#grace horne | Explore Tumblr posts and blogs

simplegenius042 · 1 month ago

Text

LATE Music Monday, WIP Wednesday and OC Familiars Quiz

Tagged by @imogenkol @josephseedismyfather @direwombat @noodlecupcakes and @socially-awkward-skeleton

Tagging @adelaidedrubman @raresvtm @derelictheretic @inafieldofdaisies @voidika @cassietrn @aceghosts @icecutioner @shallow-gravy @strangefable @statichvm @cloudofbutterflies92 @carlosoliveiraa @g0dspeeed @wrathfulrook @starsandskies @ladyoriza @la-grosse-patate @thewanderer-000 @omen-speaker @alypink @shellibisshe @josephslittledeputy @skoll-sun-eater @afarcryfrommymain @strafethesesinners @turbo-virgins @florbelles @minilev @justasmolbard @softtidesworld @yokobai and @seedsplease + anyone else who want to join.

With Kinktober over I can catch up to all the Music Mondays, WIP Wednesdays and Quizzes I missed. Music for The UnTitledverse and Life, Despair & Monsters. WIPs will be for The Silver Chronicles, two focusing on the Bloodborne AU while one shows the Coroner!Silva AU. This Quiz will be for characters from my Wings And Horns WIP and A Radioactive Calamity of Love, Bombs & Gore series. Hope you enjoy below the cut:

At the SCP Foundation, there is often hours or days worth of breaching at the sites, whether it be because of a restless anomaly breaking out once more or an experiment gone wrong. This is no different in SCP: Confining Spaces from The UnTitledverse. Sure, some things escape. And sure, personnel die. But eventually a task force is set in to re-contain the anomalies and save the surviving personnel, or any trace of the site is wiped off the face of this Earth depending on how bad things will be. But ultimately, everything is "Fine and Dandy" in the SCP Foundation:

youtube

"I was there to witness The victim of a sickness He wants the world to notice That he's not worth the focus He could make an entrance But could not make a friend Now he's got lots of different scratches From trying here and then

And I say liberate your sons and daughters The bush is high, but in the hole there's water You can keep it well and hidden No one's perfect, but it's a living

Hey ho, here he goes Either a little to high, or a little to low Got low self-esteem and vertigo But he thinks he's fine and dandy Hey ho, here he goes Either a little to far, or a little to close He's pretending, that everybody knows He thinks he's fine and dandy

Ring a ring of roses Whoever gets the closest He comes and he goes As the war of the roses Mother wouldn't kiss him 'Cause of his condition Now he's stuck in a prison For his strange disposition

Liberate your sons and daughters The bush is high, but in the hole there's water Do as you will, it's much less work to ignore But if it don't feel good What are you doing it for?

Liberate your sons and daughters The bush is high, but in the hole there's water Do as you will, it's much less work to ignore But if it don't feel good What are you doing it for? What are you doing it for? What are you doing it for? What are you doing it for? What are you doing it for? What are you doing it for? What are you doing it for? What are you doing it for? What are you doing it for?

The main crew of protagonists in Life, Despair & Monsters is made up of menagerie of original and canon characters, most of whom have been negatively affected (that's an understatement) by Sir Enigma Malvolio but I don't think I've discussed who exactly they're made up of? So here's (thus far) the cast out for Malvolio's head; Haoyu Anabuki, along with the DDLC crew Monika, Sayori, Yuri and Natsuki (all except Haoyu were targeted by Malvolio in my Doki Doki Literature Club WIP); Hatsukami Hinode, Icarus Galatos and Xavier Tulip, in addition to Hatter and their fellow heroic partners from France, Marinette/Ladybug, Adrien/Chat Noir, Kagami/Ryuko and Luka/Viperion (Marinette was personally targeted by Malvolio while the others were affected by association in my Miraculous: Tales of Ladybug & Chat Noir WIP); Sonya and Jennifer (both victims of Malvolio in my Sonnie's Edge fic); Guenevere & O.R.I.O.N, as well as Morgana, King Arthur and Lancelot (Guenevere & O.R.I.O.N were victims of Malvolio while the latter three were affected by association in my Guenevere WIP); Lora (not personally affected nor targeted, just in it for the adventure, from my Arcane: League of Legends WIP); Rico (affected by association, from my Cyberpunk 2077 WIP); and lastly Sydney, Dina and Sydney (targeted by Malvolio in my I Am Not Okay With This WIP). Now this may be updated with future Love Death + Robots characters or others from other fandoms depending if I can figure out a way for them all to naturally come together. Malvolio actually stopped caring about all of them when he got the data he wanted from them and left, however, when they kill his prized specimen, Edith "Evie" Bloodleech, that's when they get his attention. Here's a song I believe describes both the protags and Malvolio's thought processes toward each other:

youtube

"The bass and the tweeters make the speakers go to war Ah, the mighty trumpet brings the freaks out to the floor The bass and the tweeters make the speakers go to war Ah, the mighty trumpet brings the freaks out to the floor."

"Tell me, tell me, where the freaks at? Tell me, tell me, where the freaks at? Freaks at, freaks at, freaks at, freaks at-" "Tell me where the freaks at?!"

("Hey!")

"We get that bass thumpin', people jumpin' all over the world We got them speakers pumpin' Timmy Trumpet for the woman with curves Got that freak flow, freak show Welcome to the cicus Let the leaders lead, preachers preach Welcome to the circus!

Close the curtains on 'em if they're actin' like they never heard us See, we do this for a purpose just to keep that fire burnin' And we don't need no water, let that mother-mother burn Timmy, play your trumpet, let the people go berserk!"

("Hey!")

"Tell me, tell me, where the freaks at? Tell me, tell me, where the freaks at? Freaks at, freaks at, freaks at, freaks at-" "Tell me where the freaks at?!"

First snippet of the FC5/Bloodborne AU features the surprise introduction of Tracey Lader as the Hunter of Hunters! For those who don't know, the purpose of the Hunter of Hunters in Bloodborne (in the game it was Eileen the Crow) was to give mercy killings to Hunters who went insane from their blood lust or kill hunters who probably defected/threaten the safety of everyone. They wear crow garb and plague doctor like clothes (and mask to likely avoid the risk of being infected by the werewolf/Scourge Beast Plague (including the Ashen Blood Plague) with two sickle-like daggers called the "Blade of Mercy". Anyway, this is like two-and-a-half or less hours before Joseph's arrest, and Tracey is (kind of) chilling out with her fellow hunters (who may or may not become her victims depending if they can control their blood lust), and while they're mucking about, she suspects somethings up. Enjoy below:

'The Hunter of Hunters is a watchmen who admonishes those who were once our fellow brothers and sisters but have succumbed to the drunk haze of their own blood lust,' she recalled Paul inform her as he initiated her into the role, 'By taking this Oath, Tracey Lader, you not only adorn yourself the weight of the Garb of Crows and the Blades of Mercy, but you alone burden yourself with the sworn duty of putting your comrades, be they man or beast, friend or foe, out of their maddening misery, should they lose themselves.'

