#black queer storytellers

[granvarones]

Today, we honor and celebrate the life and legacy of Hydeia Broadbent, a beacon of hope, courage, and relentless advocacy in the fight against HIV/AIDS. Hydeia was a warrior whose spirit and determination transformed the landscape of awareness and compassion for those of us living with HIV/AIDS.

From a very young age, Hydeia stood in the glaring spotlight of public attention, not for fame or recognition, but to challenge the stigma and misconceptions surrounding HIV/AIDS. Diagnosed with HIV at three years old, Hydeia was not expected to survive past age five. In 1987, almost a decade before the introduction of effective HIV treatment, this prognosis was pretty accurate for children battling opportunistic infections brought on by HIV.

Hydeia’s mother immediately became a fierce advocate and enrolled Hydeia in clinical trials to prolong her life. It was an extraordinary win during a time when HIV clinical trials did not include women, young people, and people of color.

A chance meeting with the late HIV advocate Elizabeth Glaser in 1988 at the National Institute of Health, where they were both receiving treatment, led to Hydeia becoming a public speaker. After telling her story worldwide, including on a TV special for Nickelodeon with Magic Johnson, 20/20, Good Morning America, and becoming one of the most memorable guests of the Oprah Winfrey Show, Hydeia had become the face of not just pediatric aids but the first generation of children born with HIV.

Hydeia’s powerful and unwavering voice broke through barriers of fear and ignorance. She spoke at schools, appeared on national television, and collaborated with organizations worldwide, sharing her story to educate others about the reality of living with HIV/AIDS. Her message was clear: HIV/AIDS does not define a person, and everyone deserves love, respect, and compassion.

Hydeia changed this world! She helped shape how we advocate for young people and Black women living with HIV. She changed hearts and minds, pushing society towards greater acceptance and understanding. She inspired countless individuals to get tested, to speak openly about their status, and to fight against the stigma that continues to surround HIV/AIDS.

As we remember Hydeia Broadbent today, let us honor her memory by continuing her work. Let us be advocates for change and champions for accessible treatment for all people living with HIV, especially young Black women. Hydeia’s fight is our fight, and in her memory, we pledge to keep the flame of her legacy burning bright.

Hydeia, rest in peace. Your legacy, a tapestry woven with threads of hope, love, resilience, and unyielding commitment to all people living with HIV, will continue to guide us until there is a cure.

Hydeia Broadbent

June 14, 1984 – February 20, 2024

[lighthouseas]

ok i'll bite. my excitement for the b*cktommy kiss was more out of excitement that they made buck canonically bisexual rather than the fact that he kissed tommy. and i also think people calling that kiss revolutionary queer rep is um. A Choice.

[ennaih]

Every Film I Watch In 2023:

227. Prince Of Darkness (1987)

[imani-lehte]

Once I start putting my art into the world, it’s over for my city 😂

[prommethium]

I went to watch Love Lies Bleeding this afternoon.

The only available function was in the dirtiest, cheapest (lovingly) cinema in the city. 4:50pm. 

I went alone. I arrived late (5:10), and the commercials were still running. The people in the room were: one straight couple, a lesbian couple, and the rest of us were women, all of us alone; we were distributed every three seats between us. 

I won't watch that movie again; I'm going to remember fondly being in a cheap cinema room surrounded by potential queer people. Also, I noticed that only the straight couple were eating popcorn; the rest of us didn't buy anything to snack on.

[jasmeentoyou]

Yoooo!

If y’all are interested in guided meditation, community and self healing, space to imagine a new reality, & collective divination, check out my sisterfriend’s events this weekend.

Saturday, Dec. 2nd: The World: EjeSMR Storytelling Meditation and World-Building

Sunday, Dec. 3rd: BITTERSWEET: Dreaming Amidst Grief and Revolution

Tickets are 1 for $15, 2 for $25. If you buy a ticket, you’ll get $5 off the second!

No one will be turned away because of lack of funds. Sponsorship donations are always appreciated!

Did I mention that they’re both virtual events? 🤭 yes, there are!

We hope to dream with you soon ✨

IG: @ejetheartist

[rafedarling]

queen have u seen the new photos of Drew. 🤭🤭

dad!Drew x reader where like it’s the blue suit red carpet and the whole family is in italy together and reader thinks drew looks so yummy so it’s like smut where they get back to the hotel and they have to be quiet AF

yass girl and not gonna lie, he looks fucking hot !

𝐮𝐧𝐝𝐞𝐫 𝐯𝐞𝐧𝐢𝐜𝐞 𝐧𝐢𝐠𝐡𝐭 𝐬𝐤𝐲

pairing: dad!drew starkey x mom!reader summary: at the venice film festival 2024, drew and you, both acclaimed actors, make a stunning appearance on the red carpet for the premiere of the new movie, ‘queer’. your two-year-old twin daughters, ophelia and olympia, accompany you and drew, captivating everyone with their sweet presence. after the event, the starkey returns to their luxurious hotel suite, where, after putting the girls to bed, you and drew indulges in a passionate, intimate moment, trying to keep quiet as your daughters sleeping in the room next door. | word count: 2,8k warning(s): english is not my native language. 18+, smut, piv, creampie, cum play, sexual content, language, MINOR DNI!!

au: fill this form if you want to be tag. like, reblog & reply or much appreciated! tagging: @rafeyslamb

As the sun was setting over Venice, casting the city in a warm, golden glow as you and Drew Starkey arrived at the Venice Film Festival. The air buzzed with excitement as stars from around the world gathered to celebrate the premiere of QUEER, a film that had garnered significant attention for its bold storytelling and representation. Tonight, you and Drew were not just co-stars but partners, sharing the spotlight with your two-year-old twin daughters, Ophelia and Olympia.

As you stepped onto the red carpet, the cameras flashed, capturing the perfect image of a beautiful family. Drew looked stunning in a deep navy suit, the black lapels adding a sharp contrast that highlighted his chiseled features. His hair was styled just so, a little tousled, giving him an effortlessly handsome look. You wore a flowing, elegant gown that complemented Drew’s suit perfectly, the fabric shimmering under the lights as you walked hand in hand.

Ophelia and Olympia were dressed in matching white dresses, their blonde curls bouncing with every step as they clung to your hands, their little faces a mixture of awe and curiosity. They had been to events before, but nothing quite like this. The sheer scale of the festival, the grandeur of the venue, and the attention from the media were overwhelming for anyone, let alone two toddlers. Yet, they handled it with the grace of seasoned professionals, waving shyly at the cameras, their innocent smiles melting the hearts of everyone watching.

As you posed for photos, Drew leaned down to whisper in your ear, his breath warm against your skin. “You look incredible tonight,” he murmured, his voice filled with genuine admiration.

You smiled, feeling a rush of affection for him. “You’re not so bad yourself,” you teased, glancing at him from beneath your lashes. “But I think the girls are stealing the show.”

Drew chuckled, his eyes softening as he looked at Ophelia and Olympia. “They are, aren’t they? Just like their mom—beautiful and captivating.”

The interviews followed, and as usual, Drew handled the press with charm and ease. The reporters were eager to hear about your experiences on set, the dynamics of working together as a couple, and of course, how you managed to balance your careers with raising your daughters. Drew’s answers were thoughtful and sincere, emphasizing how much he valued the time spent with his family, both on and off the set.

“They’re the reason I do this,” he said, glancing at you and the girls with a smile that made your heart skip a beat. “Having them here with me tonight makes it all the more special.”

