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cheriladycl01 · 7 months ago

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Ghost - Oscar Piastri x UnknownDriver! Reader Part 5

Plot: Reader is the first female F1 driver of the century, however no-one knows that as you are a ghost on the grid. You started in 2022, coming in P12 in the championship. You get moved to Red Bull Racing in 2023 with the off year for Sergio Perez.

Staring the 2024 season was nerve wracking. You’d only come to Red Bull on a 2 year deal of 2023 and 2024 until Sergio was supposed to come back.

So at the start of the season, this could have been your final year racing full stop.

The only people who had confirmed contracts past 2024 were Max (till 2028), Lando (till 2025), Oscar (till 2026) Valtteri (till 2025), Lewis (till 2025) and Lance because everyone knew that he’d keep his seat all the time his dad is bank-rolling Aston Martin.

Some people, like Logan weren’t confirmed to be driving in 2024 until the very last minute. Everyone was stressed.

Fast forward after the winter break and you’d had no talks with Christian about your seat.

Then the new on the 25th of January came.

Charles Leclerc Extends Ferrari Contract

And then again on the 26th of January …

Lando Norris Extends McLaren Contract.

But the worst, the one that caused you the most panic was the 1st of February.

Lewis Hamilton to Leave Mercedes

Lewis Hamilton to Join Ferrari in 2025.

And now you were panicking big time, with all these contract renewals, of team principles desperately trying to keep their drivers.

And yes, there was now a Mercedes seat free, but Lewis left for a reason and Lewis is the most loyal person let alone driver that you know. So there must have been a reason as to why he left. You just didn’t know what it was yet.

It also meant that a great driver like Carlos Sainz was now gunning for a seat … maybe even your seat.

And you couldn’t help but think that’s why Christian was holding out on renewing your contract.

But with the allegations against Christian, and everything else going on, there were no conversations being held on your behalf.

Nobody was reaching out to you, so you’d have to show the whose boss. You were going to prove that you could be the number 1 driver and you were going to prove you deserve your seat.

Testing came around and you were fast, faster than Max. You also had learnt after last season better tyre management. So your tyres were holding up well. And everyone could tell you were a better driver now than you were last season.

But again, you couldn’t tell right no who was and wasn’t pushing themselves while you were sandbagging and starting to doubt yourself as a driver. You ended up throwing yourself into training, and it was basically all you did. Sim Racing, Working Out, Diet planning. You hadn’t gone out with friends or family in months nervous for your first race in Bahrain.

All of your friends, specifically the ones on the grid were worried about you, knowing the pressures that came with their sport.

Lando Mando

Hey Y/N, haven’t heard from you in a while. Hoping you’re all okay! <3

Dutch Lion 🦁

Hey, what’s going on. You were quiet at testing :(?

AlbonO

Lily said you seemed of the other day … I agreed with her. You okay? 🫶🏼

No text from Oscar…

Bahrain came around far to quickly. And you were quiet. Thankful you weren’t on the media panel, you were just being asked by the Red Bull Social Media staff to do track walks, but they could all tell that you weren’t off highest spirits, and tired more with Max who had stopped pestering you.

Everyone was more worried at the fact you hadn’t replied but you were in fact at the races and actively on your phone.

They couldn’t help but think you were ignoring them, but little did they know, the ball of anxiety that sat in your chest and stomach got a little bit worse every-time you even thought if replying.

So you ignored them.

FP1 came and you were overthinking everything. You didn’t have to be insanely quick here, you just had to see how the car felt in Bahrain, and get comfortable with the track again. You hadn’t raced here in nearly a year now.

You ended it on P12.

The Sky Sports commentators assumed you were still sandbagging, which you and Max both had been in Pre Season Testing.

FP2 was later that day and you gained two places, feeling better when the guy in P2 in FP1 (Lando) was now all the way down in P20. That’s was the thing with Free Practices you could be anywhere on the board and I didn’t really until FP3 prove anything.

“Y/N can we have a minute of your time please!” An interviewer smiles kindly and you just nod, no words.

“How is the car feeling after today?” She asks and you nod.

“Good” you say.

“Yeah? Thats unsurprising with the year Red Bull had last year with not only a fantastic car but fantastic drivers. Do you feel as though that hardcore dominance you guys had last year is tightening up this year? ” she smiles and you nod.

“Yeah, I think it’s obvious who the top constructors are right now, and I think there will be teams out there to give us a run for our money” you admit with a shrug and the interviewer tenses a little at your blunt and very forefront replies.

“And is there any talks of any contract negotiations with you and any team on the grid” she asks and you freeze up a little before looking up at her.

“No there isn’t, thank you for your time” you say before walking away and back to the Red Bull Motorhome.

You slept awfully on the Thursday night, going into the Friday. FP3 came and again you improved coming in P8, however you could see Horners shake of ‘disapproval’ and you couldn’t tell what he was thinking.

Qualifying, which is as later in on the day came and with Max setting pole, you’d hoped to be quicker. And you weren’t, you ended up starting in P5.

Which in hindsight wasn't bad, but you were starting behind George and Carlos with Fernando next to you and Lando and Oscar behind you. You could see HIM in when you were getting into the car and in your rear view mirror as you did the formation lap.

"Now, before this race starts. It's important to note that today is very very important for so many drivers!" David says as the helicopter camera follows the cars on the formation lap.

"Mmmm yeah and why's that Crofty?" Ted asks.

"Well Ted, with that Mercedes seat open... and with so many contracts ending everyone, and I mean everyone will be looking to prove themselves in this race" David advises as they watch them come round one of the last corners.

"Yeah, particularly Y/N and Carlos. Obviously there's been no confirmation of either of there seats its just a waiting game really" he nods and then they wait for the lights to go out.

You have an insanely good get away, coming up right behind George and overtaking Carlos on the straight, getting onto the right side of turn 1, meaning you kept P4.

Over halfway through the race, you were now up to P2, having kept your tyres longer than most, and being able to keep up with softs for the end laps of the race.

You kept a steady flow behind Max with a small time gap. You were on fresher tyres and you were on the softs meaning you were statistically driving quicker than Max.

"Overtake?" you asked into the radio, you were basically riding Max's bumper at the point and you could tell that the tyres were starting to degrade more than they should have been.

"Horner doesn't want to loose a 1-2, he needs you to defend for Max. Plan C" he says and you huff. You understoof the team orders. If you overtook now, you were risking Charles taking over Max and splitting a 1-2. You fell back away from Max, attempting to create a DRS train behind you to give Max some lee-way ahead.

"You know, Y/N is such a fantastic driver. Team orders, basically make it so that she isn't going to get this win to help Max, but she knows it's helping the team in the long run. She's honestly one of the most loyal drivers I've ever seen. She's never fought against team orders..." one of the commentators admits as they watch Charles not be able to get round you and Carlos pulling up behind him going down the grid.

You ended up on the podium, next to Max and Charles on the otherside of him as you each lifted up your trophies and sprayed champagne at each other.

For people viewing it was the first time you looked genuinely happy since the start of the season laughing and messing with Charles and Max.

You hoped it was a feeling that would last throughout the rest of the season, especially if it was your last.

Oscar was there, at the podium despite coming P8. He watched as he was genuinely concerned for you after reports from his friends suggesting that you might not be okay.

