipop in your hand tumbling to the floor.

You see Minho and Han’s hearts sink too. It’s as if they sense that any joy you’d been feeling just went down the drain that instant. Minho whispers something into Han’s ear. You can’t make out what, only the calculated tone of his voice. “Hey!” Han says, perking up again, “We’re having a movie night tonight. You should come.”

As the man in the demon mask spots you, your eyes dart back and forth between the men. “A movie night? Sure that would be…I’d like that.”

Han takes you by the hand, “Wicked. Come on, you can pick a movie from the back.” He leads you towards the backroom just as the man advances towards you. Peeking over your shoulder you spot Minho blocking his way. A quick left turn stops you from seeing what happens next, filling your vision instead with tattered old movie posters.

Passing a few of Han’s coworkers, you wave politely and they smile in return. The back room’s like a dustier, quieter version of the sales floor. The walls are still lined with tapes, only there’s no way these have been watched any time in the past decade. Through the dust you see the spine of a tape titled Camp Counselor Sleepover Murder Party 4.

“That one” you decide, stopping dead in your tracks.

Han stops too, squinting to spot what caught your eye, “A woman of taste I see.”

Pulling it from the shelf, he blows the dust away and hands it to you. “Only the finest for you.”

You feel that lightness again. It's easy to feel it when he smiles at you like this. Such an unexpected but welcomed sense of safety. “Han, thanks for…” you start but the surprise sensation of his lips pressed to yours makes anything you were about to say feel insignificant.

With one hand still holding yours, his other hand comes to rest on your lower back. Your lips are somehow softer than he’d imagined. Even in the absence of the lingering strawberry flavored lollipop, he knows they’d taste just as sweet. Minho’s gonna kill him when he finds out that he kissed you first but nothing could be more worth it.

“Thank me by not worrying about your ex,” he says, “He won’t bother you anymore. I promise.”

You want to tell him how much he doesn’t understand. That your ex doesn’t give up that easily. But you decide not to ruin the moment, even if letting yourself believe him feels delusional. “Jisung, we need you up front!” one of his coworkers shouts back. He hesitates, unsure if he should leave you or not.

You kiss him first this time, turning him loose, “Go. I’ll be fine back here. Camp Counselor Sleepover Murder Party 1-3 have gotta be rotting around here somewhere right?” One last kiss and he’s rushing back up front, clueless as to how he’s supposed to focus on anything else now.

Turning back to the shelf you realize how big of a challenge you’re in for. Maybe there’s a feather duster somewhere? Or a respirator mask?

“Give it here. That has to be wrong.” Minho approaches the kitchen counter where you sit, playfully swinging your feet. He reaches for the magazine in your hand but you clutch it tightly to your chest, refusing to fork it over.

“Live with it, Minho. You are Suspicious Boyfriend.”

“Suspicious boyfriend” Han sings, retrieving a bag of freshly popped popcorn from the microwave, “I think it has a ring to it.”

Hopping down from the counter, you skip your way over to Han extending the magazine and the pen in your hand out to him. “Your turn, Hannie.” You see the skepticism all over his face but don’t give up. All torture must be equal after all.

“I’ll take that” Minho smiles, stealing the popcorn for himself.

“Sure. Why not?” Han surrenders, grabbing the magazine and the pen. You and Minho watch on, far more amused than you should be, as Han skims the pages checking off answers to silly personality questions. Pick a country to travel to. Pick a favorite food. Upstairs or downstairs?

After a minute or two he finishes and slides the magazine back over to you. You can barely contain yourself as you assess his results. Leaning across the counter, you share them with Minho who immediately begins to laugh.

“What’s so funny? What did I get?” Han asks looking so genuinely concerned that you almost feel bad for telling Minho first. Minho empties the popcorn into a bright orange Halloween bowl, shoveling some into his mouth. “Comic Relief Best Friend” he mumbles. Han frowns, coming to see for himself. You hold the results page up for him.

Which Horror Character Are You?

You point to his score beneath the headline “Comic Relief Best Friend”.

“Oh, okay. So I’m funny and I die before him. Perfect.”

“Aww, come on. Don’t be like that” you say, poking at his chin, “It’s not like I got the best result either. I’m the Final Girl.”

“What’s so bad about that?” Minho asks, his words muffled by food, “It means you make it to the sequel.”

“No, it means that I’m boring. Badass but boring. I wanna be the killer. They have more fun.”

Han shakes his head, a sympathetic hand resting on your shoulder, “I hate to break it to you but you’re not really killer material.” Minho takes your hand like a doctor prepared to give you some bad news, “Yeah, you just…you don’t have it in you, kid.”

“Don’t have it in me? I do so!” you protest, your tantrum not doing much to make you less adorable. Minho moves toward the knife rack behind him, carefully selecting the biggest, sleekest one he can find. “Okay, so kill me.”

There’s a long, tense silence.

“Come on. It’s not that hard. Just…” Minho mimes stabbing himself in the chest, his tongue stuck out sideways. “Give it!” you shout, running to take the knife away. Minho catches you by the wrist, slipping the knife into your hand and raising the tip of the blade an inch away from his throat.

“Do it” he dares, his hand tightening around yours, “Prove us wrong.”

There’s an unnerving excitement in his eyes as he awaits your decision. An excitement that doesn’t seem to want you to back away. No, it wants you to come closer. He wants you to come closer.

“Hannie,” you plead, “Can you talk some sense into him please?” Han joins the two of you, saying nothing at first, simply observing. The way that they watch you is intensely sexual and some part of you, one you hadn’t known existed until now, seems to take pleasure in it.

Han laughs, bringing his arms around your waist, “Oh but sweetie, we’ve played your game. Don’t you wanna play ours now?”

#stray kids au #stray kids x you #stray kids x reader #han jisung x female reader #han jisung x you #han jisung x reader #chubby reader #minho x reader #minho x you #stray kids fluff #stray kids angst #plus size reader

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venussaidso · 2 months ago

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𝐖𝐨𝐥𝐯𝐞𝐬 𝐢𝐧 𝐇𝐮𝐦𝐚𝐧 𝐃𝐢𝐬𝐠𝐮𝐢𝐬𝐞: 𝙆𝙚𝙩𝙪-𝙍𝙖𝙝𝙪

The absorptive, fiery nature of Ketu natives creates a heavy magnetic field around them that can attract individuals who carry a darkness within them which I will be exploring through a number of film/TV characters in this short observation.