The night continued with more photos, more interviews, and a palpable sense of anticipation for the premiere. But as much as you enjoyed the spotlight, the most important part of the evening was the shared experience with Drew and your daughters. You could see the pride in Drew’s eyes every time he looked at you or the girls, a silent acknowledgment of the journey you had been on together.

After the screening of QUEER, which was met with a standing ovation, the four of you were whisked back to your hotel in a sleek black car. The night air was cool and refreshing, a welcome contrast to the heat of the cameras and the lights of the red carpet. Ophelia and Olympia, who had been little stars all evening, were starting to show signs of fatigue. Their little eyes drooped, and they leaned heavily against you and Drew, their tiny bodies growing limp with exhaustion.

Back at the hotel, you and Drew worked together to get the girls ready for bed. The suite was spacious and luxurious, with a separate bedroom for the twins. After helping them out of their dresses and into their pajamas, you read them a story, your voice soft and soothing as they snuggled into their beds. Drew sat beside you, one arm draped around your shoulders, his other hand gently stroking Olympia’s hair as her eyes slowly closed.

Ophelia was the first to fall asleep, her hand clutching her favorite stuffed bunny. Olympia held out a little longer, her eyes fluttering open and closed until finally, she gave in to sleep. You and Drew sat there for a moment longer, watching your daughters’ peaceful faces, their soft breathing filling the room with a sense of calm.

Finally, you and Drew quietly left the room, closing the door behind you with a gentle click. The suite was silent, the only sounds the soft hum of the air conditioning and the faint noise of the city outside. You leaned against the door, your eyes meeting Drew’s across the room.

“They were amazing tonight,” you whispered, a smile tugging at your lips.

Drew walked over to you, his gaze intense as he cupped your face in his hands. “They take after their mother,” he said softly, his thumb brushing your cheek. “You were incredible too. I’m so proud of you.”

You felt a warm blush spread across your cheeks at his words. “Thank you,” you murmured, leaning into his touch. “I couldn’t have done it without you.”

Drew’s eyes darkened with desire as he leaned in, his lips hovering just above yours. “We finally have some time to ourselves,” he whispered, his voice low and husky. “What do you want to do?”

A shiver of anticipation ran down your spine at the implication in his tone. You slid your hands up his chest, feeling the warmth of his skin through the fabric of his shirt. “I can think of a few things,” you replied, your voice breathless as you closed the distance between you, capturing his lips in a passionate kiss.

Drew responded immediately, his arms wrapping around you as he deepened the kiss, his tongue teasing yours as he pressed you against the door. The world outside faded away, leaving only the two of you and the intense need that was building between you. His hands roamed your body, expertly undoing the zipper of your dress and letting it fall to the floor in a soft rustle of fabric.

You broke the kiss just long enough to help him out of his jacket and shirt, your fingers trembling slightly as you undid the buttons. Drew’s hands found your waist, pulling you close as he kissed you again, more urgently this time, his need for you growing with every passing second.

He backed you towards the bed, his hands never leaving your body as he guided you onto the soft mattress. The cool sheets contrasted with the heat of his skin as he hovered above you, his gaze raking over your body with a look of pure adoration.

“You’re so beautiful,” Drew whispered, his voice thick with emotion as he kissed a trail down your neck, his lips leaving a burning path on your skin. “I can’t get enough of you.”

You arched into his touch, your fingers threading through his hair as he continued his descent, his mouth hot against your collarbone. “Drew...” you moaned softly, your voice trembling with need as you felt him reach for the clasp of your bra, expertly undoing it and tossing it aside.

He paused for a moment, his eyes meeting yours as he gently cupped your breasts, his thumbs brushing over your hardened nipples. The sensation sent a jolt of pleasure straight through you, making you gasp. Drew smiled at your reaction, clearly pleased with himself as he dipped his head to take one of your nipples into his mouth, his tongue swirling around the sensitive bud.

Your back arched off the bed at the sensation, a moan escaping your lips as you clung to him, your fingers digging into his shoulders. The pleasure was almost overwhelming, every nerve in your body on high alert as Drew lavished attention on your breasts, his hands and mouth working in perfect harmony to drive you wild.

After what felt like an eternity of blissful torment, Drew continued his journey downward, his lips trailing kisses down your stomach, his hands guiding your hips as he slowly pulled your panties down, leaving you completely exposed to him. He paused for a moment, his eyes darkening with lust as he took in the sight of you, his breath coming in short, ragged gasps.

“God, you’re perfect,” he murmured, his voice filled with awe as he gently spread your legs, positioning himself between them.

You bit your lip, anticipation building as you felt the heat of his breath against your most sensitive area. “Drew, please...” you whimpered, your voice trembling with need.

He didn’t make you wait any longer. With a low growl of desire, he dipped his head, his tongue flicking out to taste you. The sensation was electric, sending a jolt of pleasure straight through you, your hips bucking involuntarily as you moaned his name. Drew’s hands gripped your thighs, holding you in place as he continued to pleasure you, his tongue and lips working together to drive you closer and closer to the edge.

You clung to the sheets, your body trembling with the intensity of the sensations as Drew brought you to the brink of ecstasy. Just when you thought you couldn’t take it any longer, he pulled back slightly, his eyes meeting yours as he inserted a finger inside you, the sensation of his long, skilled fingers pushing you over the edge.

You cried out, your body shaking with the force of your orgasm as Drew continued to work you through it, his fingers and mouth never stopping until you were completely spent, your body going limp with exhaustion.

Drew climbed back up your body, his lips capturing yours in a heated kiss as he positioned himself at your entrance. You were still trembling from the aftershocks of your orgasm, but the feel of him so close, so ready, reignited the fire inside you.

You wrapped your legs around Drew’s waist, pulling him closer as he hovered above you, his breath warm and ragged against your lips. His eyes locked onto yours, a mixture of love, desire, and admiration swirling within them. He held himself there, just at your entrance, teasing you with the promise of what was to come.

“Are you ready?” he whispered, his voice rough with emotion.

You nodded, unable to find the words as anticipation coursed through your veins. The look in his eyes was enough to send another shiver of pleasure down your spine. You could feel him, hot and hard, pressing against you, and the need to have him inside you was almost unbearable.

“Please,” you breathed, your voice trembling with need. “I need you, Drew.”

That was all the encouragement he needed. With a slow, deliberate movement, Drew pushed forward, filling you inch by inch. The sensation was exquisite, a perfect blend of pleasure and pressure as he stretched you, your bodies fitting together like they were made for each other. You both moaned as he entered you fully, the feeling of him deep inside you almost overwhelming.

Drew paused, his forehead resting against yours as he took a moment to savor the sensation, his breath coming in short, ragged bursts. “You feel so good,” he murmured, his voice thick with emotion.

“So do you,” you replied breathlessly, your hands gripping his shoulders as you adjusted to the feel of him inside you. The connection between you was palpable, an unspoken bond that had only deepened over time. Every touch, every movement felt like a promise, a testament to the love you shared.

Drew started to move, slow and steady at first, his thrusts deep and measured. Each movement sent ripples of pleasure through your body, building a delicious tension that made you gasp and cling to him even tighter. His hands roamed your body, one settling on your hip to guide your movements, the other brushing the hair away from your face as he kissed you deeply.

The kiss was passionate, filled with the kind of raw, unfiltered emotion that only came from years of love and trust. You could feel the intensity of his feelings in the way he kissed you, in the way he held you close as if you were the most precious thing in the world. It was more than just physical; it was a connection of souls, a merging of hearts.