He wanted to see, and despite everyone seeing that you were happy messing around, there was a moment when most eyes were probably on Charles and Max goofing around where you looked down wiping the champagne of your face and your eyes went back to the dull and unhappy look.

He was hurt by what you did, but he also hurt you back as a stupid and petty way of revenge and he didn't know how to fix that.

He needed to enlist the help of his closest confidents.

Taglist:

@littlesatanicassholebitch @hockey-racing-fubol @laura-naruto-fan1998 @22yuki @simxican @sinofwriting @lewisroscoelove @cmleitora @daemyratwst @lauralarsen @the-untamed-soul l @thewulf @itsjustkhaos @purplephantomwolf @chasing-liberosis @summissss @gulphulp @starfusionsworld @jspitwall @sierruhhhh @georgeparisole @youcannotcancelquidditch @tallbrownhairsarcastic @ourteenagetragedy @peachiicherries @formulas-bitch @cherry-piee @spilled-coffee-cup @mehrmonga @bigsimperika @blueberry64857959 @eiraethh @curseofhecate @alliwantisadonut @dark-night-sky-99 @i-wish-this-was-me @tallrock35 @butterfly-lover @barnestatic @landossainz @darleneslane @barcelonaloverf1life @r0nnsblog @ilove-tswizzle @laneyspaulding19 @malynn @viennakarma @landosgirlxoxo @marie0v @yourbane @teamnovalak @nikfigueiredo @fionaschicken @0picels0 @seomako @urdad-hot @tinydeskwriter @ironmaiden1313 @splaterparty0-0 @formula1mount @styl1shl1v

#f1 imagine #f1 x reader #formula 1 x you #formula 1 #formula one #formula one fanfiction #oscar piastri x you #oscar piastri f1 #oscar piastri one shot #oscar piastri imagine #oscar piastri #op81 fluff #op81 imagine #op81 x reader #op81 fic #op81 #oscar piastri fanfic #oscar piastri fluff

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reveld-r · 4 months ago

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Something I noticed about TF2 comics

TW: Spoilers

I was reading again the comics and I noticed something. Okay, we can notice that during the issues there are 3 main mercs that die (without counting Miss Pauling, Zhanna, Soldier and the Admin because the first three weren't as dramatic and the admin probably died a lot of times during the comic) and this three were Scout, Medic and Sniper. What I took notice of is that these three represent the 3 common places from the catholic (or similar) religion to go after death: Heaven, Hell and The Limbo; and they also have three diferent ways for coming back: Granted, negotiated and forced/external help. Before I start I want to say I am NOT an expert on religion or not even a devoted christian, I write this on behalf of what I know and definitions from the internet and that english is also not my first language and I'm trying my best to not use Google Translate.

SCOUT

In The Naked and the Dead Scout dies on his father's arms, RIP, and we can see he arrives to Heaven. But Reveld, how do we know it's not an alucination from him? Easy, Tom Jones is also there, Jeremy dies thinking Tom Jones is his real father, but since Tom Jones dies in Ring of Fired he is there, and also the presence of God and the little angels tell us that this is the catholic (or similar religion) heaven. Now, back to the point, Medic is busy also being dead, therefore he can't revive Scout so, how does he comes back? By being God's favorite, literally.

He sends Scout back to the Earth to fulfill his task as "God's gift to the women", without medical intervention or deals and PAM he is back into the game.

MEDIC

Lets go again into The Naked and the dead, Medic dies from 2 bullets, RIP again, and after some panels we can see him talking with someone in Hell, and this someone is The Devil, normally we wouldn't know what hell is this or if Medic even practiced a religion (a man of science, you know), but with The Devil's apearence we can asume it's the catholic (or similar religion) hell. Now, he isn't in good terms with The Devil and he can't be helped since Heavy is fighting with Cheavy so this would be his end unless he made a deal with him, but he wouldn't do that right?

Well folks, he did it, he sold one of his nine souls for a pen and a chance to be back, leaving Hell without Satan being happy with this and without having to need an external help, and PAM he is alive again.

SNIPER

Now we go back to Blood in the Water, Sniper dies, RIP, and then in Old Wounds we can see him on God's Secret Base with his parents. Now if you search the definition of Limbo, the next definition will appear on top.

Now, if this is this secret base, we can say it's this abode, since it isn't principal Heaven, an there is where people are supposed to go if they died before Christ's coming, therefore before resurection. Now, neither God or The Devil are there, so how does he comes back? A medical intervention, that's right. We can see Medic brings him back on a forced way, since Sniper, God nor The Devil agreed on bringing him back. So a little operation later and 12 hours and PAM he is back.

Well, that's all folks, I couldn't keep this little connection with me so I tried to write it in a rush, anyways, hope you liked :D

#tf2 #tf2 sniper #tf2 scout #tf2 medic #medic tf2 #scout tf2 #sniper tf2 #tf2 comics

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colleendoran · 2 years ago

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The Secret Language of a Page of Chivalry: The Pre-Raphaelite Connection

Adapting Neil Gaiman’s Chivalry is a decades-long dream fulfilled. The story as text can be enjoyed on multiple levels, and so can the art. You look at the pages and see the pretty pictures, but the pictures also have meta-textual meaning. Knowing this secret language adds to the experience.

Some people pick up the references quickly, but I’ll share with you some more of what’s going on under the surface.

In Ye Olden Days of Art Making, most painters made pictures that contained visual narrative cues. Flowers in a picture might be heraldic signs that signaled political affiliations, or could indicate purity, anger, or love. Purple was the color of kings. A dog in a picture might represent faithfulness, and butterflies could represent the soul.

There are Pre-Raphaelite paintings with so many symbols and ideas in them that you need a deep working knowledge of Victorian and Edwardian social mores to understand what’s going on.

For example, Ford Madox Brown’s Work, a painting which took some 13 years to complete, was first exhibited in 1865 with a catalogue explaining all its symbols and elements. There is nothing in that picture that doesn’t mean something.

I brought some of that visual meta-textual sensibility to Chivalry, (and I’ve written about the symbolism and meanings in the work in other essays.)

I also brought into the work direct Pre-Raphaelite art references.

From 1868-1870, Sir Edward Coley Burne-Jones created four paintings illuminating the tale of Pygmalion and Galatea, entitled Pygmalion and the Image, and wrote a poem with each line titling one painting:

The heart desires

The hand refrains

The godhead fires

The soul attains.

A perfect little poem for Chivalry, and I think of it often when some people present me with what I think is a very strange question: why didn’t Galaad just take the Holy Grail from Mrs. Whitaker?

It kind of breaks my heart that people would even ask that.

Burne-Jones painted two versions of this series of which this is the second.

In the first panel of this page, Sir Galaad kneeling before the Grail is derived from the figure of Pygmalion kneeling before Galatea: The Soul Attains.

Sir Galaad’s restraint even in the face of his greatest desire makes him worthy of his prize.

There are two Pre-Raphalite references in this page, the most obvious being in panel 2: it’s Sir John Everett Millais’s 1857 work A Dream of the Past: Sir Isumbras at the Ford.