Tracey remembered how Paul sliced across the palm of her left hand, to allow the deep flow of blood to emerge from the necessary cut and had her place her bloody hand on the engraving that all Hunters had sworn bloodlessly to. Like she had once done. However, at that time, with her bleeding palm smearing the Rune of Hunters, it had felt different.

'Do you, Tracey Lader, as the next Hunter of Hunters, pledge yourself to remain strong in the face of your blood addled adversaries... to prevail with resilience and resist against the seduction of your own blood lust... and above all else, show a gracious disposition when taking the life of those you will call your comrades?'

Tracey kept thinking back to the very moment she had pledged herself to this life with a hardened yet sincere "Yes". How heavy the decision felt, to hold herself to the standards her Oath demanded. How Paul alone had crowned her the Hunter of Hunters, with no one to witness her inauguration, but the shadows of those she must follow. She brushed a thumb at the intricately-patterned badge of the crow. The only one to have ever been made.

Bestowed upon another escape from the pain and rage of facing the one person who she could not face, lest her tough persona fall. The ghost who roamed the monastery in those white shawls and was dressed as if she was a bride, a constant reminder of her failure she'd fail to endure if she chose to stay.

Tracey breathed in the floral incense in her mask's beak to calm her nerves, before exhaling. It had been years since she had last visited either the Convent or the Monastery, and many more since she's even spoken with... her.

She spent most of her time in the refurbished Prosperity where the Hunter's Chapel resided, a small chapel-like structure no different from Jerome's in Fall's End or the Lamb of God Church, although it was a story taller than the other two, with the bell tower affectionately referred to as the "Crow's Nest" as her predecessors inhabited the space.

Tracey had been less than impressed by the inheritance, but it was... something for her.

Even if it was in the Henbane, she thought with disgust. The region had undergone... some changes throughout the years, and not just from the Hunter's and Peggies use of it.

Weird shit was just happening here, and she wasn't just referring to the Bliss. No, strange sightings were being reported; some range from dancing women whose laughs echoed in the night sky, plus claims of dark shadow-like figures lurking from the mist or hiding in the corners of their eyes, and the smoke bellowing from makeshift chimneys coming from the abandoned Misery.

Those, however, Tracey personally believed were either Bliss hallucinations or just the cult being fucking shifty, and was also explained as such.

However the other reports were... less explainable. There had been some sort of reports of cloaked and hooded masked figures walking to or from the Peggies Pilgrimage, ringing bells and carrying stretches of wrapped up bodies either collected or disposed of. Not to mention the reports of unfamiliar beasts lurking in the foliage, bio-luminescent fluids sprayed on the few buildings that were here, the disappearances that neither matched what they've come to expect from both beasts and Peggies alike.

Hell, Miss Mable complained about the fucking moon, all because Peaches "didn't act like her usual self", even though she made the claim after a hunt had been completed, so Tracey dismissed that as just Peaches hating the hunt.

She sighed and leaned back against the wood, observing how the sun descended lower, reflecting off the lens of her mask. It would only be another two hours or so before the Sheriff's Department would come arrest Joseph... or so Paul had informed her.

It was... shocking when he said those words over the radio. After years of establishing a good connection with Joseph and his cult in spite of their shady operations, years of listening to her and many other's concerns but dismissing them in an assuring voice, and years of standing up for the Seeds in the face of backlash and gifting them two out of the three bunkers that were dens to the beasts... he finally does something about that wretched man.

At least, it's what Tracey assumes to be his doing. Likely couldn't ignore the warning signs with the recent spur between the county's residents and the Peggies decade-long growth of suspicion and resentment. Maybe trying to save face.

Regardless, if it leads to the downfall of Joseph and his cult, and the Sheriff's Department to get off their asses, Tracey can't not be satisfied by the outcome, right?

Though there was a lingering feeling, just at the back of her mind. A doubtful, bad feeling. And a few questions.

What does Paul get out of this?

It's not like Paul to just let his main ally who supplies him with numbers and resources against the scourge beasts to just be arrested. Hell, even with the beasts numbers almost depleted, they were still an issue. She hated to admit it, but Joseph and his family had been a fundamental reason to why they were succeeding thus far.

She pondered if Paul is doing this to gain all of Eden's Gate' resources and property. Some of which would present an advantage against the remaining beasts, especially if Joseph really had been proven as an obstacle to their goals.

Not only that, but it also would mean Paul would no longer have all of them bound to the restrictions of the Seeds' deal.

While impressive if Paul had truly planned that out, it brought up the problem of how Paul could stake claim on those resources if Paul and the Hunter's weren't collectively affected by the Peggies actions, personal bias and experience notwithstanding. Thinking more on it, Tracey noted how hush-hush Paul had sounded about Joseph's coming arrest.

She's made her objective assumptions on the reasons why Joseph would be getting cuffed, but she never got a clear confirmation from Paul himself before he cut off communication.

The sun blared while the sky grew more orange, and Tracey looked away from it. A reminder of her next question.

Why has Paul allowed this to happen now?

The timing itself didn't sit right with her... not the fact he's allowed this to happen nine years late, but instead with the growing darkness from every second that goes by, the sun gaining closer to the horizon.

She'd thought if Joseph was going to be arrested, Paul would have it occur during the day, or at the very least, at a time dawn would arrive.

Not late evening when the sun was setting. Not at dusk. Not at a time where by the time the Sheriff's Department arrived to Joseph's Compound, they'd all be violating curfew. Not at a moment where the Hunters would need to prep for a potential hunt.

Which lead to her final question...

Why was she and the rest of the Hunters all on stand by?

By now, the Hunters would have gathered their preferred weapons, mapped out the roads and areas where the beasts would most likely linger, set up the traps for the Sanctuary Hunters fortifying and guarding populated areas like Fall's End, the Monastery, the Convent, as well as Eden's Gate property and bunkers.

Plus here, she grimly noted, seeing no signs of the heavily garbed protectors. Nor of Alexander and his squire, Hannah.

Usually, Tracey would be the first to leave... after all, the Hunter of Hunters must take to the shadows during a hunt, and keep tabs on her comrades at all instances, and be swift and effective at the signs of their consumption to darker impulses.

But not this time. Paul had specifically ordered to stand by and await further orders. Not just for her, but some of her fellow hunters as well.