As Drew’s thrusts became more urgent, the pace quickened, and you could feel yourself teetering on the edge of another orgasm. He seemed to sense it too, his movements becoming more purposeful, his hand slipping between your bodies to find that sensitive bundle of nerves that he knew would push you over the edge.

When he touched you there, the sensation was electric, your body responding instantly as pleasure exploded within you. You cried out his name in silece, your back arching off the bed as the orgasm ripped through you, your body trembling with the force of it. Drew didn’t stop, his movements relentless as he continued to drive into you, prolonging your pleasure until you were a quivering mess beneath him.

Finally, with a few more powerful thrusts, Drew followed you over the edge, his own release coming with a guttural groan as he buried himself deep inside you. You could feel the warmth of his release, the pulsing of his body against yours as he collapsed on top of you, his chest heaving with exertion.

For a moment, the two of you lay there, wrapped in each other’s arms, both of you trying to catch your breath as the aftershocks of pleasure continued to ripple through your bodies. The room was filled with the sounds of your breathing, mingling together in the stillness of the night.

Drew finally lifted his head to look at you, his eyes soft and filled with love. He reached up to gently brush a strand of hair from your face, his thumb grazing your cheek as he smiled down at you. “You’re amazing,” he whispered, his voice hoarse but filled with sincerity.

You smiled back at him, your heart swelling with love. “I love you, Drew” you replied, reaching up to cup his face in your hands. “I love you, Drew.”

“I love you too,” he whispered back, leaning down to press a tender kiss to your lips. It was a kiss filled with all the love and affection he couldn’t put into words, a promise that he would always be there for you, no matter what.

He rolled over, pulling you with him so that you were lying on his chest, your legs still entwined. You could feel the steady beat of his heart beneath your ear, a comforting rhythm that lulled you into a state of contentment. His arms wrapped around you, holding you close as if he never wanted to let you go.

The two of you lay there in silence for a while, simply enjoying the closeness, the feel of each other’s bodies pressed together. The world outside might have been filled with the glitz and glamour of the festival, but in that moment, it was just the two of you, wrapped in each other’s love.

Eventually, Drew shifted slightly, his hand running up and down your back in a soothing motion. “We should probably get some sleep,” he murmured, though there was a note of reluctance in his voice. “The girls will be up early.”

You chuckled softly, knowing he was right. As much as you wanted to stay in this moment forever, the responsibilities of parenthood would call soon enough. “Yeah,” you agreed, though you made no move to get up just yet.

Drew smiled, tightening his hold on you. “We’ll have plenty of nights like this,” he promised, his voice filled with certainty. “Plenty of moments where it’s just you and me.”

You nodded, feeling a warm sense of contentment settle over you. “I’m looking forward to it,” you whispered, pressing a kiss to his chest before finally, reluctantly, rolling off of him.

You both moved slowly, the exhaustion from the day and the intensity of your lovemaking catching up with you. Drew helped you pull the covers up over your bodies, his arm wrapping around you once more as you settled against his side. The bed was warm and comfortable, and you could feel yourself drifting off almost immediately, the events of the day a pleasant blur in your mind.

As you closed your eyes, you felt Drew press a soft kiss to the top of your head. “Goodnight, my love,” he whispered, his voice the last thing you heard before sleep claimed you.

“Goodnight,” you murmured back, a smile on your lips as you finally surrendered to the peaceful darkness.

And with that, you both fell asleep, wrapped in each other’s arms.

[lornadanesummers]

So true.

Which makes me wondering how they will approach season three. Especially with how much attention that Lestat teaser trailer got them. I can see them making the show more light hearted and comedic for more viewers to come in and watch, so they can get that higher ratings to get more season. However what will that mean for characters like Louis, Armand, Daniel, and even Claudia (who might return in some form)

Season three will be very telling about the future of this series. But I know there will be so many bad takes and possibly a lot more new viewers/ fans who rather have a non toxic queer show that’s upbeat and quirky, instead of the toxic gothic romance, which mortally grey characters.

I don't think the general public should have ever gotten their hands on IWTV because most of these people are not equipped with the grace, the knowledge, the nuance, or the critical thinking skills needed to discuss the themes in this show in a productive manner. Especially not a theme as sensitive and complex as "cycles of abuse."

[granvarones]

As Pride Month winds down and all of the corporate rainbow “support” goes into hibernation, here are 9 songs by LGBTQ+ artists to add to your playlists to jam to for the rest of the year.

This multi-genre list a celebration of the growing visibility and reach of LGBTQ+ artists. Something that only 10 years ago seemed unimaginable. But look at us now!

Shae Couleé “Divine” (Initial Talk Remix)

Season 5 champion of Rupaul’s Drag Race All Stars continues their bop streak with the jubilant and 80’s feeling “Divine,” remixed by the brilliant Initial Talk.

Pet Shop Boys “Dancing Star”

Pioneering synth-pop dup, Pet Shop Boys re-enter the Latin Freestyle genre with “Dancing Star.” The song is inspired by the life of ballet dancer Rudolf Nureyev, who defected from the Soviet Union and became a global star.

Thiago Pantaleão “O Que Eu Ganho”

Up-and-coming LGBTQ+ Brazilian musician Thiago Pantaleaõ has been making waves internationally and proves the hype is well deserved with this gem.

Jamar Rogers “Sweeten My Body”

American Idol and The Voice alum Jamar Rogers, with featured vocalist Òlah Bliss, has released one of the most magical singles of 2024 with the introspective “Sweeten My Body.”

Tokischa + Sexyy Red “Daddy”

Queer Dominican Sensation Tokischa and emerging Hip-Hop provocateur Sexyy Red team up for the ass-shaking “Daddy.” Produced by Yeti Beats and El Guincho, “Daddy” is a pulsating fusion of reggaeton, dance and Hip-Hop.

Kevin Abstract + Lil Nas X

The lyrics and accompanying music video for Kevin Abtract’s “Tennessee” is a sentimental nod to gay love. Featuring fellow out rapper Lil Nas X, “Tennessee” follows Abstract’s critically acclaimed 2023 album “Blanket.”

Monifah “Testify”

Monifah emerged in the mid-1990s with a string of R&B hits including “I Miss You (Come Back Home)” and the monstrous pop hit “Touch It.” Monifah returns with the rousing House/Gospel anthem, “Testify.”

Jamie XX + Honey Dijon “Baddy On The Floor”

After teasing “Baddy On The Floor” in 2001, and playing it as part of his DJ set at this year’s Coachella, the Jamie XX track featuring Honey Dijon was finally released in April and has been setting dance floors on fire ever since.

Kehlani “8”

Kehlani is on a roll with the just released album “Crash” which features song-of-the-summer contender “After Hours.” She ups the ante with the Kwame & The New Beginning’s 1990 hit “Ownlee Eue” sampled clever ode to fellatio.

jeremy o’brian + Sideeq “deviant”

Mississippi born and Brooklyn-based award-winning playwright, songwriter and vocalist jeremy o’brian beautifully evokes all of the sensuality found on a dark room dance floor with this throbbing track featuring the multi-hyphenated Sideeq.

[if-whats-new]

What's New In IF? Issue 2 (2025)

By Bex, Dion, Briar and Peter

Now Available!

Itch.io - Keep Reading below

If you read the zine, consider liking the post: it helps us see how many people see it! And sharing is caring! <3

~ EDITORIAL ~

It’s time for a revival!

As you might have noticed, our Column section has been dead for a while. We feel like it’s time to do something about that!

Want to write 1-2 pages about a neat topic, or deep-dive into a game and review it in details? Share personal experiences or get all academic?

Send us a message and we will be happy to feature it in our future Issues!

There’s power in numbers!