The painting was very poorly received on first exhibition, compelling Millais to redo significant portions of it. It was caricatured and ridiculed, and then ended up becoming influential and popular, and isn’t that the way it goes.

That’s an art career in a nutshell, really.

The Sir Isumbras image also influenced John Tenniel’s illustrations for the Lewis Carroll Alice in Wonderland novels.

Sir Isumbras derives from a 13th century Medieval romance poem about a good knight whose pride causes him to fail in his Christian duty. He is presented with a series of difficult challenges before he can find happiness again, reunite with his family, and be forgiven his sins. The painting by Millais is based less explicitly on the poem than it is on a later parody of the poem. (It’s complicated.)

My using Sir Isumbras as the base for the shot of Galaad with the children is obvious here. In the Millais painting, Sir Isumbras carries a woodcutter’s children across the ford. In Chivalry, Sir Galaad carries the children of Mrs. Whitaker’s neighborhood down the street.

While Sir Isumbras spent many years learning humility and Christian duty, Galaad has a long quest to fulfill before he can achieve his goal. And on the way to that goal, he’s humble and nice to children, too.

That the Millais painting was such a huge influence on many a depiction of knighthood over the years made it a perfect reference point here, and the story behind both the painting and the poem give it further layers of meaning.

The next panel has a far less obvious reference, but the source is Arthur Hughes’s painting The Rescue.

Arthur Hughes is one of the lesser-known Pre-Raphaelites, but his art is widely seen and influential. He’s certainly been a big influence on me, as many of his paintings appear again and again in Arthuriana references, as he was a prolific King Arthur picture tale teller.

The Rescue (1907-1908) was originally part of a diptych which was separated and sold back in the 1920’s. His style was becoming unpopular by the time Hughes painted the work, and little is known about this work except that one panel was in the collection of Andrew Lloyd Webber at some point. Maybe still is. Dunno.

Anyway, the diptych depicts a little child kneeling in prayer menaced by a dragon in one panel, and in the next, safely trotting away with a knight on horseback. I like that this is a diptych, a kind of proto-comic art form common in medieval religious art, so this was perfect to use here.

Another reference to Arthur Hughes is in this double page splash from later in the book as Galaad on his quest encounters the Hesperides.

I didn’t set out to reference this Arthur Hughes piece at first, but it’s one of my favorite paintings. When I realized my sketches for this scene kept echoing the Hughes composition, I went with it. The Hughes painting of Galahad is one of the most famous depictions of the character, so it makes me happy to have this referenced in Chivalry.

Kindly ask for CHIVALRY, published by Dark Horse Comics in the USA and by Headline Books in the UK at your local comic shops or bookstore. Written by Neil Gaiman. Adaptation and art by me.

For further reading on this project, go HERE.

HERE.

And HERE.

Thank you to my Patreon patrons for sponsoring my work and this post.

Colleen Doran Illustrates Neil Gaiman will be a solo exhibit at the Society of Illustrators in New York City this spring. Watch this space for updates.

Have a wonderful holiday season.

#neil gaiman #dark horse comics #king arthur #Sir Galahad #Comics #graphic novel #fantasy graphic novel #watercolor #pre raphaelite #pre raphaelism

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secretmellowblog · 4 months ago

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Okay, here are some random panels I’m personally looking forward to at the online Les mis convention Barricadescon starting tomorrow!! (note that this off the top of my head, and they’re in no particular order, and that I am excited for all of em.)

(Also note that it’s the last day to register, which you can do on their site here. You can also see the full program of all the panels/their descriptions here.)

1. I’ll say any of the Guests of Honor (Jean Baptiste Hugo, the descendant of Hugo will be talking about his project photographing his ancestor’s house; Christina Soontornvat, author of the award-winning Les Mis retelling “A Wish in the Dark;” and Luciano Muriel, playwright of a 2018 play about Grantaire.)

2. @psalm22-6 ‘s panel “Early Transformative Works,” which is about the earliest Les Mis retellings, parodies, and “fanfics” from the 1800s/early 20th century. They’ve shared deeply cursed sneak peeks with me. Apparently in 1863 a man wrote a “proper Christian” retelling of Les Mis where Javert is reimagined as a proper Christian woman following poor criminals around giving them charity while they keep rejecting her kindness. Powerful. Javert as Mary Sue. (Note that I may be explaining poorly because I haven’t seen the panel yet.

3. History podcaster David Montgomery’s panel “The Yellow Passport: Surveillance and Control in 19th Century France,” which dives into the role of the police and strategies of government surveillance at the time Les Mis is set!

4. My own panel “Why Is There a Roller Coaster in Les Mis,” which I shared the first five minutes of here. There’s an actual scene in Les Mis where Fantine rides a roller coaster so I made a full defunctland video on how that roller coaster got to Paris in 1817, the fascinating historical context behind early roller coasters, and why it became defunct.

5. @thecandlesticksfromlesmis ‘s panel “Beat for Beat,” analyzing the script of Les Mis 2012 and contrasting it with the book and musical. Discussion of 2012 is almost overwhelmingly always about its music or cinematography, and I’m fascinated to hear someone finally analyzing the screenplay/ structural changes.

6. Morbidly curious for “Lee’s Miserables,” the academic panel discussing the paradoxical popularity of a censored version Les Mis in the Confederate South (with all the references to the evils of slavery carefully removed of course)

7. “Barricades as a Tactic,” a panel discussing how barricades actually functioned as a tool of warfare historically and the echoes of them in the modern day.

8. All the little social meetups, including the Preliminary Gaieties drinking game!

9. I’m biased because I’m also helping present this one, but the @lesmisletters panel (on the Dracula-daily inspired Les Mis readalong happening now.)

10. “The Fallibility of History in Les Miserables,” by @syrupsyche. It’s a panel analyzing the way Hugo often treats Les mis as a story that he learned about through research/gossip, rather than a fictional narrative— analyzing where Hugo does that in the text and what it means thematically.

11. The Unknown Light Examined, by Madeleine— a panel analyzing the chapter where the Bishop confronts the elderly revolutionary, and is forced to re examine his political beliefs! An iconic chapter, and the abstract is very compelling.

But also a lot more, check out the exhaustive list here XD. And also register at this link!

#les mis #les mis letters #barricade day #:D

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huginsmemory · 2 years ago

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Wolfwood, the Symbolism of the Punisher and Tragic Narratives

ID: A shot of Wolfwood carrying the Punisher.

MAJOR MANGA SPOILERS

Considering that my post on Wolfwood being a tragic character is doing the rounds and people seem to adore it in the most horrified manner, I thought it might be fun to point out some of Wolfwood's 'dead-since-the-beginning' motifs, specifically through what the Punisher signifies.

Symbolism of the Punisher

There are five (from what I've pulled out) things the cross-machine gun of the Punisher symbolizes. First and foremost, I'm going to talk about how the Punisher, in it's shape of a cross, represents Christianity and Christian morals. This is something that is highly ironic, as while it shape symbolizes the morality and salvation of Christianity, of forgiveness and unconditional love--and such missives as 'thou shalt not kill'--it is also clearly a specialized weapon created specifically to kill people, violating the assumptions of Christian morality.