This heightened sensitivity to unseen realms makes these natives more likely to attract intense or obsessive individuals, which interestingly, happens to be other Ketu natives or even Rahuvians. These dark, twisted creatures seem to have this natural attraction or fascination to the Ketuvian, as if they were drawn to their void. Though Claire Nakti explored this theme already in her Mula series, the astrological influence of the Big Bad Wolf in Magha's arc in Red Riding Hood piqued my interest. It came as no surprise to me that both Ketu and Rahu are tied to the twisted, evil monster or human obsessed with the Magha or Mula native.

warnings: spoilers!, mentions of abuse, murder and domestic violence.

For example, in Shadow & Bone, a Magha Sun woman shares an intense, hypnotic connection with a Ketuvian man, the Darkling, who disguises his dark true intentions, preying on her deep need for belonging (as he recognizes that need within himself too). His dangerous obsession with her, along with his dark ambitions and twisted mind, reveal him to be the "big bad wolf" in her story.

The same thing happens in Penny Dreadful (right), in which a Magha ASC woman falls for a Ketu-ruled doctor who has an affection for animals, providing her care and understanding to her wild nature, only to be revealed to be the vampire, Dracula. The Magha native sees his storage room filled with hung dead bodies, a chilling symbol of his horrifying nature. He becomes increasingly obsessed with her, his predatory instincts getting into conflict with his feelings with her.

Also, the Darkling would have made a fine addition to my thread of the power-hungry, commanding Ketu archetype, seeing as he is characterized by his ruthless ambition and desire for power, seeking to dominate the world and willing to manipulate others in order to achieve his goals.

Anyways, back to the topic.

Much like in Penny Dreadful, in Marvel's Jessica Jones, the Magha Moon woman was initially drawn to the alluring facade of a Ketu man who used his powers of persuasion to captivate her. At first, she enjoys the thrill, but then she becomes consumed by his darkness. He turns out to be a monster. And even after escaping him, his obsession and infatuation with her increases, endangering those around her.

In Crimson Peak, Thomas Sharpe is played by a Ketuvian, epitomizing the archetype of a wolf in disguise through his charming demeanor and hidden malevolence. Captivated by a Magha Moon woman, he is a sweet and kind gentleman, though beneath this façade lies a manipulative and dangerous character. He attempts to isolate her, slowly revealing himself to be the predator.

This reminded me of the film Rebecca, where a Ketu man portrays himself as this charismatic and caring gentleman much like Thomas Sharpe. His nature reveals itself to be controlling and extremely manipulative.

Another Ketu-ruled character functions exactly the same in the series Big Little Lies, portrayed by the Magha stellium native Alexander Skarsgård, who is a charming yet abusive husband presenting a facade of the perfect family man.

While, of course, there are positive depictions of nodal pairings in fiction, the Ketu people are just generally prone to these obsessive, dangerous energies whether the evil force is Ketu as well or not. Much like Magha Moon Julia Roberts in the film Sleeping with the Enemy, who is trapped in an abusive relationship with every aspect of her life being controlled by her husband. She plans an escape, which calls to a theme of Ketu women running away from men especially; as her character has a lot in common with Jessica Jones, Vanessa Ives (Penny Dreadful), and even Edith Cushing (Crimson Peak). All Magha natives.

Another example I wanted to add is the movie Invisible Man, directed by Mula Moon Leigh Whannell, a film about a woman who escapes from her abusive relationship with a wealthy scientist, who happens to be played by Ardra Moon Oliver Jackson-Cohen.

As you've seen and will see in this thread of examples, these Ketu characters tend to be in intense relationships with other Ketu people, and also Rahuvians, being the center of their fixation or destructive obsession. In Phantom Thread, two Ketuvians are captivated with each other and fall into a twisted relationship, the Ketu man exhibiting obsessive tendencies as he becomes increasingly controlling and possessive over the Magha Moon woman.

Circling back to Red Riding Hood, the 2011 film, starring Magha Moon Amanda Seyfried, her father is played by a Ketu native. At first, he is shown to be the loving protective figure in her life, guiding her decisions and teaching her to be cautious of the world and its evils. But then, it is revealed that he was the werewolf all along who terrorized and killed the villagers.

In Scream, the Ketu woman is instead a Mula Moon native this time. She was dating the goofy and charismatic Ketuvian boy who turned out to be one of the killers and he ultimately planned her death.

And now, this time, we have a Rahuvian who played the wolf. He, just like his Ketuvian accomplice, is portrayed as initially harmless. He comes across as caring, trustworthy and reliable, especially to the other Mula Moon native who he was dating.

In the end, both the Ketu & Rahu killers unmask themselves as the "big bad wolves".

Mula Moon Reese Witherspoon was interestingly casted in three Ketu-coded films. Freeway, inspired by the Red Riding Hood tale, depicts a friendly stranger who's portrayed by a Ketu man, offering to help her when her car breaks down on her way to her grandma's, just as the wolf tries to deceive Red in the tale. Beneath his charming facade lies a predatory and dangerous nature, as he is revealed to be a serial killer.

It is also interesting that in the film, American Psycho, she plays a character who is unknowingly dating a serial killer, played by a Ketuvian man. The movie Beast stars a Mula Sun woman who also unknowingly dates a nodal-ruled serial killer.

Then in the film Fear, this time the illusory man is a Rahuvian. He is drawn to Mula native Reese Witherspoon's character, and his true dangerous, predatory nature starts to reveal itself. His infatuation with her turns into a sick obsession, leading to a sequence of violent events.

In Split, though the wolf isn't necessarily in disguise to predate, it is interesting that Ketuvians tend to play predator-&-prey to each other.

Like in The House That Jack Built, a Magha ASC woman exemplifies the theme of the wolf in sheep's clothing in the opening scene of the movie through the character named Jack. Jack is obviously played by a Ketuvian man.

When he picks her up as a hitchhiker, he presents himself as a charming and cultured individual, engaging in a seemingly normal conversation with her while masking his true violent nature. She triggers this hideous nature within him, and she acts a catalyst to his series of murders as she's his first victim.

It is important to remember that Ketu is still a shadow planet, both Ketu and Rahu highlighting the shadowy, illusory aspects of the wolf in sheep's clothing trickery.