She glanced over to what was once the mayor's office; now a glorified lounge set up by Boshaw and Drubman Jr, with cushioned office chairs dragged out and set about a small bonfire with desks that had bottles of beer and pizza boxes.

The two were fooling about; Sharky blabbering on about some nonsense while fucking around with the parts of his flamethrower, and although Jess didn't seem too annoyed with Sharky's topic of conversation, as she pretended to inspect her arrow, Tracey noticed how she tensed whenever the device branched its aim almost towards her.

Hurk was throwing knives at the empty beer bottles he set up for target practice... to a surprising amount of success, to his delight.

The only one she couldn't find amongst the menagerie was Grace.

"Aren't you hot in that thing?"

Tracey turned to look beside her. Speak of the devil and he may appear, she thought to herself, though replace "devil" with "ally" and "he" with "she" and Tracey found Grace Armstrong in her dark green leather attire. It was reminiscent of her military uniform, but much suited for a hunting beasts rather than dispelling enemies.

"It's the middle of winter," Tracey pointed out gruffly, though Grace didn't seem too phased by her tone, instead she just snorted at her reply.

"Don't you want to at least get some fresh air before you use up all your incense?" Grace inquired, tone neutral. Though Tracey wasn't bothered by it, she understood the other woman's just looking out for her.

However, that didn't mean she wanted to be unprepared in case Paul's orders had some solidity behind it.

"Technically, I'm on the clock," she refuted with an excuse, eyeing the sun's descent closely, "We're all on the clock, and I want to be ready once the Chief Hunter clarifies further commands. And orders are orders."

Grace gave an understanding nod and appeared to take the hint to not push further, but she did say, "I understand. Though hadn't the Chief also ordered for us to stick close together?"

Tracey, with a tilting head, did in fact recall that, "Yeah...?"

"Then you wouldn't mind joining the rest of us by the fire then?" Grace responded with a raised brow. Tracey stared at her with wide eyes, though Grace couldn't likely tell from the beaked mask. Failing to come up with an immediate reply, Grace takes notice and simply states, "You don't have to. I know Boshaw and Drubman are... extreme company."

Tracey snorted at her words, Extreme is an understatement for any member of the Powder Kegs. How Paul approved of the coven was beyond her.

Last snippet of the FC5/Bloodborne AU (before we switch over to the Coroner AU) takes place many, many, many hours and I imagine chapters (probably somewhere in the midway point) after Tracey's last few hours of rest before she is fighting for her damn life. Here is a flashback of Tracey's reaction to Faith becoming their new Vicar after a year or so of being a regular Hunter and never seeing her face after the split, as well as Paul promoting her to Hunter of Hunters. Enjoy below: [TW: Descriptions of decomposing desecrated corpses, maybe borders on gore(?), weird plants and Character Death]

Tracey looked across the treeline through the dark purple shade of the clocktower's window, curled up against the window sill's wall, her hand gripping at the knee of her pants.

Rage, sorrow and confusion were mixing at the forefront of her mind. Wondering... why? Why, why, why, why? Why her? Of all people, why her?!

Tracey didn't think she'd find an answer, until she heard him climbing his way up the ladder to the head of the clocktower, ascending with a creak from each step he put his weight on.

Not far long, she glanced to see the black fingerless leather gloves grip at the last step of the ladder, and the familiar sight of blonde dyed hair was first to ascend as Paul pulled himself up.

He was out of breathe by the time her crawled onto the wooden floor, though she didn't blame him; after all, the clocktower had a lot of ladders required to climb up until one is to reach the top. She only did it because it's the most isolated room in the Monastery.

Which is why Paul must have found her so quickly. She kept her eyes to the window as he looked her way, but through the reflection she could see his hazel eyes perk up just as his lips curved into his signature jovial and excited smile.

"Ah, I knew you'd be here," Paul commented, not noticing the cold glare she sent his way through the glass pane, "Kamski reckoned you ran off, but I begged to differ. Now he owes me ten snails."

He let out a little laugh as he stood up, though when he noticed how she kept her gaze to the view, it faltered to a flat end.

Still keeping on his smile, he adjusted the brace around his left leg (at this point, the monastery had given up on trying to stop him from exerting that leg in spite of very valid medical concerns that he ignores, though on the plus side, Kamski still gives him shit) before he took a step closer as he chose not to beat around the bush, "I had noticed you weren't present for Vicar Faith's inauguration ceremony, which got me worried. Uh, you missed out quite the spectacle."

Tracey cocked her head as she tried to put her emotions into words towards Paul. Though this action seemed to have prompted Paul to tell her what she had intentionally missed out on, "Oh, yes. Once Faith was established the title of Vicar, Silva had taken the initiative in swearing the Old Hunter's to oath her. Took her hand, bowed down as she made her vows, and ended it with a kiss to the new Vicar's knuckles. A tad dramatic, even for her? Sure, but a passionate display of fealty I never expected from her."

Paul trailed off, mumbling some words Tracey didn't care to hear as her fist dug into her leg.

"Why her?" she finally asked the man, though her quiet tone made the words sound rougher when they left her lips.

Paul hummed in question, and approached closer. He placed a hand onto her shoulder, but she whacked it aside, to both of their surprise. She recovered quickly though, looking straight into his surprised hazel eyes as she inquired, louder, "Why Rachel?"

Paul blinked at her, clueless and ignorant, trying to make sense of her question, "Rachel? Your best friend?"

"Former best friend," she hissed out in correction, and grew hotter from the frustration of him not figuring it out, "The one who stayed with that cult to become daddy's little flower girl. THAT Rachel."

Paul sputtered at her words, shocked and confused as he tried to wrap his head around it.

"But Faith can't be Rachel? She's the Seed brothers sister... unless you're insinuating that Joseph adopted Rachel and had her become...," Paul trailed off as he paused and really thought about it, thinking back on things he's heard at some point and corroborating it with this recent information before reaching a realization, "...Huh."

Tracey waited for him to come to the rational conclusion of an apology or even go and rectify the mistake of bringing an untrustworthy ally into his inner circle, but instead he puts a gloved hand to his chin, lost in thought, "That's... actually very useful information. Grazie for letting me know."

Tracey stared at Paul, exasperation only fueling the growing embers of anger as she stood up, "That's it? THAT'S FUCKING IT?! That's all you have to say? Why is it good to know? Why did you put her in a position of power close enough to your own? Why have the Hunters allied with Eden's Gate, despite what I told you about them? WHY, Paul?!"

Chest heaving and breathless, Tracey tried to hold on to her ire, to direct it at someone she thought knew better. Because that'd be easier than confronting HER, wouldn't it?