In a way, this irony or contradiction reflects Wolfwood's own irony; outwardly looking like and pretending to be a priest with Christian morals while at any closer inspection is clearly an assassin. However, the inverted is also true; although Wolfwood is an assassin and kills people, it is shown through his moral quandaries, that these Christian ethics are ones that Wolfwood subconsciously believes in, but has rejected to survive in the world. As a result, the Punisher symbolizes the irony and contradiction of Christian ethics that Wolfwood carries.

Interesting side note, Chapel directly says that their actions as assassins--executing people with their machine gun crosses--is mercy and leads them to save themselves and others to redemption, much in the same way humanity was redeemed through the cross in Christianity, which is the excuse that Wolfwood carries with him for killing others; but that's a digression from what I want to talk about.

ID: Chapel says, “If killing is a sin... it is also the path to redemption. Did you not understand that?” Wolfwood, through black panels of narration, thinks: “I understand. I understand, but... He is foolish. His words are no more than the nonsense of a child. Idiot. I understand that.”

The second thing I wanted to talk about, was that in a way, the Punisher in a cross shape is apt, as the cross previous to Christianity was a literal torturous execution device. To be sentenced to crucifixion meant hours of pain until one finally died from asphyxiation. The Punisher in that manner, stays true to the execution part of the original symbolism of the cross, as it is being used to kill and hurt others; as well as in a way, it applies to Wolfwood himself, which we will get to later.

The third thing I want to talk about the Punisher, is how contextually it symbolizes Wolfwood's profession, and his connection to the Eye of Micheal (EOM), which causes him guilt (the fourth thing). The cross is literally given to him by Chapel, the man who inducted him into EOM; Chapel giving Wolfwood the Punisher, a prestigious weapon used by those from the EOM, can be considered the physical signifier of Chapel giving Wolfwood the brutal lifestyle that he lives under and his connections to them. Hell, specifically because of his weapon, Wolfwood is mistaken for being Chapel, it is so tied to EOM and Chapel himself. As well, by both being the weapon that shows his correlation to the EOM and the weapon that he uses to kill people with, the Punisher (and it's weight) also represents his guilt from the lifestyle, becoming literally the 'cross he has to bear' as a result of trying to protect the orphanage.

ID: First 2 images show young Wolfwood being given the Punisher and being told it’s the Eye of Michael’s highest honor. Its skull-shaped handle is shown. 3rd has Legato saying, “That cross... I’ve been waiting for you. You’re ‘Chapel,’ correct?” He and Wolfwood look at each other.

A quick, bullet point recap, of what the Punisher signifies:

Christian morality: unconditional love, absolution and forgiveness, and 'thou shalt not kill' and Wolfwood's irony around this concept

a literal historic torturous execution device

signifies his profession and connection to the eye of Micheal

signifies his guilt over his profession

Narrative doom and Wolfwood

The fifth thing I want to talk about, is how the Punisher and it's symbolism is related to Wolfwood being a narratively doomed character. I choose this specifically as the Punisher literally becomes Wolfwood's grave marker (or one of them, at least). Thus, the fifth thing the Punisher symbolizes as Wolfwood's grave marker is his death-- and how he's been dead since the beginning.

ID: Wolfwood’s grave with the Punisher sitting as a grave-cross above the flat headstone is the foreground of the last page of volume 10, chapter 8. In the background Vash and Livio discuss where Vash will go next.

Hell--our first introduction to Wolfwood is him slumped under the Punisher in the desert, and assumed to be dead by the bus driver. The bus driver even comments that he's a really well-prepared dead guy, referring specifically to the cross of the Punisher, which in the first-ever panel we see Wolfwood, looks like a grave marker for him-- and ultimately ends up being his grave marker. Since the beginning, our introduction to Wolfwood is him as a dead character, and in a way, he remains so as he literally carries his grave marker throughout the story, only waiting until the right moment when he can truly die.

ID: 1. Wolfwood is starkly shaded as he sits unconscious in the desert with the Punisher behind him, almost like a grave marker.

2.. The bus driver comments, “Whew... That’s one well-prepared dead guy.”

As well, not only is the Punisher literally his grave marker and is a symbol of his death, but the other symbolism that it carries can be considered to cause Wolfwood's death; Wolfwood's connection to the EOM, his guilt, and Christian morals. For Wolfwood's connection to the EOM and Chapel, it is Chapel whose actions cause Wolfwood's death. In fact, as Chapel is the one who gave Wolfwood the Punisher, Chapel is the one to give Wolfwood his grave marker--and was the one to ensure that it became his gravemarker. Since the beginning of Chapel taking him under his tutelage, he was condemned to die.

Not only does it symbolize Wolfwood's death as a result of Chapel, but it also symbolizes Wolfwood's guilt over killing as a result of working for EOM, which also contributes to Wolfwood's death. Wolfwood's guilt come into play in his choice to defend the orphanage alone, as he believed that due to his guilt he wasn't worthy or important enough to ask Vash to help him; even if he knows Vash has proved over and over again that he would put aside everything to help anyone. Ultimately, he is proved wrong when Vash shows up anyways, but by this time, it is already too late. Adding to this is Wolfwood's staunch refusal to kill Livio as he declares his belief in Vash--and Vash's principles, ie, Christian principles-- which also causes Wolfwood to die, which Chapel himself notes. As a result, it is his guilt, his connection to Chapel, and to a smaller degree, his acceptance of Christian ethics, that kills him--all things the Punisher, his grave marker, signifies.

ID: Chapel berating Wolfwood for not shooting to kill Livio.

As well, tying into the historical interpretation of a cross as a torturous execution device, one can take the symbolism of the Punisher, specifically of Wolfwood's profession and deep self-loathing guilt as a result of his ethics he's had to forsake, and interpret the Punisher as metaphorically torturing Wolfwood. And, as it's symbolism is tied to the reasons for his death, one can also metaphorically claim that it is also what causes Wolfwoods own death, or execution; fully fulfilling its historic significance.

Summary

TLDR/To summarize: The Punisher, in its cross shape, ironically symbolizes Christian values which both the punisher itself and Wolfwood contradict, although may aptly symbolize it's historic use of a torturous execution device. Contextually, the Punisher also symbolizes Wolfwood's connection to Chapel and the Eye of Micheal, as well as his guilt over killing people.

The final thing the Punisher represents, is Wolfwood's death, as it literally becomes his grave marker. This is connected to how he is narratively doomed as that he has since the beginning been carrying his grave marker, and even in our first interaction it is foreshadowed to be his gravemarker. The other things the punishers signifies is directly correlated to his death as well, such as Chapel being to one to give Wolfwood his gravemarker, and being the one to cause Wolfwoods death.

All in all, Wolfwood as a character was never, since the very moment we met him, meant to survive the series; he's been literally carrying his grave marker the whole time. There was never any chance of him being able to escape his life the way he so desperately wanted to. He's been dead since the beginning.

ANYWAYS Uhm if u enjoyed reading my meta, here's a master post of some other trigun meta I've done :D

Edit (mar 26): At the suggestion of @princess-of-purple-prose and using/adapting the ID's they've added via a reblog on my post, I've added ID's to the photos to allow clarity of reading for those unable/have difficult accessing the photos.