In the film Creep 2, there's a nod to this Red Riding Hood-&-the Wolf dynamic as the Rahuvian serial killer is known for wearing a terrifying wolf mask. As expected, much like in Freeway, the nodal killer is fascinated with the Mula native who destroys him in the end.

And in the film Beast, a Rahuvian serial killer is attracted to the Mula native, and as they date each other, she finds out his true nature. She's able to debilitate him just so that she can end his life.

Ardra serial killer in Creep 2.

Similar to the Mula serial killer in Freeway, a Mula Moon serial killer, in Netflix's new film Don't Move, comes off as an extremely friendly, kind and helpful stranger who creates a safe space just to trap his victim. Another wolf in disguise played by a nodal man.

In the series You, a Mula Moon woman becomes an object of obsession for a Rahuvian man. She dates him not knowing of his truly sick, possessive nature until he destroys her.

It is interesting that another Mula Moon woman in the series is the one to go head-to-head with the nodal killer, deceiving him as she's the one to portray herself as the wolf in disguise just as he did too.

This is shown again in Once Upon a Time, in which Red Riding Hood, played by a Magha Sun woman, turns out to be the wolf after all. All this time, she's been unknowingly turning into a werewolf on a full moon, killing villagers in her wolf form.

In the series The Acolyte, Magha Sun Manny Jacinto plays Qimir who portrays himself as an unassuming, harmless smuggler and trader who appears to hold no grand ambitions. He uses a calm, almost alluring personality to create a sense of reliability, only to be revealed as the antagonist of the story in a murder spree scene as the Sith Lord.

Ardra Sun, Ardra Moon Wagner Moura voices the Big Bad Wolf (DEATH) in Puss in Boots: The Last Wish.

Usually playing charming, sometimes sympathetic, evil or morally grey characters, nodal natives seem to fit into this archetype the best; as the shadow planets Rahu and Ketu come off as extremely magnetizing and illusory more than any other planetary type. This consuming quality they have makes them convincing to others with their lies and illusions, just as they are convincing as the scary monsters or captivating antiheros.

The character Kai Parker is played by an Ashwini Sun native in The Vampire Diaries. He feigns remorse and uses charm to hide his predatory intentions. His duplicity is shown when he pretends to bond with Bonnie, when they were trapped together in the 1994 prison world. He creates a false sense of safety around him only to then later reveal his true schemes. He does this a couple of times, evoking sympathy for a hidden agenda.

The character Loki could be fitting under this wolf in disguise archetype. In Thor (2011), he portrays himself as the underestimated younger brother, while quietly harbouring resentment for his brother and hiding his thirst for power. In the film, he not only backstabs Thor, but he ultimately leads Laufey to his death after striking an alliance with him (turned out to be one of his tricks).

This reminded me of Dr. Facilier, voiced by an Ashwini Moon native, who tricks and deceives Prince Naveen, seeking to gain power and control. He initially portrayed himself as a helpful ally, only to become another deceptive wolf in disguise.

And the character Ursula was played by a Magha Sun, Ardra Moon native in the Little Mermaid remake; she quite literally does the same as Dr Facilier to the naive Ariel who is portrayed by Mula Moon Halle Bailey. The cartoon version of Ursula is voiced by Ardra Moon Pat Carroll.

In Last Night in Soho, a Rahuvian man is portrayed to be suave and charismatic, luring an Ashwini native into his dangerous world which leads to her tragic victimization when his predatory manipulative nature is revealed.

In the 1991 film Deceived, a Mula ASC woman discovers that all this time she has been married to a literal wolf. It is revealed, after his death, that her husband killed a man whose name he took. Another twist is revealed that he faked his own death, and he comes after her. Her husband is Ketuvian himself, of course.

Another similar film, called Double Jeopardy, in which an Ashwini Sun woman discovers that her Rahuvian husband faked his own death just to frame her.

In the series Wilderness (2023), Ashwini Sun Jenna Coleman portrays a woman who's married to a deceitful Rahu man who turns out to be the opposite person of who she thought she fell in love with.

It is interesting, and ironic, as the one who is truly victimized by all of this is the Mula Sun woman that her husband was having an affair with. The Ashwini native becomes the wolf in disguise here when she deceives her husband back, and when she stalks and approaches the Mula woman, ultimately being the one behind her death.

Going back to the Ketuvian being obsessed with the Magha native, in this example, it is a Mula Moon, Ashwini Sun native being the object of obsession. In the Beauty & the Beast live-action, Gaston portrays himself as the quintessential hero, and it is his obsession with Belle that reveals his darkness.

His aggression and his resort to intimidation and manipulation to win her over highlights his cruelty and entitlement.

I may continue this with another nakshatra lord influence, as it seems that Moon nakshatra natives experience the same themes. As they already fill in the final girl archetype too, after Ketu nakshatras, it doesn't come as a surprise at all since all three planetary influences (Moon-Rahu-Ketu) made it into my vampirism post. It makes sense that these planetary types are linked to vampires, as vampires are illusory creatures who are known to mask their true predatory nature; fitting all too well in the wolf in disguise trope, as they are predators who appear human and can very well blend in normal society.

The song Haunted was sang by Amy Lee from Evanescence. She has Ketu in the 1H. She mentioned that the song was partly inspired by the concept of feeling watched or followed, which connects with her fascination for eerie themes and darker emotions. I find it fitting under my post as these Ketu-ruled natives attract stalkers, killers, and frightening creatures in their dangerously magnetic field.

More examples of this Ketu archetype, as I seem to have reached the picture limit.

And also. Found this Ketuvian analogy. So I'm right.

#vedic astrology #astrology #sidereal astrology #astro observations #vedic observations #ardra #ashwini #swati #magha #shatabhisha #mula #aries #gemini #leo #libra #aquarius #sagitarrius #Spotify

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vrfinalgirl · 3 months ago

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CUPIDS KINKTOBER 2024 !!

welcome to cupids first kinktober!! I’m so so excited to do this and it’s going to span over all three of my accounts !! @suneslvr @cupids-archives #requests are open 😇

current hyper fixations are, dc, mha, lmk, black myth wukong, creepypasta/slashers, degrees of lewdity, boyfriend to death(1+2)/tpof, scp, & genshin impact! If I don’t get a request for a specific day the default would be one of these fandoms. 💉 submission rules!

(all of these could be customized!)

₊˚♱ ━ October 1rst -- MONSTER?