In spite of her outburst, Paul regarded her with nothing but a concerned gentleness. His gaze was reminiscent of when he first met her; the same balance of pity and empathy he showed when he spoke to a teen with no home and no place in the world, given to her once more while she was barely entering her twenties now.

It was the same, it had to be; there was no condescension, no manner of coddling, just... understanding and patience.

She wondered if this is something he learned as a father while raising Silva. A brief thought came after that too, 'Does he see himself as a father to me?'

She dismissed it though. Paul was like this with every one of his Hunters. She supposed he attain some of his more fatherly qualities into his leadership, but she could understand that the authority of both roles could intersect.

She didn't need a father. Never had. But she respected Paul. He ran a tight ship based on comradery and loyalty, and wasn't afraid to get dirty with them if the situation called for it, something she can't say the same about Joseph and his brothers during her time in the Project, even with his whole bullshit spiel of "I am your father and you are my children".

She supposed, thinking back on it, she had assumed Rachel to be the same as her.

Maybe she should have brought Rachel here instead of listening to that old coot.

Paul slowly moved closer to her, a slight limp to his braced left leg. He was tall, at least a head taller than her, but he wasn't intimidating, not to her at least. Silva was intimidating, but only because it was like she knew things that Tracey didn't, and the latter was fine with that.

Even then, fear wasn't something used to lead here. Fear was a reminder that they were still human.

'Fear is one step away from courage, if you're willing to confront it,' she remembered Elsa once say. The woman was a box of mysteries, and not one Tracey had the patience to unwrap.

"I know you're worried," Paul acknowledged, placing a hand lightly on her shoulder, "I understand your concerns. If I had my way, I'd want nothing to do with the Seeds. But we need help against the beasts, and as luck would have it, the Project has the people and the resources we can utilize, in exchange for giving them the beasts' dens after we eradicate them."

Tracey shook her head as she tried walk past him, but he place another hand on her shoulder. Although it was gentle and held little strength, she decided not to push past him, and let him say his piece.

"I'm not being foolish here, Tracey," he assures her, giving a small pat, "I know their not trustworthy. I know bringing Faith in as our Vicar is a risk. I wouldn't do this unless I was confident I could counter anything they could try."

Tracey felt her outrage begin to dissipate, although it didn't leave completely. She was confused on why he'd still do this in spite of the risks, "Then... why?"

Paul looked away as he pondered an answer; or perhaps, whether or not he should disclose the information to her. Looking back to her though, he cracked and gave in, "Because game recognizes game. They're planners. Schemers. I am aware of the threat they pose, and I want to be able to keep a close eye on them, or at least have leverage."

Tracey narrowed her eyes at Paul; while she was glad he wasn't being ignorant to the threat and acknowledged the danger Eden's Gate can pose, she was alarmed by his last sentence, "Is Ra- Faith leverage?"

Paul cringed. Another contrast from what she's seen between Joseph and Paul; one kept a serene and almost otherworldly act up, as if he was close but still a messiah to be idiolized from afar... like the moon, in a weird sense. Beautiful and appealing from afar, but ugly and desolate up close.

Meanwhile, time after time, she's consistently seen just how... honest Paul was in his expressions. Joy and sadness, amusement and annoyance, patience and anger, pride and disappointment. And sometimes embarrassment. He was so... human, that it almost made her forget how she knew he and his daughter hide things from many people.

But that mostly related to whatever was in their past, some inner workings of the Hunters, and however the fuck 'Enlightenment' works. And frankly, two of those were none of her business, and all three didn't affect the public as far as she was concerned.

Paul spoke once more, though more hesitant she noticed, and less explanatory, "...I don't intend her to be. I really can't say much else than that, Tracey."

Tracey however wanted to confirmation, "But if it came down to it... would you?"

Paul frowned, looking almost apologetic, "I can't get things to go the direction I hope it will go... then sì. I don't like it, and I can guess how you feel, but it'll be the only advantage we have to keep Joseph on a leash. Or at dealt with."

Paul saw how conflict riddled Tracey's face, and he added, "I'm not going to hurt her. That had never been the intention when bringing her in, and you know, that's not what we do here. I need you to trust me, cara puma. Trust that... I can help her see something better than him."

Tracey looked to Paul, how his hazel eyes implored for her to believe in him. Such sincerity that she'd never see through Joseph's serenity. She gave a sigh, "I... guess I can trust you."

Paul looked relieved. Tracey though thought of those white shawls around the dress of the Vicar's garb, crowned by flowers and three blood gems forged by their rune masters Isiah and Gemini. A hauntingly beautiful visage that would roam these halls, and a reminder of how she wasn't enough for her in the end.

And she couldn't face her. Not now. So, she had to tell him, "But... Paul I can't be in the same building as her. I don't want to leave the Hunter's Coven... I really don't but if there's no other option...."

She left the rest unsaid, though seeing how Paul noticed her distress, she realized she didn't have to say it. He understood.

She expected him to accept her words as a resignation, but was surprised by his next words, "There is one..."

Tracey's attention was captured, and Paul continued, "I had wanted to talk to you about this for some time now. You see... in light of Hunter Elsa's death, there had been no successors, whether chosen by her will or volunteering themselves, to take up her mantle of the Hunter of Hunters."

"Silva and I had a discussion about it... trying to figure out who could be a worthy successor to her sorella," Paul explained, and Tracey felt her heat beat pace up as Paul regained eye contact with her, "And we agreed that maybe... if you're willing... it could be you."

Tracey, to put it simply, was at a loss of words. Paul, however, was not, so he continued, "Again, you can refuse. It's less an offer and more of a burden to ask of you. But it might help you get what you want... you can keep to yourself, you're not required to be with groups, only fight when you need to, and you don't have to set foot on the Monastery again. You'll be stationed at Prosperity in the Henbane, where most of the other Hunters reside. You won't ever have to cross paths with Faith, as we're mostly keeping her here and likely visits elsewhere, but not Prosperity."

"It's not ideal, but it's yours if you- woah!" Paul had to balance himself from the weight of the young woman hugging into him. Tracey couldn't fathom how a clusterfuck of a misunderstanding in the form of an accidental kidnapping lead to her finding like-minded people who were ready to fight for the county's freedom against the scourge. Nor the fact they show respect to her as a person.

"Thank you," she softly whispered, the gratitude carrying more weight than just this offer.

Paul slowly returned the embrace, lightly and clearly trying to avoid being too clingy, but he was at least relaxed.

He gave a small calming pat to her back, the rays of sunlight breaking through the window, shining a purple hue through the clocktower's tinted glass , "Anything for my Hunters."

--------

In the darkness that expanded in the maze of the catacombs, the decaying plant growth crunched under the weight of Tracey's boots, despite her cautious steps.