#trigun #trigun manga #trigun maximum #trimax #wolfwood #nicholas d. wolfwood #trigun manga spoilers #trigun spoilers #tragic narratives #trigun meta #trigun analysis #hugin rambles #chapel trigun #livio the double fang #vash the stampede #uhm yeah not actually vashwood for once. but in spirit u know.#god Nightow is fucking insane #when i realized that the punisher was one of his gravemarkers and hed carried it around with him since the beginning #i was frothing at the mouth #just the amount of foreshadowing to wolfwoods death. and because you onow he just desperately doesn't want do this and he yearns #for a softer life outside all of it... and only to die. to since the beginning be doomed to die #another foreshadowing i didn't put in here is the foreshadowing when he tells vash to kill him if it would make vash finally kill #but thats a whole nother can of worms #anyways uhhhhhh hey yall did anyone ask for a larger serving of angst today!#btw if peeps wanna scream about shit w me the dms/ask box is always open #i think its enabled aksjskskk #god to have your character literally carry their gravestone with them the entire time is. fuck #me desperately trying not to be emotionally devastated by everything: *literally crying* yeah this is fine #the promise of tomorrow was a promise that never could be kept you know?#vashwood

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hereticcryptid · 1 year ago

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you should tell me all your thoughts and feelings about that bsd official art i would love to hear it

AHHHHH THANK YOU VERY MUCH

This art. This art. LOOK AT IT! It's such a perfect depiction of Fyodor's and Nikolai's relationship and their characters!

Firstly, look at Nikolai! He's smiling, and he has his hand in Fyodor's mouth, which implies a certain level of proximity. But it also seems (and I'm kinda pissed that no one ever mentioned this talking about the art) that he's tearing through Fyodor's cheek, which is a very good representation of his twisted affection towards Fyodor, and his desire to kill him to be free of emotion, because it showcases both the affection and the way he wants Fyodor gone. Also, the illusion of freedom he has, because that's what it is! An illusion.

Still about the tear through cheek, Fyodor seems entirely unphased! It's like he knows what he's doing, and he's humoring Nikolai, which shows that 1. he has no ill feelings towards Nikolai (also showcased in that one manga panel where Nikolai fearlessly holds Fyodor's hands and nothing happens) and 2. that everything he does is a calculated risk. Despite their positions, Fyodor is in control.

The unphased also fits in nicely with Fyodor's christ/savior complex— in the manga, the eyes represent the person's moral perception of themselves, hence why Dazai's eyes are typically black and Nikolai's are foggy. If you look at most of Fyodor's manga appearances, his eyes are usually white, which would mean he perceives himself as 100% morally in the right. Fyodor considers himself a messenger of god (missionary if you will), and so views his actions as necessary and morally correct!

Now many people say Fyodor has a god complex but what he has is a christ complex, and you know, "died for our sins"! Being unphased at Nikolai tearing through his cheek would represent his perception of himself as a messenger of god and willingness to endure pain to reach his ends, which he sees as the will of god! I'm not gonna start drawing paralels between Fyodor and Jesus because I'm not christian and not well versed in the bible, but I can still be totally insane about Fyodor's whole deal with religion!

And then, you have the grapes, the jewlery and the skull, typically a pagan symbol! Can be a reference to Dionysus and abundance, and Nikolai's obsession with freedom that in my opinion really draws into religious trauma. Dionysus is the god of several things but what is relevant to this is wine, party, insanity, theater, and the intoxication that merges the human and the divine. It draws to Nikolai's role as a 1. jester, 2. how he is presented to us as insane at first but then reveals that he very much is not, and 3. as a tool.

Dionysus is the protector of outcasts, and a symbol of everything that is chaotic and unpredictable, (godly), and that goes hand in hand with Nikolai too, and with his desire for freedom and his inability to reach it truly, because he is trapped in a world of gods (Fyodor) and emotion (also Fyodor), and that is why he wants Fyodor gone despite liking him so much! His position in the art also kind of highlights his role as a tool, because despite being above Fyodor and having an active rather than passive role in the imagery, [gestures at everything I said above], he's still not in control, despite having the ilusion of being so!

Yeah, anyway, I'm totally normal and not at all insane about them

#bsd fyodor #fyodor dostoevsky #nikolai gogol #bsd nikolai #bsd nikolai gogol #fyolai #character analysis #analysis #meta #bsd meta #bsd analysis #bsd #bungou stray dogs #asks

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venjamyra · 5 months ago

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Lyrics – Same Shade as Concrete by Circle Takes the Square

WOLFWOOD WEDNESDAY (～￣▽￣)～

feels a little funny to be making fanart of a manga that started before I was born with music that came out when i wasn’t even one year old yet…

lineart and various inane ramblings (manga spoilers ahead) about this comic that haunts my mind below the cut (its a lot…)

Okay, here’s the line art for anyone who wanted to see it without spoiler talk:

wow, so cool. Sometimes I like the lineart better in some ways and the colored version in other, different ways… I wonder how to find a good middle ground…… such are the mysteries of life

Onto the brain rot!!!

Okay, so this whole piece is kind of showing Wolfwood’s journey toward ‘accepting’ that he is an assassin. He has killed people. And his belief that he is irredeemable, this is just who he is now, stained with blood.

I’m gonna talk about panels 1,2,3, and 4. Those are just in order from top to bottom, so panel 1 is him firing the gun, and panel 4 is him in the river of blood.

So panel 1 is establishing that this is teenage Wolfwood, and he’s killing someone. YES I used that one painting as a reference (The Fallen Angel by Alexandre Cabanel). I don’t know anything about it, but it looks cool and I like the idea of an apparently evil character crying dramatically. Throw a gun in the mix and you have me curled up in a ball crying about Wolfwood. Wolfwood isn’t crying here, but I hope the reference shows the implication that he’s crying internally.

Panel 2 is directly contrasting with panel 4 with the volume of blood. I chose the blood to just barely cover his hands on purpose, NOT just so that I didn’t have to draw more hands lmao. Lots of blood on his hands symbolism throughout, because he has his whole thing about it. Anyway, this is like, the specific amount of blood where Wolfwood finally feels too far gone. It’s reached his hands, he can’t come back from this.

shout out to the people who helped me find this panel earlier 😅 @markcampbells @grymmdark

The crosses are there to establish his being surrounded by the Eye of Michael, trapped into this pool of blood. I know with the three crosses there’s some heavy crucifixion symbolism going on. It was honestly unintentional, but if I had to come up with something for it, I’d say in Wolfwood’s mind in this moment, he is the one crucifying people (Jesus, whomever). Again with that ‘too far gone’ stuff. He ‘knows’ who he is now, and it is not a savior. I’m not Christian as an adult and the only thing I did in Sunday school was question the adults or quietly judge them for their logical fallacies so idk if this makes sense in Bible-lore 😭 lol sorry.

Panel 3 hits home on the bloody hands thing, big motif. And then the gun pokes through the panel to give us this connection to the final panel, where we see a second drop of blood, coming from Wolfwood’s own hand, presumably filling the river he’s in. So the entire river is made specifically of blood from his hands, not just blood he spilled.

