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bloop-bl00p · 5 months ago

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So there’s Voodoo but no Lwas?

Before everyone decides to jump me just know that I’m black, I grew up in a very Catholic environment and my grandparents implemented African traditions to worship God. Throughout the years of my dear old childhood, I also witnessed cults and beliefs outside of Christianity and know briefly of a few African Deities, spirits, syren, and many more.

So I can talk about voodoo, I still tried to do as much research as possible, and if someone sees any mistakes in what I say I apologize, be polite when pointing it out to me and I’ll modify it.

So here’s the first thing I want to address…

White people can do voodoo… what? You don’t believe me, here…

It’s been done since the 19th in New Orleans and whoever can worship is a much more nuanced issue.

You see in voodoo, there are these things called Houses (Humfo). It’s a temple where a community of people worship diverse Lwa and are led by a priest or priestess.

It’s a closed religion which means that you have to ask before entering one House. Some may refuse you because you have European ancestry, and I won’t lie Voodoo is mainly dominated by people with African origins due to its roots. You still could eventually find a house that’ll accept you but you can’t randomly start on your own without going through the process of initiation. Don’t mess with African spirits or spirits in general, voodoo is a group activity for a reason.

Now that all of this is cleared I want us all to come to one conclusion. Voodoo is only and ONLY for the people who will respect it. This applies to all religions.

And to writers.

Write about what you know and if you don’t know something research it! Don’t stop at Wikipedia, go on other sites, see documentaries or videos, and get books from the nearest library. Maybe you know someone who is more experienced in the subject you’re trying to write about?! I know it can be a long boring and annoying process, but sweetheart who told you writing respectfully about a preexistent thing was easy? If you’re unable to sit and open Google for research then don’t write about it!

Now that we all agree on something, do these scream respectful representation to you?

[“I care about representation!” Sure Viv, we believe you.]

Okay, voodoo dolls aren’t used for harm. That’s a myth from Pop Culture and Hollywood and it’s one of those examples of African religion being deemed as malevolent by popular media. Thank you Vivziepop for contributing to the stereotype, a big thanks. 🙂

Seriously, the usual voodoo dolls we see in media are usually tourist traps sold in New Orleans but aren't used by actual practitioners. But, there’s a thing called fetish or bocio, usually, those are figurines made of wood and hung on the tree in front of cemeteries to maintain a spiritual communication between the deceased and the living.

From a personal experience, when I was like 10 or 11 my parents saw safou (African fruit) growing near a restaurant, and the owner said to not get too close as fetishes were hung to avoid people from stealing the fruits. So it also has a protection function.

But I’m not here to talk about my childhood, see I mentioned something called Lwa, let’s see what those are.

Voodoo is a monotheistic religion, it teaches that Bondye [Bon Dieu in French literally Good God] is the supreme creator of this universe mirroring him to the Christian God. But he has no evil counterparts so no Satan or Lucifer.

Bondye is disinterested in humanity and innacesbile to us, but he still keeps tabs through the Lwas giving a polytheistic aspect of the religion. People pray to them and give specific offerings depending on which Lwas they want to please.

They also can communicate with us through dreams and possessions. All Lwas have multiple domains of expertise and if you want something specific you’ll have to call a specific Lwa.

Each Lwa has a symbol related to them they are called Veve. It helps them manifest in the physical world, offerings, sacrifices, foods, and drinks are placed upon them.

“Where are you going with all of these informations?”

Here are the symbols that appear every time Alastor gets spooky or threatens someone.

These symbols alone don't mean anything but they are drawings that can appear in multiple veve. Veves are usually much more detailed and they used complete ones with little simplification in the Pilot, since it’s still canon I’m counting it…

My little theory is that if they decided to simply it is because the animators were already suffering so they lifted up the pain by sparing a lot of details. I mean they used the complete symbols for trading cards.

With all of these it is natural for me to come to the conclusion that to get his powers Alastor calls on the Lwas that grant these extremely powerful ✨tentacles✨, weird red gremlins voodoo dolls thingies, deals-making abilities, and probably other things we haven’t seen yet.

Which means that Bondye exists—

“Th3r'$ n0 God in HH. 🤓☝️”

Sure I can work with that, the Lwas exist and are independent, I guess Viv still has creative liberties.

Since Alastor depends on them that means that he chooses specific spirits to gain the specific power that he has, so I decided to search for a few symbols that have a resemblance to the one of Alastor and we’re gonna test Viv's ability to make something consistent.

A rant about Alastor’s power:

Obliviously they are not all of the symbols in correlation with the one in Hazbin Hotel. I just took these to showcase something fascinating with Viv’s writing style.

