#erik stanczyk

[creekschaoscorner]

I’ve been thinking a lot about Antoine De Foile. About what it means, to dedicate 666 years to a promise made to one person. To a singular goal. What that does to a man. He left everything behind that didn’t serve it. His innocence, his compassion. The boy who knelt by his master’s side and swore to do whatever took grew into a man, and that man grew into a monster.

And that’s exactly how he raised Erik Stanczyk. To let go of the shackles of man’s law. To be able to do whatever it took to bring about their god. To be a fully fledged monster in his own right. It’s like generational trauma, in that way. Antoine loved his son. There is no denying that. But he saw Erik’s cruelty in the face of fear as potential to be honed, instead of what it really was. A lost little boy lashing out to feel in control. And William Bendent’s blood pooled on the ground, and Antoine took Erik under his wing. And they were monsters. Master and apprentice. Fulfilling Antoine’s master’s dream. Passed down from one to another, through love, through loss.

And Anna Stanczyk. Antoine’s perfect host. The girl he saw like his own daughter. He laid her out on the altar and he called it an honor. To be host to his god. The highest of honors. He cried, seeing her for the first time in 30 years. The coldness of the years fell away and he cried, because he loved her. Because he was glad to see her again. He was going to sacrifice her anyways.

Am I making any sense?

[crayycrayon]

FUCK OFF

FUCK RIGHT OFF

[creekschaoscorner]

HELLO. ALL CANON INFORMATION ABOUT ANNA STANCZYK, YOU SAY? BOY DO I HAVE THE LOREDUMP PREPARED FOR YOU

(This is a full summary of Anna Stanczyk’s backstory. It’s long. I apologize for nothing and am completely willing to answer any followup questions you may have)

In the late spring of 1889, Konrad Stanczyk, his wife, and their pre teen daughter Anna immigrated to America from their home in Poland. Mrs. Stanczyk had recently suffered some sort of accident that left her without the use of her legs, and the whole family was still adjusting to her wheelchair. That December baby Erik was born, and Anna was gifted a diary for Christmas, a diary that would later become very important. Her maiden aunt Beatrice Coldwell visited for the new year and left again- she lived in the nearby city of Arkham, where she was quite the socialite.

1890 began, and Konrad’s behavior started becoming quite odd. He had been on edge before the new year, but he began to become dangerous, lashing out at his family, refusing to aid his wife in getting up and down the stairs. In turn, his wife fell ill, her health slowly declining. Anna took to sleep in an abandoned house she found in the woods. It was one night, out in this house, that she heard something coming from the nearby dilapidated church. She took a lantern and investigated the sound, and it brought her to the undercroft of the church- where she found a dug up grave, and a headstone reading “Neitsh Walder”. A voice whispered into her ear the words: “The Three Soldiers”.

It was soon after that she discovered her father nailing boards over the door of her mother’s room, and made the decision to flee. She bundled up her baby brother and a few of her belongings, and left in the night. She hitchhiked her way to Arkham. Anna was alone, frightened, and didn’t know where to turn. She made the choice to leave Erik on the steps of Arkham Orphanage- a choice she would forever regret. She went to go live with her Aunt Beatrice, lying and telling her aunt that her parents were aware of her location and that she was in contact with them via letter. It was while she was staying with her aunt that she met one Antoine De Foile, Beatrice’s butler, and they developed an almost father-daughter like relationship.

Over the course of the summer of 1890, Anna dedicated herself to research. She checked out a book from the Miskatonic Library on the final resting place of the Three Soldiers, and discovered the existence of an entity known as the Black Goat- an entity she began to see. She started to fear for her own safety. Her dreams were strange, frightening- she woke to find scratches on her arms and legs, that she was missing a nail. Her aunt started to grow worried about Anna’s increasingly odd behavior, and eventually discovered her diary. Beatrice believed Anna had gone mad. In a decision that caused her an immense amount of shame, she admitted Anna to Arkham Sanitarium, and wiped her hands of the whole affair.