Panel 4. The big one. Okay, I heard that willow trees represent peace. I don’t know if this is bullshit, but I guess they can mean whatever I want ✨. Wolfwood is not fighting the flood here, just floating along, basically. He’s not relaxed, he hates this. But he’s come to some kind of acceptance. He feels (false) peace that this is just who he is. If he doesn’t get to control who he is or what he does, at least he knows that. This is not the time or place that I’d like to talk about themes of control and bodily autonomy in Trigun--we’d be here forever lol--but its totally that stuff. The willow trees contrast with the crosses here. It is no longer the Eye of Michael holding him in, trapping him in this pool of blood. Now, the willow trees (peace, acceptance) that are grown from his own mind/coping methods are what keep him trapped. I like to imagine the crosses are still beyond the trees, causing the trees to serve as both a wall keeping Wolfwood in and a wall keeping the antagonism of the Eye of Michael out. This is also visual because willow trees look much nicer than mysterious creepy crosses.

The comic basically ends where Wolfwood begins in Trigun. Yeah, he’s got his silly moments, but on a deeper, less superficial (sub-superficial…ficial…?) level, he really believes himself to be stuck in life, unable to change. In the last panel, he’s naked because he’s vulnerable; this isn’t the suit and a charming smile, this is him as he sees himself.

This idea of Wolfwood feeling acceptance with his shitty life drives me insane. In volume 8, after he kinda does his normal assassin work again, he is so fucking sad and angry. I think he tries to tap back into that idea of acceptance, but he can’t. He’s been through so much and seen so much with Vash that he just can’t accept it anymore. Like with the song lyrics as they’re used in this comic, is someone (Eye of Michael, Chapel) goading him into standing in this pool of blood and staying there even as it rises. And then here, he gets a little taste of freedom and just fucking pulls himself out!!! If I feel inspired I could make a part 2 one day where he’s pulling himself out of the blood river or something idk.

All manga panels are courtesy of Trigun Manga Overhaul!

Oh and some fun drawing things before I go. Important disclaimer: I do not claim to know what I’m doing.

The first pic has the guidelines I used to create shape and draw attention. I saw someone say that using simple shapes helps with composition so I’ve been trying that? It seems cool, I like it. And the second one has my lines to remember where my light source is. I kind of shade based on vibes, which I want to work on, but for now is fine. But the idea is that even though each of these panels has days/weeks to years between them, they all have one light source that extends across the comic. It comes across as a ‘lower’ source relative to Wolfwood in the first panel, which feels dramatic. By the time we get to the last panel, it comes across as the sun, high in the sky. I did this because it felt cool.

okay love and peace and go listen to the emo music my older brother showed me yippee!!!

#to anyone who reads my notes about this: thank you i really needed to get that out of my system lmao #Wolfwood.... my muse...#trigun #trigun maximum #trigun spoilers #trigun maximum spoilers #trigun fanart #nicholas d. wolfwood #doodles #mypost #blood #almost forgot to trigger tag that omg

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artandthebible · 24 days ago

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The Parable of the Weeds

Artist: Domenico Fetti

Date: circa 1622

Medium: Oil on Panel

Collection: Museo Nacional Thyssen-Bornemisza, Madrid

The Parable of the Weeds

The Parable of the Wheat and the Weeds, or Tares, is filled with spiritual significance and truth. But, in spite of the clear explanation of the parable that Jesus gave (Matthew 13:36-43), this parable is very often misinterpreted. Many commentaries and sermons have attempted to use this story as an illustration of the condition of the church, noting that there are both true believers (the wheat) and false professors (the weeds) in both the church at large and individual local churches. While this may be true, Jesus distinctly explains that the field is not the church; it is the world (v. 38).

In the explanation of parable, Christ declares that He Himself is the sower. He spreads His redeemed seed, true believers, in the field of the world. Through His grace, these Christians bear the fruit of the Spirit (Galatians 5:22-24). Their presence on earth is the reason the “kingdom of heaven” is like the field of the world. When Jesus said, “The kingdom of heaven is at hand” (Matthew 3:2; 4:17), He meant the spiritual realm which exists on earth side by side with the realm of the evil one (1 John 5:19). When the kingdom of heaven comes to its fruition, heaven will be a reality and there will be no “weeds” among the “wheat.” But for now, both good and bad seeds mature in the world.

Jesus Christ will one day establish true righteousness. After He raptures the true church out of this world, God will pour out His righteous wrath on the world. During that tribulation, He will draw others to saving faith in Jesus Christ. At the end of the tribulation, all unbelievers will be judged for their sin and unbelief; then, they will be removed from God’s presence. True followers of Christ will reign with Him. What a glorious hope for the “wheat”!

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troutfur · 2 months ago

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Any thoughts about DF?

Two thoughts:

1) I don't like the idea of it being a Hell type of realm but not for the reason I often see the objection. The idea that the worst of the worst of the Clans would be barred from StarClan makes sense and it isn't inherently reproductive of a Christian framework. What I don't like though is that for the group that seemingly is more accessible to your run-of-the-mill Clan cat I'd like their presence to be more immediate and not tied up in dreams and such. That's why I prefer to portray DF cats as haunting the landscape and being tethered to it, as opposed to StarClan cats being able to soar above it with bird wings. Mapleshade as the currents of the river, Onestar as the whirlpools that sometimes pull on WindClan warriors' legs if they step onto the lake, Tigerstar as the chill that sometimes comes over Fourtrees or the Gathering Island...

2) As with StarClan I maintain that placement is more interesting when it's public opinion that damns you over a panel of celestial judges. And just as public opinion turns so can placement. Mudclaw is the clearest example from my personal rewrite lore: from defeated traitor to folk hero who represents everything opposite to Onestar's rule to ascended StarClan spirit gloating to everyone who smote him way back when.

#warrior cats #wc #warrior cats au

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elizabeths-dumbassery · 5 months ago

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All People Should Have Moments of Being Angry in Media

Looking through videos of female anger in movies, in media, etc, and being disappointed to not see all the nuances and the power of a minority woman's anger.

I'm so disappointed to see mostly white woman or paler skinned woman.

I'm disappointed, especially because in all that talk of feminine rage, I don't see enough trans-woman, or non-binary woman, or other feminine gender identities there. Where's the emotional spectrum of disabled woman? I've personally never seen a trans-woman express pure feminine rage in media before.

DISCLAIMER: This post includes some feminine rage, but isn't about that subject. It's about the anger of women in general. If you want a post about feminine rage, go here. Im by no means a professional, and these may not be reliable either:

So here's my compilation of a woman angry in media, because I couldn't find what I was looking for. This varies in all kinds of situations. Some are just frustrations, sorrows or disappointments. They're unique, but they're all capable of being interpreted as anger. And they're all real.

Killers of the Flower Moon (Martin Scorcese) - Mollie Kyle (aka Mollie Burkhart) portrayed by Lily Gladstone

Helluva Boss: Hell's Belles (Vivienne Medrano) - Sally May played by Morgana Ignis

Hidden Figures (Theodore Melfi) - Katherine Johnson portrayed by Taraji P. Henson

youtube

The Color Purple (2023) (Blitz Bazawule)- Sofia played by Danielle Brooks

youtube

Wicked - Elphaba played by Indina Menzel

youtube

Lilo and Stitch (Chris Sanders and Dean DeBlois) - Nani Pelekai played by Tia Carrere

youtube

Arcane (Christian Linke and Alex Yee) - Vi played by Hailee Steinfeld

youtube

Barbie (Greta Gerwig)- Gloria played by America Ferrera

youtube

She-Ra and the Princesses of Power (ND Stevenson) - Catra played by AJ Michalka

youtube

The Owl House (Dana Terrace) - Eda played by Wendy Malick

youtube

Avatar: The Last Air Bender (Michael Dante, DiMartino, Bryan Konietzko) - Azula played by Grey Griffin

youtube

If I got anything wrong tell me! May make a part 2 depending how well this does, this post is just long as hell.