🩸: your laying in bed on Halloween night. The air is cold and your bedroom is even colder. As you lure yourself asleep, you hear a ghostly sound coming from your closet!

💉: (stalker x fem!reader, stalking, dub/non-con, death threats, choking, and size kink.)

🔪: OPEN

₊˚♱ ━ October 5th — MR. SANDMAN!

🩸: your dreams are constantly plagued by a pale figure. Soon these dreams start to become a reality. Will you wake up before he catches you?

💉 : (dream-spirit x fem!reader, coercion, dub-con, overstim, dream-fucking, somnophilia.)

🔪 : OPEN

₊˚♱ ━ October 10th — DRACULA!

🩸: As a lonely adventurer you wander the 1800s Europeans streets looking for treasure and lost artifacts, soon you come across a castle with everything you’ve ever wanted, little do you know about the secret that lies above.

💉: (sealed! monster x fem! reader, dub- con, blood play, religious text, monsterfucking, hallucinations, happy ending(?))

🔪: OPEN

₊˚♱ ━ October 15th — LOVE POTION.

🩸: you come back to town after a long vacation. Every person you come across has this love crazed look in their eye? You rush to return home after getting cornered by people you’ve thought were your friends? what’s gotten into everyone?!

💉: (threesomes, overstim, breeding, possessiveness, aphrodisiacs, mentions of non-con, and dub-con)

🔪: OPEN

₊˚♱ ━ October 20th — SERIAL KILLER!

🩸: An odd alert shows up on your phone? A serial killer has escaped! and it’s—? … soon you start to receive calls and messages from an unknown number. will you be the sadistic killers new victim?

💉: (knife play, dub-con to consenting, threats, mentions of murder/gore, mentions of rape.)

🔪 : OPEN

₊˚♱ ━ October 25th — THE CONJURING.

🩸: Series of people in your town have been found in massive murder-suicides. Some believe the small- time life finally got to them. others an otherworldly demon.

💉: (possession, mutual masturbation, monsterfucking, suicide/murder mention, dub-con)

🔪: OPEN

₊˚♱ ━ October 30th — UNDER LOCK AND KEY!

🩸: you and your friend are invited to a Halloween party! Unfortunately the two of you get lost on the way there, however an old timely couple picks you up and allows you to stay for the weekend. Everything seems to get along quite nicely, except for the screaming you hear in the basement.

💉: (mentions of incest, gang-banging, corruption, cockwarming, cannibalism, brat taming,dacraphilia, drug use)

🔪: OPEN

₊˚♱ ━ OCTOBER 31RST — HALLOWEEN.

—- CHOOSE YOUR KINK. + YOUR CHARACTER!

🔪: OPEN. 🔪: OPEN. 🔪: OPEN

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theriu · 2 months ago

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Now that we’ve reached the end of Dracula, I have some thoughts on a certain scene. (Major spoilers below if you haven’t read the book or the ending yet!)

I think it’s so, so important that Quincey Morris honors Mina’s request to promise that he will kill her if she turns, especially in light of Jonathan’s determination not to.

Occasional posts talk about how Jonathan was determined to follow Mina into vampirism, and speak of it in glowing terms as a sign of his love for her. And I agree, Jonathan’s love for his wife is beautiful and admirable. But in this one case, at least, his means of showing that love is shortsighted and selfish.

What would be gained by him following Mina into her doom? He wants her to not be alone? This is as sadly misguided as those claiming they will go to hell in order to be with their loved ones. Hell and vampirism are by nature isolating because in them, there is no longer any capacity for love or goodness or comfort. All good impulses and deeds are lost to those who become vampires. We see it even in how Dracula himself, a foul and wretched monster, seemed to find a breath of peace as he died—for JUST A MOMENT, his soul was freed of the curse and he could FEEL peace again. Mina would be no less alone with Jonathan also chained to the curse of vampirism. She wouldn’t even be capable of grieving his fate, because Mina and Jonathan would be completely overshadowed by the evil that consumes people who are turned into vampires.

And aside from that, Jonathan’s love is selfish because even if he could comfort Mina in her curse by joining her, he would still knowingly and willingly be dooming countless other people to suffer as he did. He would willingly become the same monster as Dracula, capable of terrorizing and murdering across the centuries, causing the same pain he and his friends and the Romanian villagers have felt countless times over. And he would knowingly and willingly be allowing the vampire that was once Mina to do the same by breaking his promise to kill her. And the fact that he hid his intentions from Mina suggests he already knows that, but was willing to allow it for the sake of the one person HE loves best.

That is why I find his actions to be selfish rather than noble. He'd be sacrificing the lives of countless people he doesn't personally care for just for the sake of the one person he personally cares for. The common denominator is the idea that only what he loves matters.

And that’s why Quincey’s promise is so important, and why his act of giving his life to help kill Dracula is even more noble. He not only destroyed Dracula and saved Mina—he saved Jonathan from himself, and who knows how many innocents from them both. He saved Jonathan from making a horrific mistake that would have doomed both Mina and Jonathan, as well as their victims, to a living hell.

And I like to think that, once the danger was past and Jonathan could contemplate things and talk it over with Mina (after all, these details were all available in the diary entries they collected), he would understand better what a mistake Quincey ultimately saved him from, and how Quincey Morris was an even greater hero than anyone could ever comprehend. Because Quincey Morris didn't stop one vampire.

He stopped three.

#spoilers #dracula daily #river ponders #love #sacrifice #quincey morris #mina harker #jonathan harker #dracula daily spoilers

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scoobydoodean · 5 months ago

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saw someone say that sam is the only one in tfw whose trauma is sexualised... and I just want to know what show they watched because that's the most blatantly untrue thing I've ever seen. truly glad to find some people on tumblr like you who seem to actually have watched the show so thank you for that

Not exactly sure how to interpret this the way it's phrased. If the idea is that Sam is the only one who faces trauma that has sexual undertones or overtones...

In 1.20, a rapist vampire forces her tongue down Dean's throat while another vampire watches appreciatively. This is also all happening while John and Sam are using Dean as bait.

In 3.01, Dean is attacked by Lust.

In 4.03 while Dean is tied up, Azazel sniffs at his neck while wearing his grandfather, Samuel.

In 4.05, Dean is undressed by the Dracula shifter while unconscious and then dressed in lederhosen.