Through her mask's lens, she could see vines and moss cling dead to the walls, the ceiling and the ground. Mold spread along the walls and ceilings, sewage dripping from old rusted pipes and dust circulated in the air. But that wasn't all; there were two other unidentifiable flora growths in this labyrinth.

The first was a fat, pulsing bio-luminescent fungus growing from the cracks of the floor, spewing out what was clearly spores and leaking... something out of its cavity hole. Tracey was thankful to her beaked mask, breathing in the floral incense instead... whatever is in the air.

The second was less flora and more of a mini structure; a packed group of hexagonal prismatic columns stuck to corners of the expanse including the pillars, similar to that of a wasp nest or a beehive. Difference was, Tracey didn't believe these to be made of bee wax or dead leaves. It looked more like yellowed cartilage.

Tracey spotted buzzing yellowjackets writhing inside the hives. She swallowed on nothing, fear keeping her heart pounding, alive and on edge.

She could never picture the monastery having a basement level... especially one so deep. Pots of cremated ash laid at the bottom of the walls, the walls aligned with skulls, the age of which she couldn't tell.

She didn't want to waste time inspecting the architecture of a level she only felt unease in. She called out once more, "Lindsey! Are you here?!"

She saw on the other side of this room another set of doorways wide open, a possible indication that Dr. Lindsey went through there. She shook her head in frustration; this would be the fourth set of doors she'd go through in the Monastery, the first being the base level and the next ones descending further into the basement.

She decided to run through it until she saw the veterinarian or bumped into him.

She sped in a burst, dashing past the doorways, expecting to run down a curve of steps. Instead she stumbled and fell over two steps, managing to at least roll to avoid landing on her face.

She grunted, displeased. Tracey began to stand, pushing one hand down for support, but froze when she hear repulsing squish.

She down to where her gloved hand was, and saw it was pressed inside the decomposing corpse of a man; a Peggie, she noted, seeing the slashed marking of their cross. She retracted her hand away from it, keeping her hand close to the hilt of one blade.

She slowly stood up as she inspected the new room; similar to the architecture of the catacombs, the only difference she found were the four dead trees, the broken gravestones circling close the walls and corners of the room (with exception to the entrance and whatever opening was on the other side of the spore mist) and lastly the abundance of decomposing corpses, human and beast alike, male and female, big and small, strewn across the floor, the ground covered in their collective dried blood.

They all shared the same fatal wounds; one slash across the chests, stomachs and backs, or perhaps missing chunks of their bodies, or skulls busted open, and all having some form of their limbs and heads all separated from the body in a fest of gore. She wasn't even sure if the appendages she can see belong to any of the bodies or if some had been taken to... elsewhere.

Thoughts of the Misery invaded Tracey's mind, but she shook it away. Although what she witnessed there was... horrific, what she can see now was above it, if not equal to-

-elch!

Tracey froze at the distant sound. Heart hammering, she tilted her head, listening closely for small sound. She tensed when she heard it reverberate around the room again.

Squelch!

Breathing heavily, she gripped tightly around both her blades' handles, ready to draw them at the slightest hint of trouble as she maneuvered her steps around the corpses. Gaining closer, she heard it louder.

SQUELCH!

From a small distance, she could see a figure's silhouette through the mist. They lifted their arms, clearly holding a long, sharp-ended or perhaps spiked weapon that requires two hands, before bringing it down again, result in the disturbing squelch, this time with the addition of a crunch.

She unsheathed her blades just a bit, as she gained closer behind her distracted enemy. That's at least what she assumed they were. From the looks of it, human. Sharply dressed in what seemed to be yellow and black hunter's garb. A blood-drunk serial-killing Hunter? Now I've seen everything tonight, she thought to herself.

She found herself eating her words too early as she halted in her approach when she noticed three distinct details.

First, this hunter's figure and small raspy ragged breath indicated that he was male.

Second, he held a curved, hooked staff, the head taking on the familiar appearance of a curled wasp with with spikes along the back for a painful blunt attack.

And third, his left leg was adorned with a brace around it.

Tracey's eyes widened as she recognized who this Hunter was.

The nausea set in when he stopped cutting down the limb of the corpse. A recently bloodied dark-haired corpse that had a red slash across the teal shirt, crimson splotches staining the black vest and dusty grey pants.

The shattered rectangular glasses and dropped busted open med kit, the contents spilled from the fall, were only a confirmation of both the victim's identity and who the culprit was for the other corpses.

He released a deep exhale, while her breaths only increased. He calmly removed one hand from his weapon and leaving his other on it, all the while her hands trembled on the hilt of her blades.

She could only watch as his turned, not all the way, not revealing all of his features, for she didn't need to discern who he was even if he did, but to acknowledge her presence.

"Ah... Lader," Paul drawled out her surname with such serenity that it just sounded wrong. Tracey shuddered as he said, "I knew you'd come here."

[A/n] Psych! It was a flashback and the present moment! Also sorry Charles, but you're canonically friends with Tracey and happiness more-or-less doesn't exist in this AU.

Now let's cut to an AU that's more... not lighthearted but certainly not Bloodborne. A scene of my Coroner!Silva AU that's not actually part of the main Coroner AU fic No Snake, Only A Boa In The Garden since in that fic the Reaping doesn't occur. Pretty much it's less "story with themes and messages and character development stuff" and more "crack treated seriously". I find this version of the AU funny because there is NO badass deputy the Resistance can rely on. Instead they've got Coroner!Silva whose functioning below 4 hours of sleep, drinks when stressed or sad, and she's in no state to fight (at least with guns... she can give a good stab with her dagger but that's as violent as she gets). Like the Resistance here are handling with whatever scraps they can gather (while Eden's Gate has all the good shit) and Silva's utilized just as Lindsey is; aka the closest people they've got to medical professionals (except one usually deals with animals and the other usually deals with dead people). However, thing is, this Silva still knows shit and often gives advice and training, and though she's not fighting on the field, she is doing reconnaissance, marking property for the Resistance and plays messenger between the regions' Resistance. She still upholds Deputy!Silva's tradition of refusing to join the Seed's cult and finding all the ways to inconvenience/piss them off (except for Faith, because Coroner!Silva had the bright idea to attempt seduction and is somehow surprised she ended up in a situationship with the Seed sister). That's the gist of it. Enjoy the few seconds of Nancy's appearance:

Nancy spoke into the headset's microphone once more, desperate to receive any contact back after Earl's panicked voice rang in, "Come in... is everything OK? Over."

Silence responded back, no sound of the Sheriff nor the deputies. Not even the Marshal. Could have something gone wrong? came the worried thought, Had the arrest gone awry? Or had God decided upon their fates?

Feeling a pang of sadness if that was the case, she tried again once more, "Please, are you there? Are you there? Are you there, Sheriff?"