Anna’s dreams did not stop once she was admitted into the Sanitarium. If anything, they intensified- she dreamed of the true entity behind this, Shub’niggurath. She saw her. The Woods of a Thousand Young. She dreamed of the ritual to come, and in her dreams met a man dressed all in black- a man who told her that the events she saw did not have to play out in that way. Together they devised a plan to put a stop to the ritual, for good. Anna recorded all of these details down in her diary- but the staff of the sanitarium attempted to take it away from her. In a panic, she sent it to the only family she had left. She sent it to her little brother.

Anna would remain in Arkham Sanitarium for 31 years. Over those years her mind slowly left her as she was continuously haunted by the Black Goat. It wasn’t until summer of 1921, when the moon turned red and the sky writhed, and madness overtook the streets. She was chased by a swarm of black crows through the halls onto the roof, where they coalesced into the shape of a man with glowing red eyes. The very events of a dream she had all those years ago, the night she ventured into the church undercroft. Anna said the same words she did then: “There is nothing you can say that will convince me you are here to help.”

But unlike in her dream- she did not turn and fall to her death. No, a young man with glasses perched on her face, who she hadn’t noticed before- held out pages of her diary to her, told her his name was Jarrett, and pleaded for her help. Slowly, she came back to herself, through the fog that had overtaken her mind. The man with glowing red eyes was not as she had seen him- no, he was only one Henry MacFarland. Anna, through tears, confessed that the answers to stop what was coming lay in her diary. Her diary, which was with her brother.

Henry, Frank, and Jarrett brought her down from the roof, and they rode together back to Frank’s apartment. There they encountered Antoine, and Anna and Antoine had a tearful reunion. Anna went off to sleep and was left in Antoine’s care, as the trio left to investigate what became of Erik Stanczyk.

The next time Anna awoke, it was on a slab in a cavern below 58 Pelican Lane, as she was being lifted by the tendrils of Shub’niggurath through the portal that had been opened. Antoine had been the leader of the cult she worked so desperately to stop all along. He intended for her to be the host of Shub’niggurath. An honor, in his eyes, but no different than a sacrifice. Henry flashed a coin and was taken as the host instead, Jarrett and Antoine fought, Jarrett’s throat was slit- Shub’niggurath was erased. Something else came through the portal instead. Something that wore yellow. Anna shut the portal on it and bound what remained to a book. She left that basement hand in hand with the young Sarah Cummings, and was found by the police wandering Pelican Lane

hey :) hope youre doing good!

I REALLY enjoy your noel design, and I noticed you draw him with a lot of scars (100% here for it). In your last Noel/Oscar art you drew him with scars around his wrists. Do you have thoughts on how he got those? I'm thinking either in the dreamlands or he got kidnapped during a case and was handcuffed or smth for a While

Anyway let me hear your thoughts !!

Definitely from his time in the dreamlands, he was bond at the wrists for a pretttyyyy long time (by like ropes or organic freaky tentacles or what have you) because that man was the most unruly prisoner the KiY had in the pits for sure

[creekschaoscorner]

Finally finished the drawing of Mrs. Stanczyk/The Wraith that I started back for Malevoversary! I’m very happy with it

[creekschaoscorner]

So something the people of tumblr might not know about me is that I’m really obsessed with the stanczyk family, and more particularly anna stanczyk

Here is some assorted art to prove it XD

[creekschaoscorner]

And now for an audience of maybe two people: the Game 1 boys, Sammy Wiley, and Sammy and Petra at the end of Game 2

[creekschaoscorner]

This theme is continued in the CoC games as well. You mentioned Roland and Amanda- we never see anything of Roland that portrays him as anything less than a loving father, but we see the cruelty that love pushes him to. He’s willing to do whatever it takes to get her back, willing to blackmail and coerce and organize the death of an innocent woman. It’s through this he serves as a foil for Henry. Henry who loves his daughter more than anything else in the world, who considers her his moral compass, his guiding light. Henry who fails her frequently. He’s not there for Emily, gets swept up in his gambling and drinking. His debt puts her in danger. He’s willing to do anything to keep his little girl safe, but it’s his irresponsibleness that put her at risk in the first place. Roland is everything as a father Henry isn’t- a good relationship with Amanda’s mother, a stable job, a nice little house in the suburbs, meals on the table, a family pet- but he’s also everything Henry could be.