We... all saw Alastair, right? Like. Just watch the guy in a single scene. How he talks to and looks at people. How he talks to and looks at Dean. ("They sliced and carved and tore at me in ways that..." - Dean in 4.10 talking about hell). (Also this)

In 4.14, Dean swaps spit with a siren and is put under it's control.

In season 5, saying "yes" to an angel is repeatedly compared to sex acts by Dean.

In 5.01, Meg forces a kiss on Dean.

In 6.05, Soulless Sam uses Dean as unwilling bait. Dean is attacked in an alley by a rapist vampire who calls him "pretty" and then later in the episode, the same vampire asks Dean if he wants "the private tour" while looking him up and down.

Multiple instances in 6.09

In 6.09, Meg sits on a tied up Dean's lap and puts a knife to his throat, and says "Satisfy me or I please myself". Afterwards, she tells Dean "don't pretend you don't enjoy it".

This moment also in 6.09.

This moment from 8.03.

Abaddon says a range of creepy, sexual things to Dean while overpowering him. [Ex 1]

Lots of heavy implications in season 10.

The Amara plot line.

Dean being tied to an altar as a sacrifice for a tentacle monster.

Whole season 14 Michael possession plot.

Didn't make it to film but "Wide-eyed hitchhiker routine" (14.14)

In 15.05, Lilith says that Chuck has a "Very weird, very pervvy obsession" with Dean. (Pair this with Dean being "full frontal" in the Supernatural books according to 5.18).

Then there's Cas, who is almost murdered by a woman he had sex with in 9.03, and who also gets possessed by Lucifer, and who was lobotomized 5 billion times for being in love with Dean.

My tag #dont objectify me! might be of interest.

#dont objectify me!#mail

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familyabolisher · 2 years ago

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re: this post, would you perhaps be able to reword it? i understand the words you're using individually, and i think i might kind of get what you're trying to say, but it's just one very long sentence and so i'm having trouble parsing it! (wait--i just reread it. initial question canceled, mostly--now: what alternatives might we have available to us?) and what does this section: "it feels all too easy to jump from that to then just stymieing our ability to actually describe the textual violences necessary to the discursive construction of that normativity in the first place" mean, exactly? thank you as always for running this blog. :-)

What I’m describing is a critical phenomenon wherein people will approach (usually canonical) horror texts which reify hegemony by ‘identifying’ with the monster who is generally figured in terms of alterity in some capacity; by extricating, for example, a queer narrative out of what is in fact a homophobic one, and treating this as something of a ‘reclamatory’ practice in which one ‘relates’ to that which the text figures as monstrous. The most common instance of this which I see is people’s discussion of Carmilla as an erotic lesbian romance; other examples include Dracula, or Frankenstein, or the socially currency invested in the idea of a ‘madwoman in the attic’ (ie. Jane Eyre).

I don’t think this is like, a practice that we need to do away with entirely, lol – but I do think that a) there are marginalised writers + filmmakers who are making horror with actual teeth, with actual radical edge, and we don’t need to keep pretending like this approach of reclamation-through-identification with a monster in a v normative work is all we have available to us when politically subversive horror does very much exist, and b) this critical practice is often vvv limited in its discursive scope, and tends to lack the kind of materialist analysis that I would consider necessary in talking about literatures of alterity/marginality/violence.

When I talked about stymieing our ability to describe the textual violences necessary to the discursive constructions of that normativity in the first place, I meant that overfocusing on these texts as “reclaimed” articulations of an essentially queer (or otherwise ‘othered’) imaginary can inhibit our ability, as critics, to describe how those texts in fact do not think of their monstrous figures as worthy of a sympathetic or appreciative narrative. I mentioned Carmilla above – we can talk about Carmilla as erotically lesbian, sure, but how far down the line in talking about it as a Queer Narrative do we lose track of the fact that the text itself asserts the sexual norms of white Christian hegemony to necessarily succeed over the perversion of the corruptive, predatory lesbian, or as an Anglo-Irish work positing Carmilla as an Irish woman (and thus a contaminant threat to Anglo-Irish society)? At what point in adulating Dracula as articulating a particular form of queer, effeminate Jewishness destabilising and threatening Jonathan and Mina’s persistent heterosexuality do we lose track of Dracula as having grown out of the fear that the new waves of Jewish immigration in London’s East End were vampiric sources of contagion, or its possible relationship to the antisemitic smears that grew out of the Jack the Ripper murders? Or like, taking Bertha Mason (or ‘the madwoman in the attic,’ because truly, v few people using this phrase are actually thinking about Bertha Mason lol) as a kind of feminist paragon – at what point do we begin to overlook the fact that Jane Eyre is a v racist text?

These aren’t necessarily contradictory approaches – like, for example, you can talk about ‘identifying’ with Dracula as emblematic of British Jewish assimilation and the discontents thereof whilst also talking about Dracula as an antisemitic text, even if the analysis in the former isn’t especially coherent – but the focus of the ‘identification’ treatment is often incredibly limited in its scope, and those limitations can often be detrimental to one’s ability to talk frankly and honestly about what a text actually says and does. A very good example such limitations is that of Frankenstein; an identification with Frankenstein’s monster as an entrypoint for textual analysis obfuscates the way in which Frankenstein constructed a discursive template by which the ameliorationist argument against the immediate abolition of slavery could be argued for. (The linked post lays this out v clearly, but the cited source is Mary Mulvey’ Roberts’ ‘Mary Shelley, Frankenstein, and Slavery,’ in Dangerous Bodies: Historicising the Gothic Corporeal). What I basically mean is, when we talk about relating to, identifying with, ‘reclaiming’ the monster, we have to have a real grasp on what it is we’re trying to impose such a practice on, and what the actual substance of the source text has to say for itself. I’m not one for assuming a text as a body with a set of metaphysical properties that we as critics are tasked to find – I think the relationship between text and reader ought to be dialectical – but part of that dialectical process means situating the text in its material social context and responding appropriately.