Receiving no response from Earl, she tried the next names that came to mind.

"Deputy Hudson, if you're there please pick up," She repeated, glancing around the room to see if anyone else was there. Specifically the department's coroner, Silva.

She assumed her to still be in her morgue, which brought Nancy a sense of relief.

It wouldn't do that poor woman any good to listen to this, she thought to herself, focusing back to her screen, Dear Lord, if it's within your plan, please spare them. They're important to more people than myself.

"Deputy Pratt? Are you there? Are you there?" she asked frantically, "Earl, com in. Over."

"Please, is anyone there?" Nancy spoke, voice quivering as the silence grew louder, "Please, pick up. I need to know what's going on-"

"Dispatch," came a voice, all too familiar to her, all too gentle, that it put her at ease.

"Oh my god," she breathed out in revered relief, knowing the Father was alright.

"Everything is just fine here," he spoke, his words carrying an assuring weight, a wordless message that told Nancy, They're alive. They're safe. They're with us now. At least that's what Nancy chose to believe as the Father instructed, "No need to call anyone."

Nancy gave a small smile, understanding the meaning of his words. The Reaping has begun. Ensure it remains uninterrupted.

"Yes, Father," she replied through the microphone, knowing her new purpose now, "Praise be to you."

She switched off the call, removing the headset to prepare for her next task.

Though she paused when she heard the clinking sound of metal being dragged off the counter and fast pace of shoes running against the floor.

The last thing Nancy saw as she turned around was the glimpse of a white coat and the end of the coffee maker before pain and then darkness.

---

Silva had not believed herself capable of committing any sort of violence in the present day. She though the days of pain and returning pain onto others was far behind her in this new life of hers.

Although, staring at Nancy's unconscious form that flopped from her seat and onto the floor with a purple-ish bruise already forming on her forehead, had the coroner rethink that belief.

Discarding the now inoperable coffee maker, Silva flicked the communications back on. Grabbing the headset and bringing the microphone muff to one ear, she called out, "Sheriff? Hudson? Pratt? Can you hear me? Over."

She received only static. So she tried once more.

"It's Silva! It's a trap. I repeat, it's a trap. Nancy's one of them," she tried to warn through the call, "Please. Someone respond."

Soon enough, the screen flickered with an error, the call cancelled or some form if interference, she'd assume. Silva slammed the headset down, distressed.

She cursed under her native tongue, dragging a gloved hand through her long dark hair. She looked down to the groaning form of Nancy, a sensation of confused ire at being deceived by someone she thought to at least be a close co-worker.

However, she couldn't focus on Nancy now; the other's were being lead to a trap, or perhaps had been, she couldn't tell. All she overheard was Nancy's affirmative yes to who she could only assume to be the Project's cult leader, and giving her praise to him.

Looking at the coffee maker, she cringed at the thought that perhaps she went a tad far in her reaction, but she digressed; Nancy was a traitor and the few people she could call the closest things to friends were now in danger or worse.

She had to do something. But what?

And finally, the quiz results for two OCs each from Wings And Horns and A Radioactive Calamity of Love, Bombs & Gore:

CADET AZRIEL (WINGS AND HORNS [ORIGINAL WORKS])

JEZEBEL BA'AL (WINGS AND HORNS [ORIGINAL WORK])

NATE GUST SARID (A SYMBOL FOR A BETTER WORLD [FALLOUT 4])

These are all surprisingly more-or-less correct for these three characters.

10 notes · View notes

art-from-within · 8 months ago

Text

Marika knows I only torture myself for you, Morgott….

#first morgott wip and i just realized how wild his horns really are #morgott’s horns really put my foolish ambitions to rest #i regret doing this #NEVER expect me to make detailed morgott horns EVER AGAIN #really increased my appreciation for morgott artists by 10 fold cuz its harrrrd out here #morgott the omen king #morgott the grace given #elden ring #GIVE ME GRACE

41 notes · View notes

rhondafromhr · 7 months ago

Text

First little snippet of the ‘Grace is in the church of the starry children’ AU

It’s mostly Brenda pining for her tbh, we’ll get more into the plot in the next installment, hope y’all enjoy! Also, thanks again to @aroace-elgyem for the idea <3

Summary: In one timeline, Grace and her family are still highly devoted to their religion, but they worship entirely different Gods (or, rather, Lords) and have to be a little more hush-hush about it. Her old family friend, Uncle Wiley, brings her two special gifts for her eighteenth birthday: a cool, authentic vintage denim jacket from the eighties and her very own copy of the black book. She promises to use it sparingly until she’s older and she’s had more practice, but when Brenda, the pretty cheerleader at school with an obvious crush on her, confides in her that she’d do anything to get back her sister who disappeared, Grace decides to make an exception for her.

Grace eagerly springs out of bed the second her alarm goes off. Most days, she’d be a little more reluctant to leave her warm, cozy sheets and fight the temptation to hit the snooze button a few times, but today’s not just any day. She’s turning eighteen and her parents promised her that this is the year she can finally help Mr. Murray out with the Honey queen pageant. They reluctantly agreed to let her last year, but she didn’t get to do anything cool or important. Under strict orders from her parents not to let her do anything too intense, Mr. Murray pawned Grace off on Mrs. Monroe, who pawned a bunch of busywork off on her. This year’s going to be different, though. She’s eighteen now. She’s an adult and that means she finally gets to help with the actual pageant and witness the super important ritual that happens afterwards.

She takes a scalding hot shower and does her usual morning routine, getting dressed and putting on one of the two pairs of pants she owns with a texture she can tolerate, a faded black pair of jeans. She decides she wants to look nice today, it being her birthday and her very first day as a proper adult and all, and layers a white collared shirt underneath a black cable-knit sweater. By the time she gets downstairs for breakfast, her parents are waiting there for her with the biggest smiles on their faces and a fresh cup of coffee with her name on it.

“Morning, Gracie,” says her mother “happy birthday! Oh, our little girl’s all grown up, can you believe it, Mark?”

“I can’t, mother,” he replies, beaming with pride as he looks upon his daughter “seems like just yesterday, she was saying her first word! Oh, have we ever told you that story, Grace?”

She rolls her eyes, but she does so with a smile.

“Yeah, dad, only, like, a million times!”

She knows it by heart now. The two had a running bet. Her mother was certain that her first word would be some variation of “mama”, while her father was convinced it would be “dada”. Neither of them ended up winning. Her first word was, in fact, “Wiggog Y’wrath” and they were both shocked and delighted at how clever their baby girl was to learn and pronounce such a difficult, but important word. She sits down at the table and takes her first sip of the piping hot, perfectly brewed beverage. Her mother slides a plate in front of her. She even gets funfetti pancakes today! So far, this birthday is off to a great start.