Are you an IF fan and would like a way to give back to the community? We’re once again looking for new members of our Team!

Do you enjoy keeping up with updates and finding new gems? Maybe you even enjoy working with Google Sheets?

Then our Tracker of News position is made just for you!

Contact us on any of our socials or email and help us stay on the top of our game and make our Database even better!

BEX, DION, BRIAR AND PETER

~ ANNOUNCEMENTS ~

Most importantly:

WNiIF? is switching to a bi-weekly schedule!

Keeping up with news and releasing a new Issue every week is exhausting. We have decided to change it up a bit, hopefully preventing a possible burnout. We also hope that this will give us more time to make every Issue a bit better.

We thank you for your understanding.

What else?

Our X/Twitter account is no longer active. Please check out our other social media to keep an eye on releases and news.

We plan on releasing a special What’s 2024 in IF? Issue summing up all Issues that came out last year. This will include New Releases, Event Highlights, Columns, Game Highlights and more, making it easier for new readers to check out the Zine. The date of release is not set yet, but hopefully soon!

More exciting stuff is to be unveiled in the upcoming Issues!

~ EVENT SPOTLIGHT : Queer Vampire Game Jam 2025 ~

🦇 🥀 🕯 🪦 🩸

Queer Vampire Game Jam is a month-long interactive fiction game jam hosted by kit, nyehilism, that will run from January 10 - February 20th, 2025. The goal of this jam is to create more interactive fiction games about queer vampires, focusing both on queer relationships and queer experiences as told through a vampiric narrative.

Last year’s edition had over 50 amazing submissions. Give them a look too!

~ ENDED ~

The Queer Winter Game Jam is in full swing. Those interested can submit their work until January 16th 2025.

~ VOTING ~

Feeling nostalgic about the golden age of text adventures? Relive those days by participating in PunyComp 2024!

IF Short Games Showcase 2024 is a great way to shine some new light on projects made in the past year (Jan 1, 2024 to Dec 31, 2024). You now have until January 25th 2025 to vote.

~ ONGOING (SUBMITTING) ~

Media depicting healthy examples of polyamory isn’t that common. The PolyJamorous 2024 is trying to break the status-quo!

ShuffleComp is a musical interactive fiction competition where you make games based on songs, which are submitted by other entrants. Creators have until January 20th 2025 to upload their works.

Once upon a time, a game jam was held to create stories around the theme of fairy tales… and that game jam is the Once Upon A Time VN Jam. It’s running from October 1st to January 31st.

Concours de Fiction Interactive Francophone 2025 is for all French-speaking enthusiasts. Submissions are accepted March 3rd 2025.

The Black Visual Novel Jam is all about working with creative professional developers who work in visual novels to bring more Black stories to life. The goal is to create a space where Black creators can show their unique storytelling through visual novels.

SeedComp! is a 2-round interactive fiction game jam, focusing on creativity and the growth of ideas and the Sprouting Round has just started! Check out the Planting round for inspiration.

BL stands for Boys' Love, a genre that focuses on romantic and emotional relationships between male characters. The Ultimate BL Visual Novel Game Jam is all about that!

Are you a fan of Vampires? Then lucky for you, because the Queer Vampire Game Jam is back!

Sealed With A Kiss Jam 2025 is a fantastical romance jam for all VN lovers!

The eighth annual Ace Jam is a game jam about creating games with asexual spectrum characters.

~ NEW RELEASE ~

Joyride To Hell (Ren’Py) After weeks of not hearing from your girlfriend she called you panicked, wanting to meet up with you. You want nothing more to do with her. But as they say, forgiveness is a virtue.

The Shadow Over Cyberspace (Ren’Py) From the same creators of Arcade Spirits. Time is running out, barter with gods, embrace the deathless aeons, or go offline permanently.

Full moon. Cold night. Dark shadow. Warm gun. The Beast of Glenkildove has stalked Ireland for centuries. Now, you must hunt it in Hunter: The Reckoning — The Beast of Glenkildove (CScript).

In Five Candles in the Meadow (Twine) even in the far flung future, penpals still exist. With a sea of stars between them, two young adults keep correspondence as best they can, with lone data relays acting as their heavenly messengers. @windsoflimbo

As always, don't forget to check out the submitted entries to the events mentioned in the previous pages. They deserve some love too!

~ NEW RELEASE (WIP) ~

After Mina Murray is reunited with her childhood friends Jonathan and Lucy Harker, they are all invited on a cruise to Transylvania with a mysterious man named Count Dracula. - Syndromedia's Dracula (Ren’Py)

Rite of Decay (Ren’Py) or, Sense in Self; The testimony of one Nastya V. Yarocz, Rot Physician, on the peculiar happenings at Pavia Manor following the death of honoured Guest Lord Kallistos of Arkhé. And on the even more curious romances she has forged therein.

House of Prestidigitation (CScript) is a school of magic game, a chance for you to pursue a specialty in the magical arts while competing in extra-curricular events, investigating clandestine clubs, and preventing a disastrous curse from carrying away the House before the end of term! You can also explore the strange history of the House itself, or turn your attention towards more romantic endeavours.

What will you do now that you find yourself in the captain’s chair of a starship tasked with exploration and diplomacy? Forge your name in the history of the Astral Alliance as a hero… or a traitor in Captain’s Log - Space Adventure (CScript).

In Time Fall (CScript) — Time does not wait for anyone, even for the one that controls it. Life in the undercity of Draeken, also known as The Depths, is brutal enough. But when an ill-fated encounter leaves you forever altered—your blood itself changed—you’ll soon realize that time is strange, and the thin fabric of reality a fickle thing. Even more so when it’s something you can no longer just witness … but may be forced to control.

Until the Dogs Come Home (CScript) is about war, though you play no part in it. Instead, you are the sole member of your hometown’s postal service, who must venture into fire and brimstone to bring the word of loved ones to the front lines. As the battle rages on and new truths come to light, your seemingly simple job transforms into a rescue mission, where the very lives of the people you were tasked to deliver to are in your hands.

In Velocity's Edge (Twine) as the adrenaline-soaked story unfolds, secrets are unveiled, loyalties are tested, and the pursuit of the checkered flag takes on a life of its own, propelling the characters toward the finish line which is only the beginning of the ultimate race. @velocitysedge-if

In the summer of 1984 you get a letter informing you of your mother's death. The first and only letter you get in ten years since you left your hometown. You stand in the middle of the old, tiny room that you can barely afford to rent and read it over and over again until the buzz at the back of your head quiets down. - There Are No People Left (Twine)

In Bride of Shadows (Twine) step into the tragic and fleeting existence of a Vestal of Dawn—a priestess bound by sacred vows of purity and an unwavering devotion to scripture. But when the sun goddess abandons you, your faith shatters. In your darkest moment, a tempting offer arises. A new covenant. A second chance at life... but at a cost. @bride-of-shadows-if

In Lecture Me Later (Unity) you wake up in a classroom way after your lecture concludes. The person who wakes you up looks familiar. Oh right, it's that one popular guy that everyone likes. With the light of the setting sun on your skin, you engage in conversation with the popular young man, realizing that things are taking a very scandalous turn, and that his interests are far more fascinating than you'd think. @lehxra-arts

~ UPDATES ~

A Shriek of Ash and Fire (CScript) added new content to their demo. @krogpile

Eldritch Tales: Inheritance (CScript) released second portion of Chapter 3. @darielivalyen

Keeper of Life and Death (CSscript) added new content to their demo. @keeperofthesunandmoon

Lightweaver: Chosen (CSscript) updated their demo. @lightweaver-chosen-if

My One and Only (CSscript) added new content to their demo. @reds-corner

Strings of Fate: Origins (CScript) released full Chapter 3.