#ask

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thenightling · 1 year ago

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Pet peeve about the Internet *Pretending* to have read Frankenstein

I am so tired of everyone and their dog on the Internet saying "Actually the monster was The Doctor." or "Frankenstein was the Doctor. Not The Creature." And no one notices what's wrong with this. First, Victor Frankenstein (in the novel) was no doctor. He was a student of metaphysics. He never graduates. He's not a medical doctor at all. He found the secret of life while reading the works of Agrippa and Paracelsus. A self-proclaimed sorcerer and alchemist. Now what makes Victor a Monster? He had f--king postpartum depression. No. Seriously. THAT is what makes everyone call him a monster. The term Postpartum didn't exist yet but that's what is described. He's excited about creating life. He even chose various parts for their beauty. The Creature has luxurious black hair, and perfect teeth (a detail left out of most film adaptations). But the eyes are yellow and watery. There's an effect that we'd today call Uncanny Valley. Victor does not find him hideous until he comes to life. Then Victor flees. It takes him months to recover from his "Brain fever." He has a sort of nervous break down. When he finally comes home it's to discover his youngest brother has been killed and The Creature has framed an innocent maid for the murder (and is hanged for it). YES, The Creature is sympathetic. Abandoned by Victor and rejected by the world but both make horrible mistakes. Victor is no innocent but he isn't Satan either. Someone on Tumblr even blocked me for trying to point out that Mary Shelley wanted us to sympathize with BOTH Victor and his Creature. It's not black and white. The person claimed I clearly never read the book and then blocked me after saying "Another person who didn't read the book trying to school me." Not only did I read the book but Frankenstein is in my top four favorite novels. To me, seeing the Internet constantly parrot the "The Doctor was the monster" is like seeing the rather sexist "Beauty and the Beast is Stockholm Syndrome" (which actually means "I don't trust Belle and will ignore her agency as a character.") Or the not-so-subtle transphobia attached to the Hot take of "Disney's The Little Mermaid gave up who she was for a man." which requires ignoring that Ariel wanted to be human before she ever saw Eric. I even got into an argument with someone about that once who insisted that she only sang "Part of your world" after she saw Eric. No. That was the reprise. The first time she sang it was before she ever saw Eric. Also I'm sick of people "correcting" those that call The Creature Frankenstein. The Creature views Victor as his father. Usually a son takes his father's surname. On a lighter note we have the people who PRETEND to have read Dracula, sharing the old man image of him with the handlebar mustache as being "This is what Dracula actually looked like in the book." I often point out to them that he de-ages in the novel and is later described with dark hair with grey in it. And a pointed beard. One person, who didn't want to admit they were wrong, tried to claim he was disguising himself so no one would reocognize him. That the beard was false and the hair was a wig. Umm... Why? The only person who knew what he looked like was Jonathan Harker. And at the time Dracula thought Harker was still in his castle. I know this is a long post but to sum it up... Please, stop repeating memes about classic stories as if they are fact and try reading them for yourself. It may not quite be what you've been lead to believe.

#Frankenstein #Dracula #Mary Shelley #Bram Stoker

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see-arcane · 2 years ago

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Today’s entry is one of many that really drives home why I can never quite bring myself to get into softer ‘uwu he’s just misunderstood and sexy-liberating’ versions of Dracula. Just. I can’t. I really really can’t.

Up to this point, he’s already had a monstrous moment in bringing the ladies their first on-screen kids meal crying and squirming in its sack. He’s had outright predatory back-to-back moments in imprisoning, coercing, robbing, and getting increasingly threatening and handsy with Jonathan. This, capped with the fact that he plans to kill/drink/gift him to the Undead Girl Gang by the end of June.

‘But what about his, “I too can love,” huh? He’s just loving as best a monster can! He could be tearing everyone around him to ribbons for annoying him, Brides and Jonathan included! Instead he goes out of his way to feed the ladies, albeit gruesomely, and has no retort when they laugh at and insult the lonely old bat. And he isn’t planning to kill Jonathan. He wants to keep him! Sure, it’s a sick version of it, but to him conscripting and collecting Jonathan rather than executing him outright is the height of affection! Surely that’s grounds for some of the more ~romantic~ takes in warped gothic flavor?’

To an extent, yeah.

But he also just dressed up in Jonathan’s stolen clothes to cover up for the man’s own abduction, imprisonment, and undeadifying, while also increasing the odds of Jonathan already getting mistaken for a vampire, bringing home another child for the ladies to devour, and then ordered a pack of wolves to eat a grieving mother alive for making noise at his gate.

And this? This is just the tip of the iceberg for how downright hellish he gets as the novel progresses.

Dracula can absolutely be a nuanced character within canon, offshoots, retellings, re-imaginings, and so on. And he should be! He’s a very interesting bastard who’s got so much more going on than a few one-liners and a taste for good cloaks and yummy company. But his actual actions in the book--even the smallest ones--just automatically torpedo 90% of my audience enjoyment when I run into yet another ‘Oh, but he did it all because he was in love!/misunderstood!/depressed!/unfairly maligned by the eeevil human Victorian characters in their journals and newsprint and body count records!’ version of the Count.

Even sillier takes that try to heroify him for kids like Hotel Transylvania just kind of make my brain trip and fall into a pit of ???

‘Look kids, Dracula is really a nice guy and a sweet dad who runs a fun little hotel for his misunderstood Universal Horror monster buddies! Isn’t he neat?’

It leaves me biting my tongue and holding this mental grimace as I think about the sacks full of weeping children, the slaughtered mother, a young man imprisoned for making the mistake of endearing himself so much to a sadistic monster that the latter has decided to keep him as a tortured toy and undead pseudo-slave for eternity, with an entire blood buffet of human cattle still waiting to fill out the rest of the novel with trauma, horror, and death.

‘Ohhh, but look at Francis’ tragique sweetheart version who stole all his redeeming qualities from Jonathan Harker! Ohhh, but look at the funny silly Adam Sandler cartoon and his new everyman-settling daughter! Ohhh, but look at how #cool and modern-sexyedgy an antihero/villain he is when penned by every projecting director and their grandmother! Lighten up, it’s just a different interpretation!*’

*Of the character whose whole deal is psychological torture, being a predatory creep, casual murder, and worse-than-murder of innocents.