“Make sure you drink your water, too,” her mother gently reminds her “all that coffee is going to dehydrate you!”

“I will, Mama,” she says. She always makes sure to bring a small water bottle with her in her backpack.

“Oh, Wilbur, called,” Mark says.

“Uncle Wiley?” Grace says excitedly “what did he say?” He’s been a beloved family friend as long as Grace can remember. He really is like an uncle to her. He doesn’t get to stop by very often, but when he does, he always tells Grace that she has a lot of potential and she’s going to go on to do important things when she’s older. He also always brings her apples for whatever reason. She doesn’t get why he likes them so much and she herself has never been partial to them, but she gratefully accepts them, just happy that he thought of her even when he’s busy with such important work. Sometimes, she and her mother bake them into apple pies.

“Well, he has an important meeting today, but if he can get out soon enough, he wants to stop by to see you tonight.”

Grace hopes he can make it. If her parents still put up a fight about the Honey Queen thing, he can surely help convince them.

She checks her phone and realizes that if she doesn’t hurry, she’s going to be late for school. She collects her daily hug from her father and kiss from her mother and heads out the door.

She parks her beaten up, but beloved two-door sedan that’s a few years older than her and heads inside. She doesn’t have much time to waste getting to class, but stops when sees Brenda standing by the front entrance, waving to her and smiling eagerly. Brenda’s one of the few people at school who actually willingly talks to her. Most of her fellow students side-eye Grace and avoid her as much as possible, others whisper about her behind her back and barely conceal their judgmental looks and laughter. It doesn’t bother her. She doesn’t need the approval of ignorant people who don’t know what’s good for them or the town or the world, anyway. Still, she can’t deny that it’s sweet that Brenda goes out of her way to be genuinely nice to her. She supposes she can spare a minute to chat with her. She doesn’t want to be rude.

“Hi, Grace,” she says with a nervous laugh “so weird running into you here! I was just waiting for, um, Stacy. Yeah! Hey, it’s your birthday, right? Happy Birthday! I actually have a little something for you. Nothing special, but, uh yeah.”

She hands over one of those bottled coffee drinks and a small box. Grace opens it to find a navy blue scrunchie with tiny birds printed all over it.

“They’re Nighthawks,” Brenda explains with a faint blush on her cheeks.

“Oh, thank you, Brenda,” Grace says, studying the object and fiddling with it in her hands. “That’s really sweet.” She’s not sure what to do with it. Her hair’s on the shorter side and she rarely styles it, but Brenda did go to all the trouble of getting it for her. She settles on pulling half of her hair into a ponytail and using the scrunchie to secure it in place.

“Oh, cute,” Brenda says “I’m glad you like it! Oh, I should get to class, I’ll see you later, okay? Happy birthday!” She blurts out the words a little too quickly and promptly turns and speedwalks away. Grace guesses she changed her mind about meeting up with Stacy.

Brenda tries to regulate the pounding in her heart as she walks to class, in disbelief that she actually managed it. She overcame her nerves long enough to talk to Grace and give her the gift. She seemed to like it, too! It took forever to settle on what to get her. She didn’t want it to be too nothing, but she also didn’t want to go overboard and scare Grace off. She might be super down bad for Grace if she’s being totally honest with herself, but Grace doesn’t need to know that. At least not yet. They’ve only really talked a handful of times when Brenda’s worked up the courage to chat with her in the hallway or ask to borrow a pencil in one of their shared classes. It’d be weird to get her a super extravagant gift, as much as Brenda wanted to. She annoyed Stacy to no end, forcing her to pore over endless options and help her decide. Eventually, Stacy sent her the link to the scrunchie and messaged her, girl I love you but its 3am, just fucking get this and let me go to bed, we have school in the morning!!

By the time she joins her friends at the lunch table, she’s still buzzing.

“Hey, Brenda,” Kyle says “heard you talked to Chasity today. Didn’t know you were into serial killers.” He’s trying to act all tough and macho, but a genuine sort of hurt underlies it. Brenda almost feels bad, but she really can’t help if she doesn’t like him back.

“Shut up, Kyle,” she says “she is not a serial killer. Just because she’s quiet and aloof and mysterious and probably has dark secrets doesn’t make her a serial killer.” Brenda feels her face heating up. It might not make her a serial killer, but it does make her really, really cool and intriguing and hot. “And it’s not like we were making out!” If only. “I’m not into her like that!” Lies. “I just wanted to give her a birthday present.”

“Yeah, shut up, Kyle,” Max says, shooting a threatening look his way “how many fuckin’ times do I have to tell you, Grace Chasity is off limits. Do you want her to overhear?” He shudders, apprehensively eyeing the table across the cafeteria where she’s seated with the sweaty anime geek and a few other egregiously uncool people.

Most people at school are a little weary of Grace, but Max is downright terrified of her. However hard he tries to hide it, it’s pretty obvious. It didn’t take long for some of the nerds he torments on the regular to figure this out and start clamoring to sit with her at lunch. Even they seem to find her a little weird and off-putting, but they know he won’t approach if she’s there and they’ll get to enjoy their food in peace. Grace doesn’t really talk to them much. Whenever Brenda totally coincidentally walks by their table, Grace is brooding and silent, either with her face buried in a book or scribbling furiously in a notebook, seemingly engrossed in her own world and totally unaware of them rambling about their favorite Pokémon or whatever. Brenda sighs dreamily. She’s so cool.

Stacy turns to Brenda with a skeptically raised eyebrow and saying, “So, you’re not into her, but you somehow knew today’s her birthday even though you guys, like, barely talk? And made certain friends spend hours picking out that gift?”

“Hey,” says Brenda “I make it a point to know everybody’s birthday.”

“Really? When’s mine,” says Kyle. She scrunches her face up, struggling to remember.

“I wanna say…sometime in June?” Kyle shakes his head, looking slightly crestfallen.

Brenda cringes, feeling a twinge of genuine guilt for getting it wrong. Max snickers, delighted as always at seeing Kyle get shot down.

“March twelfth, right, buddy?” Jason says and Kyle’s lips curl into a faint smile. Brenda makes a mental note of that date so she doesn’t end up in this situation again. She really should start tracking everyone’s birthdays.

#you know the timeline is fucked when Grace doesn’t have her pink Schwinn with the ooga horn #nerdy prudes must die #npmd #grace chasity #brenda npmd #max jagerman #halocheer #grace/brenda #max is mainly tagged for tag blocking purposes bc I know a lot of people have him blacklisted #he literally has two lines

14 notes · View notes

notchainedtotrauma · 1 year ago

Text

Charles "Teenie" Harris, Lena Horne lounging on floral sofa at Stanley Theater, circa 1944.