1. Marassa-Dossou-Dossa:

They are androgynous twins. They represent the power and purity of children, families, and procreation alongside benediction, love, justice, and innocence. They are children, usually, you can offer them candies, drinks, or banana leaves. They are summoned at the beginning of each ceremony after Legba to signify their importance in the religion.

The Marassa are extremely powerful despite being represented as kids. They usually help people who have issues with getting a child or other important aspects like the death of a newborn. While they are mostly nice and all, they are responsible for bad luck and bring sickness when not correctly served or forgotten.

2. Damballa:

He is one of the Loa who helped Bondnye when making the cosmos and, you can imagine, a very important figure.

Damballa is represented by a giant snake and is often associated with St Patrick's. He is the keeper of knowledge, wisdom, and healing magic representing the symbol of life, peace, purity, and goodness. His partner is Ayida-Weddo who forms rainbows, together they use the same Veve.

They are extremely strict with rules regarding their ceremonies. Everyone needs to be dressed in freshly cleaned clothing, women need to wear a white headscarf made of silk. Alcohol, nicotine, and else are forbidden when calling upon him.

Damballa doesn't have legs, so during the possession, the possessed will fall and wiggle on the ground like a snake and sometimes hiss.

3. Le Baron Samedi:

He’s the spirit of the dead, resurrection, and the giver of life, it’s him you need to call if you wanna get in touch with your ancestors. He avenges the souls of the dead (witches, those who were wronged, etc, …)

Le Baron Samedi will heal your wounds if you’re willing to pay back, while it’s not his only ability the rest may be considered sinister since he’s a master of black magic and curses. If someone sends you a hex that brings death so long as Le Baron doesn't let you, you won’t die. Oh and you see the Christian Cross, it’s also his symbol.

Le Baron can manifest himself in our physical realm through specific rituals I won’t bother to describe how he presents himself just search his name on Google and look at the image. Despite being married to Maman Brigitte, he is still known for cheating. He’s also openly lewd quick to swear and likes to mess with people with a big ego.

Usually, his followers can be seen wearing black and purple as he favors these colors but it’s not obligatory.

4. Ayizan:

She’s a sweet grandma and protector of commerce. You can see her with a white dress and deep pockets buying groceries in local markets, and she gives candies to children and people who are respectful.

She’s associated with the rites of initiation in the religion, which is a ritual or ceremony to signify when someone passes from one group to another it implies a change of status in the society. (ex: passage of child to adult)

She’s a typical priestess and knows of the many wisdom and mysteries regarding initiation and the natural world. She’s one of the greatest healers of the pantheon and while she doesn't heal physical wounds, she heals psychically offering health.

5. Papa Legba:

He’s the spirit of crossroads, both metaphorical and literally. It’s symbolizes choices and opportunities. He’s also the intermediate between men and the spirit world people said he’s always in front of Houses. Papa Legba is invoked at the beginning of ceremonies to open the way for communication with other sprites and deities. While he’s mostly benevolent, he can be stern and enforce spiritual rules.

Some may also depict him as a fertility God, a tricker, or a protector of children. In Haiti, he facilitates communication, speech, and understanding. Children like him and he’s often asked to babysit.

He’s associated with Saint Peter since this figure also has keys that grant access to an afterlife.

Debrief:

With all of this informations, we can all agree that none of these spirits works with Alastor as there’s mainly associated with what we could consider a positive aspect of spirituality. Alastor isn't really an example of purity, goodness, and else. Plus his powers have no links to any of the–

“But there’s Le Baron Samedi, he does Black Magic.”

That’s true and he’s actually the only Lwa from my list who could potentially work with Al but there are a few issues. Le Baron Samedi messes with people with a big ego, even if Al decided to work with him it would be quite complicated. Add to that Alastor's respect for women, I don’t think he’ll like to work with someone who cheats on his wife.

But let’s actually think of the potential here, making him a tangible entity Alastor could speak to, would have led to interesting character dynamics with Le Baron mocking Alastor and making him rethink his decision every time he tries and acts selfishly. Le Baron Samedi could have been the one slapping Mister Deer Boy to reality.

Personally, I think it would have been cool to add hints of the partnership by making Alastor’s suit black or giving him purple accessories but Viv's palette of colors is unfortunately very limited to the same shade of red.

“You only listen to 5 deities that appear to be popular, maybe somewhere there’s actually a Lwa that is working with Alastor and you simply didn't choose to show it to us.”

There’s actually one spirit I can think of. Bakoulou Baka, I did not find pictures of his veve unfortunately.

What I can say about him is that he grants powers and wealth. But since he’s associated with dark energy, those things are finite and you’re royally fucked if you don’t repay him in time. He is so evil that people are scared of calling upon him.