I know it skews me towards being a whiny purist. I know. Let folks have fun. I know. But still, it feels so wrong every time I see someone try to ‘awww, he’s not so bad!’-ify him in new media when. No. He is exactly that bad and probably worse. If he’s not, then that’s not fucking Dracula.

tl;dr: Can people just make some new fun/sexy/antihero vampires instead of stapling Dracula’s name on all of them? Can Dracula just be an interesting villainous monster again?? Please??? (Please save me Renfield 2023 and The Last Voyage of the Demeter, you’re my only ho--)

#ranting and whining this morning #dracula #re: dracula #dracula daily #jonathan harker #adaptation #bastardization

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luneemeritus · 1 month ago

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A lot of people criticize the 1992s "Bram Stoker's Dracula" because of the romance between Mina and Dracula, that doesn't exist in the novel. But that detail is precisely why I love this movie. Because Gary Oldman's Dracula truly loved Mina, but that didn't redeem him. His love didn't make him a better person. He is still a monster, a villain, a murderer and an abuser. He has done horrendous things to innocent people for so many centuries... but that doesn't mean he is uncapable of loving someone. His ability to love doesn't redeem his character nor makes his villainy lesser. He is a dangerous villain to everyone else except Mina, and she knows it, this is why she didn't chose to be by his side. It also gives a better explaination of his motivation rather than the pure xenophobia of the original novel (not that Francis Ford Coppola's version is any less racist, the way they treated the Romani people is awful, but at least this Dracula has a motivation that makes sense).

Besides, this movie has so many qualities and is such a pearl that I think it's unfair to dismiss all its qualities because Dracula and Mina had a thing for each other. The movie doesn't condone Dracula's villainy.

#also i've noticed a lot of puritanism in those kinds of criticism - like if women cant like dark romance or villains with *some* humanity #which is ew for real?#anyway i shipp mina x lucy so whatever #bram stocker's dracula #dracula #francis for coppola #dracula 1992 #gothic literature #mina harker #jonathan harker #lucy westenra #winona ryder #gary oldman

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la-femme-au-collier-vert · 2 years ago

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IWTV Season 2 Sources & References

Season 1 here (these lists are updated regularly)

Season 3 here

Cited by the Writer’s Room/Cast:

The Ethnic Avante-Garde: Minority Cultures and World Revolution by Steven S. Lee

Paris Journal 1944-1955 by Janet Flanner (Genet)

The Vampire: A Casebook by Alan Dundes

Anne Rice’s Vampire Chronicles: An Alphabettery

The Fly cited by Jacob Anderson

King Lear by Shakespeare cited by Rolin Jones

The Third Man (1949) cited by Levan Akin

An American in Paris by George Gershwin (1928) cited by Daniel Hart

Giovanni’s Room cited by Jacob Anderson

References:

Melmoth the Wanderer by Charles Maturin

Sebastien Melmoth by Oscar Wilde

Ode to a Nightingale by Keats

Amadeus (1984)

The Lost Boys (1987)

Gaslight (1944)

Batman

Casablanca (1942)

Now, Voyager (1942)

Moulin Rouge (2001)

The Phantom of the Opera

Les Vampires (1915)

Dracula (1931) credit to @vampchronicles_ on twt

Le Triomphe de L’amour by Pierre de Marivaux

Existentialism is a Humanism by Jean Paul Sartre

Les Liaisons Dangereuses by Pierre Choderlos de Laclos

Romeo and Juliet by William Shakespeare

How to Win Friends and Influence People by Dale Carnegie

Hamlet by William Shakespeare

Vampire’s Kiss (1988) credit to @talesfromthecrypts

Les Morts ont tous le Meme Peau by Boris Vian credit to @greedandenby

The Most Dangerous Game by Richard Connell

Waiting for Godot by Samuel Barclay Beckett credit to @rorscachisgay on twt

An Enemy of the People by Ibsen

Anna Karenina by Leo Tolstoy

Vie de Voltaire by Marquis Condorcet

Simone de Beauvoir: A Critical Introduction by Edward Fullbrook and Kate Fullbrook credit to @iwtvfanevents

Nightwood by Djuna Barnes credit to @iwtvfanevents

Beloved by Toni Morrison

Artists, Art, and Salons:

R-26

Palma Vecchio

Andre Fougeron

Elsa Triollet

Fred Stein

Lisette Model

Gordon Parks

Miguel Barcelo

Taxidermied Javelina by Chris Roberts-Antieau

Ai WeiWei (wallpaper)

David Hockney (Lemons)

Wols

The Kiss of Judas by Jakob Smits

Salome by Louis Icart

Ophelia by John Everett Millais

Shelter by Peter Macon

The Kiss by Edvard Munch

The Vampire or Love and Pain by Edvard Munch credit @iwtvasart

Ruiter on Horse by Reiger Stolk credit @ iwtvasart

Portrait of Frank Burty Haviland by Modigliani credit @iwtvasart

Self-Seers II (Death and Man) by Egon Schiele credit to @90sgreggaraki

The Sleep of Reason Produces Monsters by Goya

Aicha by Felix Vallotton

Cariatide by Modigliani

Nature Morte Au Pain Et Au Cocteau by Louis Marcoussis

Untitled by Julio Gonzalez

Embrace by Mikulas Galanda

Trees on a Mountain Slope by Ernst Kirchner

Landscape Paris by Henry Lyman Sayen

Tabac 56 by Oscar Garcia

Spirituals by Lillian Richter Reynolds

Movie & Play Posters on set (in chronological order by year):

Tarzan and his Mate (1934)

Avec le Sourire (1936)

Les Deux Gosses (1936)

Le Jour Se Leve (1939) about a man who commits murder as a result of a love triangle and locks himself in his apartment recounting the details as the police attempt to arrest him. Credit to @laisofhyccara

Nuit de Décembre (1940)

Mademoiselle Swing (1942) about a girl who follows a troupe of swing musicians to Paris.

Les Enfents du Paradis (1945) about a woman with many suitors including an actor and an aristocrat.

Fantomas (1946) about a sadistic criminal mastermind. This version includes a hideout in the catacombs where he traps people.

Quai des Orfevres (1947) watch here

Monsieur Vincent (1947)

Le Cafe du Cadran (1947) about a wife’s affair with a violinist.

La Kermesse Rouge (1947) film about a jealous artist who locks up his younger wife and a fire breaks out while she’s trapped.

Morts Sans Sepulture by Jean-Paul Sartre (play) also published in English translations as “The Victors” or “Men Without Shadows” about resistance fighters captured by Vichy soldiers struggling not to give up information.

Mon Faust by Paul Valery (play)

Musical Influences:: @greedandenby collected all music used in Season 2 here.