There’s also Antoine. We see first hand how much he loves the Stanczyk children. Children who might not be his, but who he loves like they are. He takes Erik in, he raises him like a son. He molds him like clay into a monster. Takes the distraught little boy killing another child in cold blood and tells him that cruelty is okay, that it’s expected, to release himself from inhibitions like morality and kindness. He is objectively a terrible father but he is never anything but a loving one. His revenge on the ones who kill his son is slow and calculated and serves a greater plan but it is still revenge. He tells Henry himself. “You know how much one will do for the ones they love”. And then- Anna. He says himself that she was like a daughter to him. Anna who he lays out on an alter, who he intends to sacrifice to be a host to a god and he calls it an honor. Don’t we all want to honor our children? Does Arthur not express the same desire? Antoine’s version of honor is warped and twisted and cruel and yet- and yet- it comes from love

Anna’s relationship with her biological father is no less complicated. Konrad starts as a family man and ends a raving lunatic. Anna watches as her father becomes dangerous, becomes a threat to her family, watches as he boards up her mother in her bedroom and leaves her to starve. Anna flees. Her father loses himself to forces outside of his control. Still in the depths of his madness he burns the remains of his infant son’s crib. Did some part of him know what he had lost?

(And when in CoC2 Nyarlathotep, in the guise of Konrad, starts a cult his followers call him Father)

We see fatherhood in many more forms than this in the CoC games. In Winslow’s doting on Petra, in Jarrett’s need for approval from Henry and Frank, even a twisted form in Senator Christian’s abuse of Mary Laval and the way he uses “fatherhood” as guise to keep her controlled

I’m not sure what my point here is aside from yeah. It’s very much a theme

It’s so fascinating to me about how much of Malevolent centers around bad or misguided fathers.

We spend ample amounts of time with Arthur’s grief and his faults, his fear of fatherhood, his failings of Faroe and the ensuing spiral afterwards. We hear of Bella’s strict upbringing, of Daniel’s controlling nature, the desire to shape his daughter into what he expected her to be, and even admitting to Arthur’s face that he intended to mold him as well, into what he thought his daughter’s husband should be. We learn of Larson’s betrayals, the sacrifices of his children: the monsters he made of those he should’ve loved, all in the pursuit of power and legacy. There’s an argument to be made even, of fragments and reflections and daughter and sons, that the King - that initial version of him now dead in all respects - was a sort of father, with John and Yellow as his residuals, his sons, his heirs, in a way. Finding their own identities now, free from the shadow of a predecessor, free to chose their own destinies, wether that is to separate themselves entirely, to scream defiantly of humanity and hope and self, or to try and reshape the visage of that dead malevolent god in desperate pursuit of love that wasn’t given, driven by a hate that was shared. What other analogy so seamlessly fits with the relationship between Arthur and Yellow than that of a neglectful father? The one who was supposed to be patient, be caring, be kind, the one who was supposed to teach this new being, this new child, about what life could be like? What love and kindness it could hold? But Arthur was too unsteady then. Too unstable to give Yellow the upbringing that he deserved. His nature was shared with John, and we’ve seen the depths of love he’s embraced. Yellow was simply nurtured wrong, encouraged down that spiral by a foster father who embraced and even venerated his rage. And similarly, in the basement in New York, we are reminded of nature and nurture, of animals and babes. Briefly, quick as a glance, we learn of the Butcher’s father, both a seething livewire and a subtle undercurrent in his motivations, manifested, perhaps, in his tumultuous relationship with failure, his self inflicted violence. Roland and Amanda receive less of the spotlight, but the foundations of everything are built upon their relationship. And now, with the Unclean, we know more of Arthur’s own father—who’s fate is known and the same as his mother’s—and his envy towards his friend, his childish jealousy and vindictive actions, of which he now condemns, having learned better, having known better. Every aspect of the narrative is seeped in fatherhood, in parenting, in children. Malam says as much by the fire: “They are our betters, our futures, our learned mistakes.” Malevolent is, at its core, about parents and children and hope.

And now, Arthur and John are on the run from a mother, on a mission given to them by a father, who’s daughter is largely a mystery, or perhaps, more familiar than we might think.