Baka in general is a term used to refer to spirits willing to deal with very powerful sorcerers. They pretty much will do anything only if the price is right, they are malevolent spirits who’ll turn on you if you don't do your part of the deal.

Alastor was mentioned to be stuck in a deal, it would be a great twist if the one who got him in this situation was an Evil Lwa he underestimated and failed to repay when he was alive. But we know Vivziepop that won’t be the case.

“You’re too harsh on her those will be obliviously mentioned in season 2.”

Think back to all of the things I said in this post, the different terms like House, initiation, Lwa even the word Voodoo itself, are they even mentioned ONCE in the show? Did Vivziepop make an effort in the FOUR YEARS of production to include them? Did she make the slightest bit of effort to make sure that the new audience knows that Alastor practices voodoo?!! Even by watching the pilot you can’t tell it’s mentioned once fastly by Charlie AS A JOKE.

“IT’$ h@rD t0 Do that.”

Yeah, writing is hard you have to deal with it. And be for real, there’s a scene where Vaggie enters Alastor’s room and sees him eating a deer, rather than see him in the middle of breakfast that could have gone like that:

“What the hell are you going?

– Just a few offerings to keep the Lwas happy.”

Smart people would have been like “What What the hell is a Lwa?” They would have searched it on Google, and Bam people know Al does voodoo.

“But th3 szeN3 w@s to sh0w h3 was a canibal.”

We’re talking of the same guy whose bestie is the cannibal queen, when Rosie proposed fingers to Charlie he could have accepted it. Good now the audience knows he’s a cannibal too, yay!

Religion is an important aspect of characters as it explains most of their behavior. That’s the type of thing you introduce in the first seasons then expand on the second.

And we’re talking of the same show where Husk looked at the screen and told us each of the main character archetypes. I’m surprised Alastor hasn't been called Voodoo Man or something.

I thought of those rewritten scenes in the span of two minutes and you’re telling me Viv couldn't in four years?!

“But HH is b@seD 0n B|blic@l t3xt. Voodoo |s DifeREnt. 🤓☝️”

Are you aware Voodoo is essentially a very big salad of multiple beliefs mixed together rights? You know that one of them is Christianity right?! Some Lwas are associated with Saint, so nothing prevented Viv from making a new class in Heaven called Lwa whose job is to assist the Saints in their task.

When Charlie and Vaggie presented themselves in front of the gates, Saint Peter could have been the one holding the keys and Papa Legba would have been the one reading the book to know who was entering or not.

With the bare minimum in terms of research (1 week), I managed to think of quick easy but effective ways to implement voodoo in the Hellaverse in the span of 2 poor minutes. So why can’t Vivziepop do this when she had FOUR YEARS?!!

Or maybe it’s just that… she doesn't care.

She doesn't care

You need to have a very VERY blatant lack of care for the source material to present voodoo the way Vivziepop did it. Every time the veve appears around Alastor it’s to communicate one thing danger and threat, it’s a harmful stereotype that needs to end people pointed it out she refused to listen.

And it’s because of this lack of respect that bullshit like these happen in her fandom.

Alongside this, you can count the many comics of Alastor using voodoo dolls to hurt/control someone. I’m not blaming any of these fans, I’m blaming Vivienne Medrano for feeding such harmful ideas about the community and not making it clear enough that those symbols are part of a rich culture that people hold dear to their hearts and NOT A FUCKING AESTHETIC

You want an actual example of respect for foreign beliefs?

In the movie Exhuma, the main characters are a shaman and a geomancer, obliviously those who worked on the movie took creative liberties regarding shamanism in Koran culture BUT they actually called a Shaman. There’s a scene where one of the main characters is supposed to do rituals, the actors learn an actual choreography and do it as accurately as possible the shaman was there to supervise everything from beginning to ends.

All I’m asking is for Vivziepop to open Google and do a deep dive. It’s like a school presentation, you sacrifice at least 2 or 3 hours of your days to research your subject, and she had 4 years to do that a little bit of everyday.

Noo it’s too complicated apparently and come on look at these beautiful veve! It’s edgy if I draw them with red on a dark background they look EeViiiIil.

I said it I said it again, if you’re not willing to research as much information about a preexisting subject.

Don’t write about it.

If you don’t have a little bit amount of respect for a religion and care about representing them properly.

Don’t write about it.

Don’t be like Vivziepop.

#anti vivziepop #hazbin hotel critical #hazbin hotel criticism #vivziepop critical #vivziepop criticism #vivziepop critique #hazbin hotel critique

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trungles · 1 year ago

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Cross-posting an essay I wrote for my Patreon since the post is free and open to the public.