Henry Cowell

Meredith Monk

Howling’ Wolf

Shirley Temple

Jason Lindner Big Band

The Teeth

Carlos Salzedo

Alice Coltrane

Thelonius Monk

David Lang

Caroline Shaw

Gadfly by Shostakovich (for Raglan James)

musical career of Martha Argerich

#iwtv #season 2 #given that the posters are starting to come out of Prague I decided to start compiling sources and references in one place #Set design #production design #iwtv art

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the-s1lly-corner · 2 years ago

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Hi. Can I request something similar to the immortals outliving you? Could it be with the rest of the characters and us passing from other causes?

Their reactions to losing you

I wasnt sure if you wanted the immortals as well, so I added them in here as well!

This is all written in one go since tumblr doesnt let me save drafts for asks so I apologize for any spelling/grammar mistakes <\3 it's like 1am rn

CONTENT WARNINGS, idk what all needs a warning but I'd rather play it VERY safe:

M*rder

M*rder revenge, almost all of them touch on it tbh, love me the revenge trope

Snorts^

D3ath, obviously

Grief and the general hurt that comes with it

In EJs case he sees your death first hand

Does violently slamming yourself around count as SH /genq, because if so that's vagued in EJs part as well

Maskys handles a hit and run but its vague

Masky also hints to a smoking addiction

Nonspecific illness in hoodies part

Slenderman;

I remember that I mentioned this for Slendermans part, but I had an idea that he already accepted that fact that you wouldn't last forever

But I don't remember if I mentioned/vagued the idea of how he'd react to you're life being forcibly cut short

Accepting the fact you'll eventually pass away does nothing when he finds out someone else was responsible for your sudden end

All that comes out is a cold rage, something that the creature hasn't experienced in a long time

Writing this, it makes me remember that clip from the first episode of castlevania where dracula appears in the fire in episode one, after they kill his wife

But instead of carelessly showing himself to the world in a fit of rage, he fiercely protects everything that you touched; his forest, your home, your grave, ect

But despite the rage he doesnt immediately take down the person who caused this

Nonono, he does what he does best; he chips away at the person's mind through stalking and paranoia, essentially tormenting them for.. god knows how long until he gets bored

When he does decide hes through with them he'll make sure their... death... is drawn out

Basically don't meddle in the life of a forest monster; he may be a very... passionate.. lover

Splendorman;

Incredibly similar to the other version of this post where he naturally outlives you

But if you pass unnaturally, he'd be even more torn up about it

His time with you was already going to be short to begin with, but it was cut down even shorter

Doesnt matter the cause; murder, illness, accident, ect.. he'll be just as broken up

There's no real significant changes; he still mourns and honors you the same way for the most part

Laughing Jack;

It was an accident; one day you were there and the next, gone

He would stay in the house for a few days, not even knowing what was going on

At first he'd be worried and confused, before those feelings would deepen into something debilitating

He'd probably eventually find out through the news, after turning on the tv to pass the time and fill the silence

His worry immediately morphs into ice cold; he could feel his heart drop

He'd throw caution to the wind and try to track down whoever did he

He doesnt care if it was an accident, he wants justice and compensation

He follows a similar route as slenderman; the only thing is, is that jack lacks the patience to draw it out

After everything is said and done he's beside himself; avenging you didnt bring him back and it hardly made him feel better

He likely just. Goes back to what he was doing before he met you; drifting from house to house and causing havoc; but now he carries a melancholic aura

Eyeless Jack;

Another story of revenge, but with a twist so his part isnt too similar to LJ and slenders

So I'll be using the idea I should've given slenderman (but I'm too stubborn to rewrite his part)

Like Slenderman, Jack is seen as a cryptid and thus, there are naturally going to be people trying to hunt him down. Especially considering before he was a cursed monster he was a normal dude who got caught up in a whole... thing... and who's body was obviously never found as it still walks

Jack is.. semi used to that; but one day he completely catches him off guard, and what's worse is that you were there when it happened

It was a group, too, usually they come in two; but there were more that day. If it were less Jack could have easily put a stop to it all

It escalated

You had tried to step in to help him, to buy him some time so he could run; but it all went wrong

I don't like going into detail about this kind of thing, so this will be up to interpretation

The whole thing flings him into a rage and he makes quick work of the remaining hunters, but it's all too late

Even if he wasn't, how could he help? He cant just leave the woods and dump you at a hospital... but he doesnt have the supplies to help you then and there... and even if he did you were both much too far away from the cabin

It just leaves him helplessly trying to stop the bleeding

He hardly ever leaves the woods after that; not even to eat

He's resorted to.. rather violently subduing the monstrous side of him that craves flesh

There's broken furniture everywhere

He blames himself

He should have had you stay in the cabin

He should have told you to run

He should have told you to hide

He should've...

The worst thing is that he begins to believe that it was his fault; afterall he let you out of his sight when he began fighting. Even worse, and perhaps stupidly, he believed this wouldn't have happened if he never met you

Its

Rough

Masky;

He just sits there, quietly

Be it shock or something else he just sits there

But his mind is going a mile a minute to try to figure out what exactly happened to you

You were.. in a wreck, and the other person just. Fled.

As feral as I tend to write and interpret masky, he can be thorough when it comes to investigating

Though I'm torn in whether or not he'd actually be able to find the person; especially because I'm kinda. Dumb when it comes to crime stuff and I'm not about to do mental gymnastics on something I'm not confident in <\3

In terms of grief, he seems... lost...

I don't usually hc that Masky smokes; that's just a Tim thing

But I feel like the smoking would bleed into Masky and become a whole... issue.. whether or not Tim as his own person knows about you/was involved with you is up to interpretation; as I tend to write the proxies as a separate.. thing

Still trying to find the correct term

But yeah

Focusing back in on Masky, he's kinda just lost. Angry, definitely, but mostly just. Wandering through life

He doesn't want to forget you

Hoodie;

Similar to Masky he's quiet and lost

Similarly he would feel the urge to try to find out who took you away; but I feel we've had enough "S/o dies at the hands of someone else" for this post, so we'll do something else... and because I fear hoodies portion will be too similar to maskys

You got sick, to put it simply

It's.. odd..

He's well aware that you're deteriorating, and he's aware that time is running out

But he can't help but feel calm in your presence; its only when you're apart that he feels that dread, and its constant

Maybe it's the fact that when he's with you he can easily convince himself that, in that moment, you're alright

It hurts when it finally happens

Out of all the guys, he's probably the most normal(?) About the situation

He visits your grave, a lot of the time, leaves little gifts there

He doesn't talk much, but he probably talks to you

Likely keeps something on him to remember you, like a locket or something

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