The Eternal Library (CScript) updated their demo. @leiatalon

The Ultimate Magic Student (CScript) added new content to their demo

Thicker Than (CScript) updated their demo. @barbwritesstuff

Throne of Blood (CScript) released Zero and Cy’s aftermath Chapters. @throneofblood-if

Tri City Monsters (Ren’Py) released Akello Chapter 4. @tricitymonsters

Weeping Gods (CScript) updated their demo. @jcollinswrites

When Life Gives You Lemons (CScript) added new content to their demo. @when-life-gives-you-lemons-if

Chop Shop (CScript) released Episode 4. @losergames

Help! I Got Isekaied as a Lamia (CScript) added new content to the demo @succubus-interactivefiction

Marry My Stalker released Chapter 1.

The King's Hound (Twine) released the second half of Chapter 2. @the-kingshound

Hybrid (Twine) added new content to their demo. @heart-forge

~ OTHER ~

Mathbrush released Learning from the Best of Text [IF History Book], a collection of various historical essays about the history of interactive fiction as told through the lens of IFComp, the XYZZY Awards, and Spring Thing. (We thank Anon for bringing our attention to this release.)

When Winter Comes Again (Definitive Edition) (Ren’Py) is the fully remastered version of the romance visual novel originally released for mobile devices. Now available on PC, this edition brings an enhanced experience with improved visuals, and refined storytelling.

To Ashes You Shall Return (CScript) is looking for beta testers!

Sanguine Sky: Winter Special Collection of the short stories is out! @sanguinesky-if

let’s TEST IF#2: playtesting your game is also out! @golmac

As you might have heard, Dashingdon, a free ChoiceScript game hosting service, will be shutting down at the end of the month. All users and games will be permanently deleted. (Read more here)

If you know about a project that’s moving to an alternative hosting service, please consider updating the link in our Database. Our Team will be working on this in the upcoming weeks, but any help would be appreciated.

As always, we apologize in advance for missing any update or release from the past week. We are only volunteers using their limited free time to find as much as we can - but sometimes things pass through the cracks. If you think something should have been included in this week's zine but did not appear, please shoot us a message! We'll do our best to add it next week! And if you know oncoming news, add it here!

~ MAYBE YOU NEXT? ~

We did not get a submission this week. But if you have an idea for a short essay, or would like a special space to share your thoughts about IF and the community...

Shoot us an email!

~ HIGHLIGHT ON ~

A couple of games that we thought were cool.

Velocity's Edge by Amelia (Twine).

It's the first F1 based interactive fiction I've seen! Its very unique!

//submitted by anon//

Your favourite game here?

Do you have a favourite game that deserves some highlighting?

An old or recent game that wowed you so much you spam it to everyone?

Tell us about it! And it might appear here!

WE LOVE TO HEAR FROM YOU ALL! WHETHER IT'S GOOD OR BAD, OR EVERYTHING IN BETWEEN...

Have something to say? Send us a message titled: Zine Letter!

As we end this issue, we would like to thank:

our anons

For sending us a Highlight and news!!

And as always, huge thanks to all you readers who liked, shared, and commented on last week's issue! What might be tiny actions are huge support and motivators to us!

Thank you for cheering us on this journey!

See you in two weeks!

BEX, DION, BRIAR AND PETER

WHAT'S NEW IN IF? 2025-ISSUE 2

THIS ZINE ONLY HAPPENS WITH YOU!

Want to write 1-2 pages about a neat topic, or deep-dive into a game and review it in details? Share personal experiences or get all academic?

WRITE FOR THE COLUMN!

Prefer to be more low-key but still have something to share? Send us a Zine Letter or share a game title for Highlight on…!

WE WANT TO HEAR FROM YOU!

Came across something interesting? Know a release or an update announced? Saw an event happening? Whether it's a game, an article, a podcast… Add any IF-related content to our mini-database!

EVERY LITTLE BIT COUNTS!

Contact us through Tumblr asks, Forum DMs, or even by email! And thank you for your help!!

[mrsblackruby]

Random side tangent but one day I want to make a movie about a gay merman with a Billy like temperament in his stature I hope I get the chance but it’s okay if things don’t play out like how I want them too. But I won’t stop believing in my dream just yet.

I love Merman Billy. There's so much potential there. I think more people should write and draw him being a merfolk! There's so much you could do with it. The ocean is big and full of secrets! Totally recommend this beautiful book: A Field Guide to Mermaids by Emily B Martin:

The bioluminescent mermaid on the above page is how I envisioned Billy's mom when she's in full form for my Mermaid AU.

In Fish Out of Water, this is the overall plot:

Billy and his mother are more like shapeshifters. Billy's mom comes from the deep ocean, and her body can adjust to the pressure and the darkness. She is bioluminescent and so is Billy. Their bioluminescent skin attracts prey and repels predators, ...and also attracts mates.

Billy's dad was a "fisherman" let's say who rescued Billy's mom once and they fell in love, or so she thought. She became trapped in an abusive marriage, and spending extended time away from the deep ocean was making her sick. She tried to leave, but Billy kept her "anchored."

Billy doesn't know a whole lot about his abilities, but he does know he's different and he's experimented over the years while trying not to get caught by Neil. Neil moves them to Hawkins to keep him away from the ocean, and it's then that Billy starts to get sick, too. He's really trying to survive to graduation.

Of course, he's going to get wrapped up in the Nancy and Steve breakup drama along the way. Steve and Billy will have to rescue each other, and Billy might find that he's not as alone as he thinks in the merfolk department - not Steve, though! Steve will have to grapple with being in love with a fish.

Merman Details for this AU:

Billy won't shift completely because he's nowhere near the deep ocean, but his skin still shimmers in water with flecks of blue and silver. His skin will pulse with deep purples for the above mentioned reasons, but that's rare. His legs wont fuse into a tail unless he's in deep water for a while. His abilities activate more so at night because it's dark and reminiscent of his mother's true home.

Billy's "illness" manifests in autonomic nervous system problems. He feels tired and dizzy. He needs to drink a lot of water and consume a lot of salt and meat. His ears are sensitive to noise and his eyes are sensitive to light. He sweats a lot. He passes out a lot. Being away from the ocean makes him sick, and the lakes and rivers (and quarries) of Hawkins only do so much for him.

That's why I consider it a little less "traditional" but there are so many other merfolk interpretations that are fun. I just love the deep sea. Uh, what else? Oh, yeah. Billy is besties with sharks. Yep.

[romchat]

The Time of Fever (Ep. 1-3) visual analysis: The Metamorphosis

Ho-tae: "I woke up to find myself transformed into a monstrous insect, lying in bed"...What is this? A story about a guy turning into a bug? Dong-hee: If I turned into a bug one day, would I still be Kim Dong-hee or just a bug?

From this piece of dialogue and the cinematography alone I know The Time of Fever is going to cause me a lot of pain. The only way to describe its style is palpable.

The moment our two main characters, Kim Dong-hee and Go Ho-tae, appear together, we can see the friction and unnamed longing between them.

Notice how often the first episode uses shots with three distinct compositional layers to provide depth and complexity to the relationships portrayed on screen:

In most of these shots, the composition places Dong-hee in the background with Ho-tae on another layer completely--they're distant and never quite aligned on what they want out of the relationship. Despite how these two characters were brought together by their mothers' friendship--I love how the second screenshot uses their bodies in the foreground to frame Dong-hee and Ho-tae--it's that very connection that also creates a wall between them. Although Ho-tae is excited about rekindling their friendship after moving away two years prior, Dong-hee doesn't want to betray his aunt's trust by admitting his romantic feelings for him.