Hello everyone! I hope you're relaxing as best you can this holiday season. I recently went to see Miyazaki's latest Ghibli movie, The Boy and the Heron, and I had some thoughts about it. If you're into art historical allusions and gently cranky opinions, please enjoy. I've attached a downloadable PDF in the Patreon post if you'd prefer to read it that way. Apologies for the formatting of the endnotes! Patreon's text posting does not allow for superscripts, which means all my notations are in awkward parentheses. Please note that this writing contains some mild spoilers for The Boy and the Heron.

Hayao Miyazaki’s 2023 feature animated film The Boy and the Heron reads as an extended meditation on grief and legacy. The Master of a grand tower seeks a descendant to carry on his maddening duty, balancing toy blocks of magical stone upon which the entire fabric of his little pocket of reality rests. The world’s foundations are frail and fleeting, and can pass away into the cold void of space should he neglect to maintain this task. The Master’s desire to pass the torch undergirds much of the film’s narrative.

(Isle of the Dead. Arnold Böcklin. 1880. Oil on Canvas. Kunstmuseum. Basel, Switzerland.)

Arnold Böcklin, a Swiss Symbolist(1) painter, was born on October 16 in 1827, the same year the Swiss Evangelical Reformed Church bought a plot of land in Florence from the Grand Duke of Tuscany, Leopold II, that had long been used for the burials of Protestants around Florence. It is colloquially known as The English Cemetery, so called because it was the resting place of many Anglophones and Protestants around Tuscany, and Böcklin frequented this cemetery—his workshop was adjacent and his infant daughter Maria was buried there. In 1880, he drew inspiration from the cemetery, a lone plot of Protestant land among a sea of Catholic graveyards, and began to paint what would be the first of six images entitled Isle of the Dead. An oil on canvas piece, it depicts a moody little island mausoleum crowned with a gently swaying grove of cypresses, a type of tree common in European cemeteries and some of which are referred to as arborvitae. A figure on a boat, presumably Charon, ferries a soul toward the island and away from the viewer.

(Photo of The English Cemetery in Florence. Samuli Lintula. 2006.)

The Isle of the Dead paintings varied slightly from version to version, with figures and names added and removed to suit the needs of the time or the commissioner. The painting was glowingly referenced and remained fairly popular throughout the late 19th and early 20th centuries. The painting used to be inescapable in much of European popular culture. Professor Okulicz-Kozaryn, a philologist (someone with a deep interest in the ways language and cultural canons evolve)(2) observed that the painting, like many other works in its time, was itself iterative and became widely reiterated and referenced among its contemporaries. It became something like Romantic kitsch in the eyes of modern art critics, overwrought and excessively Byronic. I imagine Miyazaki might also resent a work of that level of manufactured ubiquity, as Miyazaki famously held Disney animated films in contempt (3). Miyazaki’s films are popularly aspirational to young animators and cartoonists, but gestures at imitation typically fall well short, often reducing Miyazaki’s weighty films to kitschy images of saccharine vibes and a lazy indulgence in a sort of empty magical domestic coziness. Being trapped in a realm of rote sentiment by an uncritical, unthoughtful viewership is its own Isle of Death.

(Still from The Boy and the Heron, 2023. Studio Ghibli.)

The Boy and the Heron follows a familiar narrative arc to many of Miyazaki’s other films: a child must journey through a magical and quietly menacing world in order to rescue their loved ones. This arc is an echo of Satsuki’s journey to find Mei in My Neighbor Totoro (1988) and Chihiro’s journey to rescue her parents Spirited Away (2001). To better understand Miyazaki’s fixation with this particular character journey, it can be instructive to watch Lev Atamanov’s 1957 animated film, The Snow Queen (4)(5), a beautifully realized take on Hans Christian Andersen’s 1844 children’s story (6)(7). Mahito’s journey continues in this tradition, as the boy travels into a painted world to rescue his new stepmother from a mysterious tower.

Throughout the film, Miyazaki visually references Isle of the Dead. Transported to a surreal world, Mahito initially awakens on a little green island with a gated mausoleum crowned with cypress trees. He is accosted by hungry pelicans before being rescued by a fisherwoman named Kiriko. After a day of catching and gutting fish, Mahito wakes up under the fisherwoman’s dining table, surrounded by kokeshi—little wooden dolls—in the shapes of the old women who run Mahito’s family’s rural household. Mahito is told they must not be touched, as the kokeshi are wards set up for his protection. There is a popular urban legend associated with the kokeshi wherein they act as stand-ins for victims of infanticide, though there seems to be very little available writing to support this legend. Still, it’s a neat little trick that Miyazaki pulls, placing a stray reference to a local legend of unverifiable provenance that persists in the popular imagination, like the effect of fairy stories passed on through oral retellings, continually remolded each new iteration.

(Still from The Boy and the Heron, 2023. Studio Ghibli.)