Share some clips or examples you think would fit. This can include quotes from novels, movie clips, show clips, comic panels, etc!

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droctaviolovecraft · 1 month ago

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TW: Body horror, gore/violence, parasitism, cannibalism

"My tapeworm tells me what to do, my tapeworm tells me where to go!"

Identification: Mr. Cannibal

Responsible Researcher: Dr. Öctavio Kalev

ANM #: ANM-667

Classification: Snit 🟡 | Contained ⭕️

Type: Humanoid, parasitic, cannibalistic, intelligent

Damage Type: Manipulative, physical, mental

Confinement: ANM-667 must be accommodated in a standard humanoid containment room designed to resemble a rustic, rural home consistent with 19th-century Alabama architecture. The room should feature wooden paneling, antique furniture, and prominent religious symbols of Southern Christianity, such as crucifixes and images of saints. ANM-667 has shown a preference for this aesthetic, which is believed to mitigate its more erratic behavior.

ANM-667 must be provided a daily meal consisting of exactly 1 kilogram of human meat, sourced from ethical and legally pre-approved suppliers. ANM-667 has expressed a preference for "younger and more tender" meat, but this request must not be granted under any circumstances. Any additional requests for "gourmet ingredients" or "more flavorful delicacies" must be denied and immediately reported to the Department Command.

No personnel are allowed within 2 meters of ANM-667 unless under direct orders. All personnel entering the containment area must undergo psychological evaluation before and after interaction, as ANM-667 has demonstrated an ability for subtle psychological manipulation.

Under no circumstances should ANM-667 have access to any medical instruments, particularly scalpels, knives, or any tools used for dissection. It must be restrained during interviews, with two armed guards present at all times. Any erratic behavior or attempts to perform surgery on itself or others will be met with immediate sedation.

Description: ANM-667 is a male humanoid, approximately 2.09 meters tall and weighing around 100 kg, with a robust yet strong body type, despite the absence of visible muscles. He has been identified as "Jarvis Trevor," a former resident of Alabama, USA. He is a red-haired Caucasian man who exclusively dresses in a chic yet outdated suit, reminiscent of early 20th-century fashion. Despite the age and deterioration of the garments, they have not fully degraded, suggesting some anomalous preservative properties.

The most notable feature of ANM-667 is the presence of ANM-667-B, a parasitic human fetus located inside his abdominal cavity. ANM-667-B is connected to ANM-667 by a large umbilical cord that visibly pulses. The fetus displays no observable cognitive function but behaves parasitically, compelling ANM-667 to consume human flesh to sustain it. Though the host does not seem to complain or find it "unpleasant" to have a fetus inside his abdomen, it appears he has grown accustomed to it. It is believed that ANM-667 no longer possesses most of his internal organs, having been replaced or consumed by ANM-667-B over time.

ANM-667 can voluntarily open his abdominal cavity, revealing ANM-667-B. This display is accompanied by the grotesque but precise retraction of his rib cage and flesh, exposing the fetus, still connected by its umbilical cord. During this process, ANM-667’s behavior changes drastically: his eyes roll back, his voice becomes higher-pitched, and he frequently makes macabre references to horror films, literature, and culinary arts.

When in this state, ANM-667 often engages in theatrical performances, singing or reciting famous lines from classic horror films. On one occasion, ANM-667 sang a distorted version of Sweet Home Alabama while holding his abdominal cavity open, interspersing the lyrics with graphic descriptions of cannibalism and dismemberment. Personnel noted that ANM-667 seems to take delight in these displays, exhibiting a perverse pride in the grotesque spectacle.

In his calmer state, ANM-667 speaks in a refined and gentlemanly manner and claims to possess significant knowledge of human anatomy, surgery, and the culinary arts. He refers to his cannibalistic urges as "gourmet needs" and describes the consumption of human flesh as both a biological necessity and an art form. On several occasions, ANM-667 has attempted to offer culinary advice or suggest recipes involving parts of the human body, which he refers to as "noble cuts."

Despite his refined demeanor, ANM-667 is highly manipulative and prone to sudden outbursts of erratic behavior. He has been observed attempting to charm personnel into providing additional "delicacies," and those who refuse are often subjected to his psychological games. ANM-667 seems to derive pleasure from causing discomfort or fear in those around him, though he remains calm and composed while doing so.

At all times, Jarvis Trevor maintains a straight posture, moving with deliberate grace, while his speech is calm, measured, and articulate, as if every word is chosen with utmost care. He frequently speaks like a scholarly aristocrat, often citing classic horror literature, such as Bram Stoker's Dracula or works by Edgar Allan Poe. ANM-667 takes particular pleasure in discussing anatomy, surgical techniques, and gourmet cuisine, frequently interspersing his explanations with gruesome details about his own cannibalistic tendencies.

He frequently requests access to classic works of horror, demonstrating an unusual attachment to the genre. Among his favorites are Frankenstein, The Picture of Dorian Gray, and The Strange Case of Dr. Jekyll and Mr. Hyde. ANM-667 has expressed admiration for the way these stories "understand the beauty of human fragility and transformation." He has also requested paper, ink, and quills on several occasions, claiming to be writing his own "treatise on the human condition." However, personnel have yet to review any completed works, as ANM-667 often burns his writings shortly after completing them, stating: "The world is not yet ready for such truths."

ANM-667 has shown a willingness to harm himself in order to feed ANM-667-B. In one notable incident, he calmly removed his own left eye using a scalpel and presented it to ANM-667-B. According to observers, he maintained his polite demeanor throughout the process, even apologizing to the staff for the "disturbance" his self-mutilation may have caused. ANM-667 has since replaced the missing eye with a vintage black eyepatch, which he wears with his usual sartorial elegance. When asked about the incident, ANM-667 simply smiled and said, "A necessary sacrifice. One must feed the body to sustain the mind."

Event Log – Frankenstein Experiment:

One of ANM-667’s most alarming behavioral incidents occurred shortly after he gained access to a copy of Frankenstein by Mary Shelley. ANM-667 appeared to be deeply fascinated by the novel, subsequently requesting additional medical textbooks and, notably, a book on human anatomy that included a section on early experiments with electricity in medical procedures. ANM-667 spent several days in a silent, meditative state after reading the novel, refusing all communication and meals.

On the sixth day, Dr. Jarvis broke his silence and requested access to a cadaver, under the pretext of demonstrating a medical procedure. His request was, of course, denied. However, two weeks later, during a containment breach event, ANM-667 somehow gained access to the medical wing, where he obtained a cadaver used for anatomical study.