And so he recedes into the background, alone and inscrutable.

The fact that Dong-hee also compares himself to Gregor from Franz Kafka's The Metamorphosis hits like a sucker punch.

Like Gregor, Dong-hee lives a sort of transient and almost functionalist lifestyle. After being kicked out of his home by his abusive father, he focuses on his school work and trying to get by. He is isolated and his queer awakening only makes him feel more disoriented and misunderstood--he feels like Gregor in his insect form.

And yet we still see moments where he allows himself to yearn for something more and how Ho-tae begins to do the same.

(Side Note: I love love love the show's use of backlighting to highlight the lines of the actors' bodies. It's so simple but intimate and erotic as if the camera is acting like Dong-hee's artist-eye trying to memorize Ho-tae's muscular beauty.)

One of my favorite stylistic choices of The Time of Fever is how it uses close-ups to represent the characters' subjective POV and desire.

Like Dong-hee's sketches, these shots are the fragments of everyday life that are so small yet feel oh so significant while on the path towards self-discovery.

They're gloriously tactile, the shallow depth of field eliminating extraneous detail, allowing us to experience the heady excitement of accidentally grazing your crush's skin or looking into their eyes during a rainstorm.

I don't think I've seen desire that achingly displayed in a hot minute.

And so it makes sense that as Ho-tae begins to undergo his own metamorphosis and understand his own feelings, we see more and more visual parallelism in how their desire manifests.

(Side Note: The second screenshot above is such a gorgeous shot. That inky black negative space not only showcases Ho-tae's gaze at Dong-hee's lips but also his reaction to the realization that hits him. Great 2 for 1.)

I can't wait to see what visual storytelling the next three episodes bring.

[the-crooked-library]

Blurred Lines: Agency and Victimhood in Gothic Horror

Seeing as Robert Eggers' Nosferatu has just breached a cool $135M at the worldwide box office, it might be as good a time to talk about this as any. I believe I echo the sentiments of most diehard fans of gothic horror when I say this: while we are glad to see this masterpiece meet with well-deserved success, these numbers also mean that a significant proportion of its audience has been previously unfamiliar with the hallmarks of our beloved genre; and the resulting disconnect between the viewers and the source material has been the driving force behind the great majority of the online discourse that surrounds it.

The tools and conventions of the gothic, as a genre, are essential to Nosferatu's primary narrative arc. Its central character, Ellen Hutter, cannot be discussed outside of her literary context. Textually, she balances between heroine and damsel in distress - blurred, in many ways, from mainstream understanding.

That is done entirely on purpose. There are numerous reasons for it; I could go into heavy detail about it; and I will - under the cut, of course.

The main thing I must make absolutely clear (before delving any deeper) is that the gothic genre is fundamentally non-literal. It deals heavily in metaphor, allegory, allusion, obfuscation - and, indeed, the blurred lines that have recently caused so much controversy online. This is by design. It is not a flaw of storytelling or interpretation. The gothic affronts the rigid, black-and-white, mainstream forms of morality because that is what it has always been designed to do; and the newer installments like Nosferatu do the same, being built upon those traditional foundations.

The historical background is therefore essential to the understanding of a gothic narrative. In this, the film does provide the viewer with a relatively easy starting point; its period setting amplifies its connection to its predecessors, as well as the societal pressures and systemic violence that it aims to challenge. It allows the audience to perceive the story through a historical lens that comes pre-installed, as a sort of short-cut to the genre's original social context.

The context, in this case, consists of misogyny, queerphobia, xenophobia, and ableism - which, while rampant even in the modern day, were that much more blatant in 1830s German Confederation, where/when the story largely takes place. Every human character, regardless of who they are, is influenced by these oppressive aspects of their society; and Ellen Hutter is hopelessly entrapped within all four.

Her social situation, as we are given to understand, is precarious. Though she was originally born into wealth, she married down to escape her abusive father. She is an eccentric - her "wild" inclinations (such as having a sense of dignity or loving the outdoors as a child) are enough to cause almost vitriolic disapproval; but on top of that, she was born with a psychic gift, which manifests in a way that is not dissimilar from a mental (and sometimes physical) disability. She and her husband are also English immigrants, and thus perpetual outsiders in Wisborg (this is also one of the reasons Thomas is so anxious to prove himself at Knock's firm, and so keen to emulate Harding in all things); and, finally, she implied to experience queer attraction - which, though non-explicit, repressed, and never truly indulged, still affects her and the way she is continuously treated throughout the film.

Overall, Ellen's existence is perceived, at best, as an inconvenience - and at worst, a scandal. With that, she fits seamlessly into her story's genre.

The "immoral," the forbidden, the taboo is a cornerstone of all gothic fiction. It exists in the doubt between light and dark, harm and desire, love and abuse. It is the domain of sympathetic villains (e.g. Heathcliff, Wuthering Heights), of imperfect victims (Bertha Mason, Jane Eyre), of heroes who are deeply flawed, who cause their own tragedies, and often fail to save anyone at all (Victor Frankenstein, Frankenstein). Within the gothic genre, there are no absolutes; and its contradicting balance of dichotomies provides a reference point - or, more accurately, a cultural triangulation - for exploring the same complexities that a binary puritanical mindset strives to eradicate. These include sexual desire, female autonomy, physical and mental disabilities, classism; in short, anything that gets people wincing.

The popular discussion of these topics is frequently cruel, often avoidant, and rarely straightforward or productive. As stated above, it makes people uncomfortable. It's not pleasant. However, for Ellen (and many people in the real world), it is, quite literally, impossible to avoid. It defines every aspect of her daily life.

What this means for her and for the story is that within a narrative that refuses to gloss over the imperfections of her surrounding society, her victimhood is not thrust upon her by a shadowy figure, emerging from the night. Instead, she is a victim - of an ongoing and systemic, rather than individual, abuse.

This aspect of Ellen's characterization lies at the core of her behaviour throughout the film. She is an unstable chimera of Brontë's Jane Eyre and Bertha Mason - in the sense that her actions are informed, in great part, by her acute awareness of her own disenfranchisement. She alternates between anguished raving and phlegmatic practicality, used to her pain but unable to entirely ignore it; and, the same way that Jane sees all the rage she feels (but cannot afford to express) manifested in Bertha, Ellen finds her counterpart in Orlok.

This is where the ambiguity begins.

Even though Orlok is most certainly a gothic villain, his relationship with Ellen cannot be interpreted as strictly adversarial. Naturally, it would be easy to ascribe their dynamic to grooming and PTSD; however, as previously mentioned, a gothic narrative is never surface-level - and the film itself never furnishes any information that would definitively limit it to that.

Firstly, to get the primary discourse point out of the way - yes, when Ellen and Orlok first meet within the ether, she is indeed young; and later, she is said to have been a child. However, at the time, the term "teenager"did not yet exist; Ellen's younger self is not portrayed by a child actress; and later, in 1838, she is referred to as a child multiple times - despite being an adult, married woman. Overall, within the film, the term is more often used to describe innocence and inexperience, rather than age; and her initial age is never specified. Granted, a multi-century age gap is not exactly "healthy" anyway - but this is a vampire story. It is per the course; and it complicates their relationship beyond a simple victim vs abuser narrative.