Kiriko’s job in this strange landscape is to catch fish to nourish unborn spirits, the adorable floating warawara, before they can attempt to ascend on a journey into the world of the living. Their journey is thwarted by flocks of supernatural pelicans, who swarm the warawara and devour them. This seems to nod to the association of pelicans with death in mythologies around the world, especially in relationship to children (8). Miyazaki’s pelicans contemplate the passing of their generations as each successive generation seems to regress, their capacity to fulfill their roles steadily diminishing.

(Still from The Boy and the Heron, 2023. Studio Ghibli.)

As Mahito’s adventure continues, we find the landscapes changing away from Böcklin’s Isle of the Dead into more familiar Ghibli territories as we start to see spaces inspired by one of Studio Ghibli’s aesthetic mainstays, Naohisa Inoue and his explorations of the fantasy realms of Iblard. He might be most familiar to Ghibli enthusiasts as the background artists for the more fantastical elements of Whisper of the Heart (1995).

(Naohisa Inoue, for Iblard Jikan, 2007. Studio Ghibli.)

By the time we arrive at the climax of The Boy and the Heron, the fantasy island environment starts to resemble English takes on Italian gardens, the likes of which captivated illustrators and commercial artists of the early 20th century such as Maxfield Parrish. This appears to be a return to one of Böcklin’s later paintings, The Island of Life (1888), a somewhat tongue-in-cheek reaction to the overwhelming presence of Isle of the Dead in his life and career. The Island of Life depicts a little spot of land amid an ocean very like the one on which Isle of the Dead’s somber mausoleum is depicted, except this time the figures are lively and engaged with each other, the vegetation lush and colorful, replete with pink flowers and palm fronds.

(Island of Life. Arnold Böcklin. Oil on canvas. 1888. Kunstmuseum. Basel, Switzerland.)

In 2022, Russia’s State Hermitage Museum in Saint Petersburg acquired the sixth and final Isle of the Dead painting. In the last year of his life, Arnold Böcklin would paint this image in collaboration with his son Carlo Böcklin, himself an artist and an architect. Arnold Böcklin spent three years painting the same image three times over at the site of his infant daughter’s grave, trapped on the Isle of the Dead. By the time of his death in 1901 at age 74, Böcklin would be survived by only five of his fourteen children. That the final Isle of the Dead painting would be a collaboration between father and son seemed a little ironic considering Hayao Miyazaki’s reticence in passing on his own legacy. Like the old Master in The Boy and the Heron, Miyazaki finds himself with no true successors.

The Master of the Tower's beautiful islands of painted glass fade into nothing as Mahito, his only worthy descendant, departs to live his own life, fulfilling the thesis of Genzaburo Yoshino’s 1937 book How Do You Live?, published three years after Carlo Böcklin’s death. In evoking Yoshino and Böcklin’s works, Hayao Miyazaki’s The Boy and the Heron suggests that, like his character the Master, Miyazaki himself must make peace with the notion that he has no heirs to his legacy, and that those whom he wished to follow in his footsteps might be best served by finding their own paths.

(Isle of the Dead. Arnold and Carlo Böcklin. Oil on canvas. 1901. The State Hermitage Museum. Saint Petersburg, Russia.)

INFORMAL ENDNOTES

1 - Symbolists are sort of tough to nail down. They were started as a literary movement to 1 distinguish themselves from the Decadents, but their manifesto was so vague that critics and academics fight about it to this day. The long and the short of it is that the Symbolists made generous use of a lot of metaphorical imagery in their work. They borrow a lot of icons from antiquity, echo the moody aesthetics from the Romantics, maintained an emphasis on figurative imagery more so than the Surrealists, and were only slightly more technically married to the trappings of traditionalist academic painters than Modernists and Impressionists. They're extremely vibes-forward.

2 - Okulicz-Kozaryn, Radosław. Predilection of Modernism for Variations. Ciulionis' Serenity among Different Developments of the Theme of Toteninsel. ACTA Academiae Artium Vilnensis 59. 2010. The article is incredibly cranky and very funny to read in parts. Contains a lot of observations I found to be helpful in placing Isle of the Dead within its context.

3 - "From my perspective, even if they are lightweight in nature, the more popular and common films still must be filled with a purity of emotion. There are few barriers to entry into these films-they will invite anyone in but the barriers to exit must be high and purifying. Films must also not be produced out of idle nervousness or boredom, or be used to recognise, emphasise, or amplify vulgarity. And in that context, I must say that I hate Disney's works. The barrier to both the entry and exit of Disney films is too low and too wide. To me, they show nothing but contempt for the audience." from Miyazaki's own writing in his collection of essays, Starting Point, published in 2014 from VIZ Media.