Using an improvised defibrillator made from recovered equipment, ANM-667 attached electrodes to the chest of the cadaver and applied controlled electrical currents to the heart. What followed was a deeply disturbing display: the cadaver convulsed as the electricity passed through it, and after several minutes, the heart began to beat faintly. Although the body was by no means revived in the traditional sense, ANM-667's procedure managed to restore some degree of circulation to the lifeless cadaver. He described the experiment as "a tribute to dear Victor Frankenstein" while softly laughing to himself. Dr. Jarvis’s reaction to the partial success of the experiment was a mixture of triumph and curiosity.

Following the incident, ANM-667 was returned to his containment chamber, and the cadaver was promptly incinerated. ANM-667 has made no further attempts to revive the dead but has since spoken at length about "the possibilities of bringing life to the inanimate," drawing parallels between his parasitic relationship with ANM-667-B and the concept of resurrection.

He now frequently muses on the boundaries between life and death, often citing Victor Frankenstein’s own words: "What can stop the determined heart and resolved will of man?" ANM-667 has proposed that his own relationship with ANM-667-B is a form of "living resurrection," as the parasitic fetus sustains itself through the host's body, keeping both alive through a grotesque symbiosis. He has even suggested that his condition might be the "next step in human evolution," where death and life intermingle, not as opposites but as parts of a continuous cycle.

Despite the moratorium on providing ANM-667 with further scientific texts or any material related to resurrection, he continues to obsess over the topic. His fascination with the interplay between life, death, and electricity remains a potential threat, given his prior ingenuity in manipulating available resources to conduct such experiments. All personnel are advised to be vigilant and report any requests or suspicious activity from ANM-667 immediately. His erratic but brilliant mind remains a cause for concern.

Encounter Log ANM-667-6

Date: ██/██/20██

Location: Site-██, ANM-667's Containment Room

Subject: ANM-667 (Dr. Jarvis Trevor)

Secondary Subject: P-1622 (Male, 24 years old)

Note: P-1622 was selected for a routine interaction with ANM-667 due to his history of sociopathic tendencies and prior violent offenses. No prior interaction between ANM-667 and P-1622 was noted, and the purpose of this test was to observe Jarvis's behavior when introduced to an unfamiliar subject in a controlled environment.

[BEGIN LOG]

ANM-667 is seated in his containment chamber, impeccably dressed as always in his elegant, albeit outdated, suit. His eyepatch gleams faintly in the dim light, giving him an air of dark sophistication. He is sitting at a small wooden table, leafing through a copy of Edgar Allan Poe's The Tell-Tale Heart. His head lifts when the containment door opens, admitting P-1622 into the room.

ANM-667: (Closing the book gently) "Ah, another visitor. And quite a strong one, at that. How fortunate for us both."

P-1622 appears uncomfortable but maintains a neutral expression. Jarvis rises from his seat with slow, deliberate movements, his towering figure casting a shadow across the room. He approaches P-1622 with an air of gentlemanly grace, extending his hand.

ANM-667: "You’ll forgive me for not introducing myself sooner, dear guest. I am Jarvis Trevor—though I suspect you’ve heard me referred to by a more clinical designation. But here, in this moment, let us set aside those sterile titles, shall we?"

P-1622 hesitates, then shakes ANM-667's hand. His behavior suggests caution, though no outright hostility.

P-1622: "I’ve heard about you. They say you're… something else. But I don't see what’s so special."

ANM-667: (Smiling) "Ah, my dear boy, appearances are so deceiving. There’s much more to a man than he lets the world see. You and I, we're not so different, are we?"

P-1622 frowns slightly, uncertain of where ANM-667 is steering the conversation. Jarvis steps closer, his presence magnetic, yet subtly menacing.

ANM-667: "I sense you’re a man of desires. Hidden ones, perhaps repressed. But tonight, I offer you something… more intimate. A moment of tenderness in such a barren world. What do you say?"

P-1622 looks visibly confused, shifting uncomfortably.

P-1622: "What are you talking about?"

ANM-667 glides gracefully to a small, antique phonograph in the corner of the room. With a smooth motion, he winds the crank and sets the needle on the record. A slow, melodic tango begins to play. Jarvis turns back to P-1622, his face softening into a near-loving smile.

ANM-667: "Dance with me."

P-1622: (Taken aback) "What? No way. I don’t dance."

Jarvis closes the distance between them, his voice low, almost a whisper.

ANM-667: "Oh, but you will. Tonight, you and I will share something beautiful, something eternal. Come now, don’t be shy."

ANM-667 gently takes P-1622’s hand, his grip firm yet tender. P-1622 initially resists, but ANM-667’s persuasive, almost hypnotic charm draws him in. Slowly, they begin to move to the rhythm of the music, Jarvis leading with smooth, practiced steps. P-1622 follows, his discomfort gradually giving way to an odd sense of calm, as if enchanted by the elegance of the moment.

ANM-667: "You see? How the body flows, how the heart quickens. There’s art in this, my dear. In every movement, in every breath. Do you feel it?"

P-1622 remains silent, but his expression softens as he is drawn into the rhythm of the tango. They continue to dance, their bodies swaying in perfect harmony. Jarvis’s eye gleams with a predatory intensity, though his face remains serene, almost affectionate. After several moments, ANM-667 gracefully twirls P-1622, pulling him back into his arms, their faces just inches apart.

ANM-667: (Softly) "There, in your eyes. That flicker of understanding. You know what this is… don’t you?"

P-1622’s breath catches in his throat as ANM-667 leans in closer, brushing his lips in a tender, almost loving kiss. As ANM-667 pulls away, he gazes into P-1622’s eyes with a mixture of desire and inevitability.

ANM-667: "And now, my love… the final act."

Before P-1622 can react, ANM-667’s arm extends, pulling out the scalpel he had concealed within his sleeve. In one fluid motion, he drives the blade deep into P-1622’s chest, right between the ribs, aiming directly for the heart. The music swells as ANM-667 lowers P-1622’s body gently to the floor, cradling him as though they were still dancing.

ANM-667: (Whispering) "Shhh… it’s alright. It’s all part of the dance."

P-1622 gasps, his eyes wide with shock and confusion, blood spilling from the wound. Jarvis holds him close, stroking his hair with one hand while the other keeps the scalpel firmly in place.

ANM-667: "There, there. You were such a perfect partner, my dear. It’s a pity it has to end this way, but life is like that, isn’t it? All things must come to an end, but the beauty of it… the elegance of the finale… that’s something worth savoring."

P-1622’s body spasms, then goes limp in ANM-667’s arms. With a soft sigh, ANM-667 withdraws the scalpel, wiping it clean on a handkerchief before tucking it back into his pocket. He leans down, pressing a final kiss to P-1622’s lips.

ANM-667: "Goodnight, my dear. You were magnificent."

Jarvis stands, adjusting his suit with meticulous care. He turns off the phonograph, allowing the room to fall into silence. With a calm smile, he steps away from the body, returning to his seat and picking up his book once more as if nothing had happened.

[END LOG]

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Note: After reviewing the log, all personnel involved in monitoring ANM-667 were placed under psychological evaluation due to the disturbing nature of the event. It is believed that ANM-667's behavior during the encounter was a carefully orchestrated manipulation, demonstrating his ability to blend charm, seduction, and murder into a single act of calculated cruelty.

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