Secondly - and perhaps, most importantly - the overall impact of Orlok's coercion tactics falls flat in comparison to Ellen's human-world alternatives. Yes, he argues and threatens; but her social circumstances have never allowed her agency in the first place. Her father abuses, isolates, and threatens to institutionalize her; Thomas dismisses her concerns as "childish fantasies"; Harding and Sievers tie her down and drug her; Harding again kicks her out of the house. Her marriage, her friendships, are therefore all transactional; they grant her an escape from her father's house, relative financial stability, social support - on the condition that she represses her true self, pretends to be normal, doesn't threaten anyone's masculinity or heterosexuality, and acts like she's happy to be a deferring, obedient, settled wife. Being a daughter of a landed gentleman, she would never have been given a working woman's education, and evidently has no income of her own; and so, she has no options except to upkeep her end of the bargain - which means that her continued survival within mainstream society relies on constant background coercion.

Compared to this mundane, socially acceptable horror of her existence, the vampire actually offers her more autonomy than she is ever otherwise accorded. The terms of his covenant never threaten Ellen's own well-being; so on one hand, she has benevolence - and on the other, the dignity of choice.

This contrast lies at the heart of her dilemma. Ellen is torn between what she believes she should be and what she knows - and Orlok knows - she is.

One is "correct," moral, Good; the other is "wrong," sinful, Evil. However, at the same time, the first is manufactured; it is artificially designed, and must be continuously enforced. The second is primal. Natural. In accordance with gothic tradition, the appeal of Orlok is that he is forbidden, yet instinctive. By design, he is a reflection of everything that Ellen is forced to repress on a daily basis. That includes her rage, her ostracism, her abnormalities; but also, her desperate need to be respected, understood, and desired. He is both grotesque and alluring, both a lord and a beast, both cruel and reverent.

"He is my melancholy!.." cries Ellen.

"I am Heathcliff!" whispers Cathy.

Still, while Cathy and Heathcliff are primarily divided by class and racism, Orlok and Ellen are separated by moral considerations. In the explicit sense, Ellen cannot choose the Evil that Orlok represents. Within the surface narrative, she is obligated by her society, her morals, and the story to choose Good - in this case, by nobly sacrificing her individual expendable life to save her husband and a city full of people. Her primary storyline, like everything else, has already been decided for her.

For the Trekkies among us, this is Ellen's own Kobayashi Maru. A no-win scenario. As such, within the context of character analysis, her destination does not matter as much as the little things she does along the way; and it is no accident that, as the film progresses, the subtler, seemingly insignificant choices she makes within that framework just happen to bring her closer - and closer - to Orlok.

All of them are just innocuous enough to almost pass. She places a lock of perfumed hair in a locket that she gives to Thomas - and upon his arrival to the Carpathians, the same locket is immediately claimed by Orlok, who recognizes the scent of lilacs. Before making her sacrifice, she puts on her wedding dress and finds a bouquet of the same flowers - which is the sort of effort she didn't have to perform, especially given that he cannot resist her blood regardless. When Orlok arrives, she chooses to undress them both, and leads him to the bed, even though her previous sex scene with Thomas was entirely clothed; and in the morning, she pulls him close and holds him through the sunrise - even though he was already dying, and would not be able to escape. There was no need for her to touch his rotting flesh at that point, much less caress it.

There can be a "moral" explanation for all these actions; but the lack of direct obligation involved in them becomes increasingly blatant over the course of the story, and the doubt festers.

This sort of lingering ambiguity is precisely where gothic horror thrives - and intersects, scandalously, with romance. Gothic horror, much like bodice-ripper novels, noir thrillers, or "dark romance," builds much of its romantic intensity on the dichotomy of shame and desire. Imagine it, if you will, as a loom; warp and weft. It may even be described as literary BDSM - a continuous, mutually-agreed-upon act of roleplay between the author and their audience, and sometimes the characters themselves (though that depends). The point is to create an outlet for female, queer, or disabled sexualities, all of which are still heavily medicalized and restricted, derided, or denied entirely; and within these often intersecting genres, the violent or coercive intensity of the dominant lead (be it a vampire, a mafia don, or simply a more experienced lesbian) provides their repressed, seemingly passive counterpart an excuse to act upon their demonized erotic urges.

Between the page and the mind, everything that normally complicates a romantic or sexual encounter in the real world (subliminal hints, aggression, repressed and involuntary responses) becomes set dressing - serving to place a particular scene or dynamic within its fictional universe. The resulting Watsonian uncertainty is, naturally, part of the appeal. It is what allows the viewer/reader/listener a sincere emotional and sensual immersion; and for Ellen and Orlok, it provides an appropriately dramatic pretext for a night of tender vampire sex.

The discourse around their joining is painfully similar to the same that drifts around online every winter - in regards to the classic holiday hit, Baby it's Cold Outside. The song, written during an era in which extramarital sexuality was heavily restricted, follows a couple brainstorming excuses for the lady to stay the night; this intention was explicitly stated by both members of the original duet; but that hasn't stopped thousands of people from interpreting it as a "rape anthem." It is unsurprising, then, that an element of horror (guilt, shame, repression, coercion) muddles the water even further.

It's oddly apt, considering that the film premiered on Christmas Day.

Granted, I am not denying that there is an abusive aspect to Ellen and Orlok's connection, romantic or otherwise. However, to reduce Ellen to merely his "victim" is extremely inaccurate to her actual portrayal - because, within the framework of the film, her interactions with Orlok are the few in which she is actually able to exercise some form of agency. She never defers to him, their wedding-death hinges on her free will, as coerced as it may appear; and, in a fascinating subversion of a popular vampire trope, she is the one who summons him.

In gothic media, "Come to me!.." is invariably spoken by a vampire (or a vampire derivative like Erik, Leroux's titular Phantom of the Opera); their counterpart follows helplessly, without question; and giving these lines to Ellen is a dramatic deviation from tradition that fundamentally alters the underlying context of their power balance. By maintaining this call-and-response dynamic throughout the story, Eggers asserts that Ellen isn't helpless; and neither is she "in over her head." She is intelligent, powerful, and she has a tangible influence over Orlok, who is her only equal - which is why, ultimately, she is the one deciding where that relationship is headed.

That is not to say that any alternative readings of the film are entirely incorrect. As I have stated above, the abusive/toxic narrative is definitely present, and even essential, in gothic media. On the Doylist level, it is the equivalent of a whip, or a solid pair of cuffs - essentially, a divestment of responsibility; though, to continue the metaphor, not everyone shares the same kink - and those who do might not all enjoy it the same way, so there's definitely significant variation. What I am trying to say, however, is that each story does come with a central conflict; and Ellen Hutter's victimization - much like Jane Eyre's, like Thomasin's (The Witch, 2015) - is systemic.

She is ostracized, disrespected - infantilized if her oppressors are feeling benevolent, demonized when they are inconvenienced - and still expected to always prioritize her husband/friends/community by default, regardless of how she is treated by them. Her surrounding society, morality, religion, culture all insist upon the same; and this is why, despite knowing that she has done nothing wrong by following her nature, she carries an enormous amount of guilt in regards to those "unacceptable" aspects of herself. It is also the same reason why Orlok - the sensual, cruel, utterly devoted monster - is the answer to her lonely call; and the reason why everyone around her is so eager to see her as his victim, rather than a victim of anything they may have perpetrated themselves. Ellen's is a rich complexity, fed upon centuries' worth of gothic tradition, and she cannot be forced into a flat, genre-inappropriate simplification.

Like The Witch, like NBC Hannibal, like Interview With the Vampire before it - Nosferatu (2024) is a story of self-indulgence being so unfamiliar that it feels like a sin; or, like dying.