4 - You can watch the movie here in its original Russian with English closed captions here.

5 If you want to learn more about the making of Atamanoy's The Snow Queen, Animation Obsessive wrote a neat little article about it. It's a good overview, though I have to gently disagree with some of its conclusions about the irony of Miyazaki hating Disney and loving Snow Queen, which draws inspiration from Bambi. Feature film animation as we know it hadonly been around a few decades by 1957, and I find it specious, particularly as a comic artistand author, to see someone conflating an entire form with the character of its content, especially in the relative infancy of the form. But that's just one hot take. The rest of the essay is lovely.

6 - Miyazaki loves this movie. He blurbed it in a Japanese re-release of it in 2007.

7 - Julia Alekseyeva interprets Princess Mononoke as an iteration of Atamanov's The Snow Queen, arguing that San, the wolf princess, is Miyazaki's homage to Atamanoy's little robber girl character.

8 - Hart, George. The Routledge Dictionary of Egyptian Gods And Goddesses. Routledge Dictionaries. Abingdon, United Kingdom: Routledge. 2005.

#hayao miyazaki #the boy and the heron #how do you live #arnold böcklin #carlo böcklin #symbolists #symbolism #animation #the snow queen #lev atamanov #naohisa inoue #the endnotes are very very informal aksjlsksakjd #sorry to actual essayists

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solcattus · 10 months ago

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Part of the church at Argue, 1823

By Samuel Prout

#art #fine art #classical art #british art #british artist #litography #19th century art #1800s #british painter #graphic art #cemetery #architecture #english artist #european art

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echantedtoon · 3 months ago

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Demonstober Day 3 Vampire

A corpse supposed, in European folklore, to leave its grave at night to drink the blood of the living by biting their necks with long pointed canine teeth.

Tagging: @lavenderdropp @six-eyed-samurai @trancylovecraft @cherrysuzaku

Remember if you want to be added to the spooktober taglist lemme know

Never go out at night. Especially near the old cemetery.

You never understood why. Aa a child growing up you just assumed because the place was scary and full of ghosts so you were happily in agreement of staying far, far away from the old cemetery down the road. You'd never go there, and stayed very far away which pleased your family. It wasn't until your sixteenth birthday that your grandfather pulled you aside one day under the guise of coming to help him carry vegetables to sell at the nearby town square however as soon as you two were alone, he pulled you both behind the barn and had a very scary serious face.

"Y/n, listen to me. You're sixteen years old now. In two more years you're going to be all grown up and be able to make your own decisions and that's why I have to warn you before it's too late."

You blinked at him in shock. "Grandpa, what are you talking about about?"

"I'm talking about vampires!" His tone was so blunt it made you blink.

"Vampires?"

"Do you know why the old cemetery was abandoned and the new one was built right behind the village? Or why no one goes near the old one? Or why no one stays out at night?" You shook your head. You just assumed because it was creepy and haunted. He scoffed. "Of course not! No one's ever bothered to tell you the truth! Folks around here like to pretend nothing bad happens around here!"

"But...Vampires?"

He nodded. That sounds.. unbelievable. There hasn't been any cases of people going missing or being found dead with their bodies drained of blood or with bite marks on their necks. And there hasn't even been any livestock killings other than the time your uncle caught a fox in his henhouse last year..But that was just a fox.

"Let me tell you the entire truth. Back even before even my own parents were born, there was a clan that lived in the abandoned estate right next to that cemetery, it's so long no one even remembers their name, but long ago tragedy struck them. The entire clan turned on one another over a family dispute which left only two standing. A pair of brothers one of which left his clan after the incident while the other took over the entirety of the estate."

"That's very sad, but what does that have to do with anything with Vampires?"

"The brother who left died." His tone suddenly became very grim. "His body was found one day alongside the road as dead as roadkill. Instead of burning the cursed corpse, he was brought home to his brother so he may be buried in the family cemetery. However that mistake would prove to be fatal. The very next day after the funeral, the remaining brother was found dead in his bedroom! His entire body was drained of blood and a look of pure horror was etched onto his face."

Your eyes widened in shock at the words that left his mouth.

"It didn't stop there. A distant member of the clan's family went missing the next week, and then a week after that two other girls from the surrounding area also went missing. Not even their bodies were ever found."

"That's all very sad..but how do you know that it was vampires. Couldn't the girls have just ran away from home? Or the brother have a heart attack and died?"

"Because when the local priest investigated the cemetery alongside the towns men, he ordered all the clan members graves to be dug up and the bodies examined." His gaze turned grave as a shudder physically shook his body as you gulped. "One by one each and EVERY member was dug up from the ground for the priest to examine and each one was the same with some form of destruction until they got to the final one. The brother who left the estate. "

Your skin got goosebumps and a shiver ran down your own spine at the way he was looking at you in fear. This story..Even if it was fake, sure was scary.

"When they pulled his cursed coffin from the ground and tore it open, his body was in perfect cold condition. As if he has just died within the last hour." His fearful expression became more scared. "But he wasn't the only one in that grave. Within the soft earth they found the three girls who had gone missing. Their bodies in as perfect condition as their devilish husband now. He had claimed them as his brides of the undead!"

"W-Why didn't they just burn the bodies then?"

"Because they had already angered the spirits and committed a sacred crime by digging up all the bodies! No one wanted to risk angering the spirits on top of having a vampire! All the bodies were reburied with the exception of those cursed with vampirism. They were taken to be locked away in a mausoleum, and a steak was driven into the man's heart to return him to the dead! That place was abandoned since."

"If the vampire was killed, then why is there still worry?"

"Because someone removed his stake! A vampire is only dead as long as the stake remains in his heart! However it was discovered someone had broken into the crypt and removed it. The bodies were gone and since then it's always been the same. Don't go out at night. Stay away from the old cemetery. You're a young woman so you're going to be the most vulnerable. Heed my words, Child. Do not be fooled by them."

Since then you've been scared of going outside at night by yourself which your grandpa approved of until his eventually death a year later..but with you becoming older and older, you noticed that everything really wasn't as scary as your grandfather made it out to be. Your parents never before seemed to mind you going outside at night so long as you stayed away from the old cemetery they seemed perfectly happy.

Plus LITERALLY NOTHING EVER HAPPENED!!

Nothing but the usual animals in the night. You never saw anything dangerous other than maybe a wild animal. Even IF there was a vampire running around, he must've been long gone by now or wasn't interested in the humans here. In fact he might not even exist at all! You came to the conclusion that he DEFINITELY didn't exist when you were out stargazing fell asleep and woke up perfectly okay on your balcony. If there was a vampire then he would've taken advantage of a woman fast asleep in the night.

So you began to wonder what else might've been made up? Fairies? Ghosts? Imps? You've never seen anything like that even when you visited the cemetery and your grandparents' graves. No ghost, spirits, or spooks. So was the old cemetery they told you about really that bad either? Your curiosity only continued to grow and grow as you turned twenty and it was one day that you decided to go and check it out for yourself.

Walking down the old path long since overgrown and completely covered in grass and flowers. You barely were able to find it from how much it blended into nature. You didn't know how far exactly you walked or how much time had passed by but eventually you came across something you were sort of expecting. The starts of a rock wall..the sight of it in the sunlight made you slow down to a stop. Staring wide eyed at the monument like it was something forbidden.

You should probably turn back now...but there's a reason why you came here during the day instead of night. Taking in a deep breath, you slowly approached.

Old rocks crumbling away slowly from the elements and overgrown by vines. The wall was old and looked one step from crumbling away entirely as you approached it before slowly grabbing on some semi looking non rumbling parts and started pulling yourself up enough to look over the wall. The state of the inside was like a something out of a ghost story alright. Giant grass and wild flowers growing up and taking over the stone walkways that cracked badly with neglect, a few trees had grown in random places and a few stones looked like they were entangled in their roots.

Your footfalls were the only things that sounded around the place as you slowly walked around looking at everything. There was so many stones laid about everywhere. Misshapen by the elements over time and overgrown like everything else around the place. There was symbols that might've been named long ago but they were too worn away to really make out what they were when you curiously peered at a few. Continuing to walk around until you stumbled upon something. Something big.

A giant structure like building that was as big as a shed made of stone.

It stuck out like a sore thumb in the middle of everything. A giant tree growing out of a giant crumbling crack in the top and side coating the entire structure in shade. Where a door might've been was now covered in vines like a nature prison cell. Was that the famous mausoleum from the story? Your form walked up and pushed the nearly roots apart enough to poke your head in. Only to cough and sneeze at the amount of dust accumulated inside. But there was nothing inside. Not even a body.

So that proved there was nothing here. Whelp. That debunks everything everyone else said. Wrestling with the roots until you were able to pull your head out and relax back. Now that your curious itch was satisfied, you could leave and never look back. This place was creepy even in the daytime. You turned to leave, grass crunching under your feet as you took a few steps-

"Who are you?" You immediately jumped with a gasp looking around wildly for whoever talked. "Up here."

You looked up and paused. Up on top of the mausoleum was a man. A very BEAUTIFUL man. Soft looking white flowed down his shoulders and broad muscles tensed up from where he kneeled on top of the ancient structure looking at you. His clothes fit him in such a way that reminded you of old ninja uniforms seen in some history books from school, but what struck you the most was the magenta eyes that seemed to be staring right through you.