I, for one, would not deny her that.

[pineapple-split]

Ok ALSO (and then I promise I’ll shut up and dive in to the celebratory rewatch): EVEN IF IT WERE TRUE that Black Sails only has queer subtext (and let me make it clear, it absolutely is not true) that still doesn’t invalidate it as a piece of media?? The queer characters aren’t the only reason we love this show. We love this show because it’s beautiful.

It’s heart-wrenching. It dares to ask the questions “what if your civilized society isn’t all that civilized? Who does it leave behind? Whose blood is it built on? What lengths will people go to and what will they sacrifice for even the tiniest bit of agency and freedom in a world that is actively trying to kill them? Are they justified? Can you even make that judgment call?”

It’s a story about storytelling. It has narratives within narratives and foils and tragic flaws and parallels and overarching themes that begin in the very first moments in episode one and last all the way to the end. It’s a Greek tragedy put to the screen. It’s still so hopeful somehow, even when so many things fall apart. It’s the epitome of “the love may not have been enough but it’s important that it was there.” The writing is wonderful (mostly, I have a few hangups but that’s not important here), the cinematography and score is almost reverent. People who worked on this show still gush 10 years later about how it was their masterpiece.

Those headlines of “the best show nobody watched”? There’s a reason for that. Those of us who love Black Sails love it passionately, and the complex and wonderful queerness of it is only one of the reasons.

[dragonlands]

There's so much negativity around Izzy's death so I wanted to address some of the points I keep seeing thrown around.

"Izzy's death was pointless"

No, he just had his big speech about how basically they can kill him but they cannot kill the movement. That is a clear paraller to a lot of real life protestors of unjustice. He died protecting the community, he died so the community could go on.

"Izzy's death made his healing pointless"

No it didn't. Healing is always good, feeling happiness and belonging are ALWAYS worth it. We never know how long we've got, doesn't mean we gotta stop trying to be better or happier. His healing was still real. It still mattered.

"Izzy's character arc was left unfinished, it's bad writing"

Oh my god. If you open any writing guide about how to write impactful deaths, and the first thing that comes up is to leave some part of their arc unfinished. And his arc did go through quite a beautiful line, sure there could've been more but his story didn't end like, mid arc. As a writer, of course you want to make the audience sad when a character dies. It's good storytelling. Good stories are supposed to make us feel.

"Izzy died on the arms of his abuser"

Where the hell did this idea come from? Ed and Izzy have been in a toxic codependent relationship way before this show started. You could argue that Izzy was Ed's abuser, but that is not the argument I want to make here. Yes, we saw Ed driven to madness shoot Izzy on screen, but we know Izzy's the one that forced him to be Blackbeart when he didn't want it anymore. There's turmoil all around them. But the final moment is them finally meeting as people, not as components of Blackbeard.

"Izzy's death was unnecessarily awful"

His death was sad, yes, but it was quite beautiful as far as deaths go. He was surrounded by family who cared for him. He was loved, and accepted as he is. He knew his legacy will be carried on.

"They killed off the only character that showed us healing is never too late"

Did we watch the same show? That begins with then unhappy 40+ year old Stede deciding it's finally time to reach for his dreams? Where we see Blackbeard slowly gaining back his humanity? Where Black Pete starts off as toxically masculine dude but ends up in a soft gay marriage? Where most of the crew wanted to mutiny but then they realized being soft is good, actually. Jim's whole purpose in life being revenge but them learning to let that go and instead concentrate on love and fun and family. And so on. Izzy's arc is beautiful, but he's not the only person healing who thought it was too late already.

"Izzy's death was bury your gays trope"

No, what, no. In a pirate show where everyobody is queer some queer people will die. Bury your gays is about only having one or few queer characters and killing them off while the straights get their happily ever afters. This is so far from that.

Also, I want people to be aware of the phenomenon, where creators of diverse shows are subjected to more critism than those of non diverse shows. If this intrests you, Sarah Z on Youtube made a great video on it called Double standards and diverse media. Our flag means death has given us so much, queer love story with a happily ever after, finding community, nonbinary character. And the creators have always been so kind to fans, so let's show them tht kindness back. Because critizicing this one aspect can easily turn to seeming like the whole story is just unwanted. That stories like Ed and Stede's aren't worth telling. And I'm so aftraid that will happen, when just now for the first time in years we are finally getting queer stories.

Also, I understand people are sad. I am sad too - Izzy was an amazing character and his death was sad but that's just. Good writing. You can grieve, but trying to turn it into a moral or dramaturgy issue is just not a good look. And attacking the creators of this wonderful show is just horrible.

Remember - this fandom is a safe space ship 🏴‍☠️🏳️‍🌈

[ree-dee-art]

Honestly, I must admit that I'm not too fond of fan artists changing/headcanoning Harry and James to be as desi/dark skinned. I personally think the Dursleys are far more despicable due to hating on someone not because of skin color/racial prejudice(because then they would've no doubt hated Kingsley), but because someone is not their definition of 'normal'/ looks & acts not to their standards. It's already stretching it with race changing Hermione and making her a big target of wizard prejudice on muggles. And it also kills the prejudice Lily faced, because she's still fair skinned.

Initially, I was just going to respond to this by encouraging anon to go touch some grass.

However, I feel somewhat compelled to respond, because there is just so much to unpack in this single nonsensical message.

Firstly, I honestly don't get a whole lot of asks or messages in general, so receiving this one out of the blue was a bit wild for me. The nature of fandom itself allows for and embraces a plethora of different interpretations and headcanons for any given character. In many ways, this is the beauty of fandom--to take a beloved character and ask "what if?" I have no problem with someone having a different interpretation of a character from my own. What confuses me is this person's method for expressing their opinion. Why are you anonymously sending this to a stranger? Why not make a text post on your own blog about it? Like...what is your goal here, anon? I'm an artist who draws what I enjoy, and sometimes I share these drawings in the hopes that someone else might enjoy them too. Not your vibe? Not my problem. Go find some white Harry artwork to appreciate, there's plenty out there. Were you hoping I would change my own interpretation and headcanon of Harry or Hermione to fit your own? Lol, tough luck. No one is stopping you from drawing your own pictures.

All of that aside, your reasoning for your preference of having characters like James, Harry, and Hermione not be POC is incredibly confusing to me. You said you believe the Dursleys are "far more despicable" for hating Harry not because of skin color but because he didn't match their "definition of normal." I have a few follow-up questions regarding this (wildly inane imo) take:

1. Does this mean you believe the Dursleys hypothetically also hating Harry because of the color of his skin is in some way less despicable than them hating him because he can do magic?

2. What exactly do you think racism is, if not "hating someone because they don't match your definition of 'normal?'"

3. How does Hermione being black and muggleborn erase the discrimination Lily faced for also being muggleborn? Do you know that intersectionaily exists?

Some of the most interesting creations I've encountered in the HP fandom (fics and art) explore the complexities in the intersections between racial discrimination, white supremacy, and pureblood fanaticism. And there truly is so much to explore in these themes (for example: ways in which Harry could have been separated not only from his loving family, but also a part of his culture. It also allows for interesting and more complex ways for Harry and Hermione to bond and relate to each other in their friendship, etc).

For me, more diversity within these characters (whether it be race, queerness, or anything else) allows for much richer storytelling and much more interesting characters. If that's not your jam, then perhaps my work isn't for you.

However, I will say--this message is very much giving "only white characters and muggle discrimination allowed!!!" and I encourage you to ask yourself why that is the only context for these characters you feel comfortable with.

But seriously, go touch some grass.