"Who are you?," he repeated making you jump.

"Oh! I uh-..I just wanted to look around and..stuff!"

"Uh huh." His eyes narrowed more looking you up and down before stopping on your side eyed face again. Seeming to calculate something in his mind.. before smiling. "Well you know what they say." He quickly switched from a kneeling position to a sitting one with his legs hanging over the side of the structure and scooted further into the shade, head in one hand. "Curiosity killed the cat."

Your brow rose at him. "And who are you?"

"Uzui. Tengen Uzui. You happen to be trespassing on my territory lady, so I can ask you the same thing."

"Territory?" You looked around again at the creepy damaged old graves. Who'd want this as their property "No offense but have you seen where you are?"

"Every day and night but Im curious now. Why are YOU?"

"Huh? Oh. I'm Y/n. Look. I didn't mean to bother you-" You held up your hands and took a step back. "-and I'm sorry but I should really get back before someone worries about me."

"Why would they worry about you? It's not like these dead people can hurt you."

"Well you're not going to believe me if I told you."

"Try me. You'd be surprised by what I've seen in my lifetime."

"Well they say this place is crawling with vampires."

Instead of laughing at you or looking at you like you were crazy, he hummed again and smiled wider. "Vampires. You don't say."

"Yep. That's why I was here. I came to see if anything was here but there's nothing. Just a fairytale like everything else I've been told."

"Not true. There's me and I happen to be rather flamboyant if I do say so myself!~" he purred gesturing to his muscles and making you snicker.

"Yeah. Right. Well I'd better be going. It was nice to meet you. Sorry for trespassing."

"Hey. Wait a minute." A loud thud sound went off as he pushed himself off and landed on his feet, and you gawked at how much taller he was than you were. Smiling still. "It's been a long time since anyone else visited me and it's pretty lonely up here." His hand gestured to the far left. "My wives and I have an estate just a little away from here. Why don't you come back to visit tomorrow?"

You blinked again. "An estate? I thought everything up here was abandoned.years ago."

"Right. I bet they say that it's haunted too."

"Is it?"

"No. But sometimes my best buddy comes by." He smiled at you in an almost joking way. "He's a Kitsune spirit. Even has a flashy shrine in the town over."

You couldn't help but giggle. "Ok. Sure. It'd be nice to visit someone knew. I'll come by next week since I'm not busy that day."

"GREAT! I'll have my wives fix you a feast! It's been years but my Suma can make a delicious shishkabob outta venison and veggies! I used to eat it all the time."

You didn't know what you've done that day. Waving goodbye as you climbed back over the wall. You didn't see him yawn before climbing back up the tree to rest again making sure to avoid the sunlight peeking in through the leaves.

You did end up coming back next week without telling anyone. Past the cemetery and even further past it. You were surprised to find a small mansion in the middle of the woods right smack dab in a clearing. You guessed that someone must've moved in and fixed up the place. You ended up knocking on the door which slid open and you were met with pink eyes blinking in surprise.

"Oh my...He wasn't kidding when he said you were coming" she sounded surprised but opened the door widely beckoning you inside. "Please come in! We've been expecting you."

"Thanks! Are you Suma?"

"No. I'm Hinatsuru but it's so good to see someone new! We don't have much visitors."

Hinatsuru. And the other two wives Makio and Suma. They were all so different from each other and Mr. Uzui was there too happily smiling and talking to you. With the food they promised you. It was so good! But they didn't eat anything.

"We ate before you came to visit us, so don't worry about it."

That didn't bother you. Nor did it bother you when Tengen offered to walk you home once it got too dark. Your parents weren't worried since they didn't worry about you going out (they had no idea that you went near the graveyard) and were surprised seeing the stunningly beautiful man standing in the doorway.

"Charmed I'm sure!" He posed making your mother even blush. "Tengen Uzui.~ I know we just met but I think I want to start courting your daughter. With your permission of course ~"

That's how the entire thing began. Almost as if your parents were hypnotized by him. They agreed much to your shock and you were suddenly counted by not only the beautiful man but his three beautiful wives. It certainly does seem like something out of a fairytale having so many beautiful people fond over you.

Especially when he kissed you for the first time. A blush coating his face as you held his cheeks. Surprisingly cold lips kissed yours. And then your cheeks. And then chin. And then stopping at your neck. Eyes going slit feeling the rush of pulsing blood under sharpened teeth.

"So beautiful. You're so beautiful. So flamboyant. So M I N E.~"

"T-Tengen? W-What are you doing?" His hug suddenly got tighter.

"It's alright, Princess. It'll only hurt for a second." You were suddenly aware of the adoring smiles on the wives faces as fangs poked out from between lips. "After all, a vampire's kiss is eternal.~"

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