#Charles “Teenie” Harris #Lena Horne #visual art: when Black artists create #color theory #light and such #texture: a feeling #embodiment as grace #pouring liquidity and grace #theory of bodies in space #and against the haze of the afternoon the softest light #there is only wonder in the softness of joy

20 notes · View notes

notmuchtoconceal · 1 year ago

Text

Verily, verily I say unto you! Laura Palmer is the image of the Feminine Messiah, for she is what we consume at our daily meal, wrapped section-by-section, genre-by-genre, a full-course luncheon in a box served up by an early-adopter auteur slumming it up in TV Land, for he believed in the good of public works and the joys of episodic narrative!

Look back now to the Image of Tina in A Nightmare on Elm Street, not only clawing bloodied and bitten-of-nail on the inside of her bodybag translucent as the mists of a high school shower. See her not only dragged down the halls by an unseen malevolence leaving a slime-trail of blood as she goes -- See her also in the Dreamland which was her prison and tomb standing shrouded as the Holy Virgin in Plastic, Deflowered though she was by her Hunky Tighty Whitey wearing Latino Greaser Boyfriend who too was to be found alone, strangled of his own volition.

See the continuity in these images, not only for how one may influence another, but how in each is a reflection of the time and place from which they arose. See the dead girls on the news in placid suburban 80's homes. See them now always for what they always were -- offerings to the Moloch of the Mainland, Our Homeland Hungering for the Blood of the Pure. See how the boogeyman was always a necessity of the loving patriarchs which your grief-stricken mother, intoxicated in isolation, barred the windows of your home to keep your father out. See your father the lawman hiding the crimes to which he knew he was entitled for the law was his and the courts always shows for the public. The letter of the law could not reflect the will of the people, for the people hunger for blood and the annals of our court are not a butcher's trough, though we may permit each tree within our garden a gallows!

The blonde girl. The Radiant Madonna. Who is she? In her name we see the laurel crown, the hands which reach and touch. As the heart is what mediates the two, and she is the heart of the town, the daughter of a respected lawyer for the local last tycoon, she was the most fecund portal through which to inject corruption. She is the Feminine Messiah for She is the Paradoxical Image of God in The Flesh.

In Laura's embrace of Stoic Wisdom, her acceptance of struggle, decision to withstand hardship and rejection of witchcraft, we see the font of her status as a glamor goddess is a masculinized mind which compromises neither its feminine allure nor immersion. From a young age, she is bombarded not only by repeated sexual and emotional abuse from a loved one, but continuous assault by the irrational and yet inarguable presence of supernatural forces. As with the first scene of Ash's sister Cheryl's possession in The Evil Dead, the unseen forces of darkness lurking always out of sight seize her hand against her will and use her own body as an instrument to intrude upon the pages of a meditative space where she may be alone with her thoughts.

The treasury of Missing Pieces from Fire Walk With Me are a particular boon to this subject, as the additional scenes featuring Laura and her mother shed warm rays of luminance on a relationship foundational to not only the heart, but the core tension of the series.

In a brief scene where Sarah, Laura's mother, is coming inside carrying groceries, three developments occur in rapid succession, which key the viewer in to the intimacy of these women's dynamic. Laura is harried, for she has just found pages ripped from the Secret Diary she had hidden, tipping her off that her secrets can no longer be safely kept in her own home. She is smoking a cigarette, as she was only moments before (in the main body of the text) living out an impromptu early-90's alterative hip-hop video as she comes home from school (as one does), which we soon find out is despite her mother's protests. (The smoking, not living in a improvisational music video. No matter what timeline you're in, you can't take the 90's out of a 90's girl even if it's still the 80's.) Yet also despite her protests, her mother will hold her cigarette for her as Laura in turn takes the groceries. Laura needs to ask her mother to borrow the car (fortuitous, I'm only now realizing, as she had just gotten home) for she is still only a high school girl, but first -- she must withstand another bout of lecturing from her mother where she insists she will never be a smoker if she never starts smoking. We can see in this briefly that Sarah is instilling in Laura a purity ethic where a corrupted-identity is based on an initiation ("being a smoker", "starting smoking") -- the definitive feature of idol worship, which Sarah is sadly living out half-consciously, as her own husband is drugging her with milk. The milk which she seems inevitably to accept, making her go into the white dissociative horsey dreams. As a final comic touch, once Sarah agrees, Laura runs out the door, leaving her cigarette in her mother's hands, which she needs to then run back in and grab to eye-rolling maternal exasperation.

This connects to a later scene which elaborates upon a vital point of ambiguity in the main body of the film -- an ambiguity which reads as such for it is not immediately parsible, for it is irrational.

Laura ascends to the local Roadhouse to once more prostitute her underaged body for the coke money she so desperately needs to fuel her lifestyle of endless social charity and drug-fueled bisexual intrigues. Her childhood best friend, Donna Hayward, played by a different actress in the film than in the series (perhaps embodying Laura's projections of her own naivety onto the cuter, smaller, mousier new girl) follows her. She is not only curious about her best friend's distance, her twoness, but she is aware of how Laura sees her. Donna is dating one of the two Local Mikes, the Earthly Dumb Jock, who proudly boasts from his convertible in his letterman jacket with her drug-dealer leather bro by his side that HE. IS. THE. MAN. This Donna will, in the same breath, wonder aloud if her football player boyfriend could ever write her a poem, then scandalously whisper to Laura about ... the mere possibility ... of having sex. Holy shit. This bitch was having threesomes in public when she was twelve. Girl, you know not what little you know. Oh my god. You are not yet ready to steal this woman's second boyfriend and develop main character syndrome as you shout on her grave in the dead of night. Right now, you are gonna do some weird needy insecure shit and it's gonna be fun.

(My little brother is a hardcore Donna stan and I know not ever why.)

As we have said, Donna follows Laura to her nightside prostitution meetup, which prompts Laura to react with barely-disguised dismay equal parts shock contempt and expectance. This Donna ... is gonna get fucking good at playing Laura's games. This Donna ... is gonna slut it up. This Donna ain't no fuckin prude. This Donna has cute lil perky tits and she's gonna whip em out! You ever see that other Donna's tits? Nuh-uh, bitch. TV standards. No full-frontal female. See em on the big screen, motherfucker. Bathed in hot pink electro-grunge hate-fucking your ears! I am a Goddess! I am the Concubine! I am the Queen of Whores! Ow. Don't cry from that one shot you took. That was real spicy. I'm such a good girl this is hard for me. I'm not gonna let it show, though. Do I have to be at church in the morning? Am I out whoring on a schoolday? What happened to my lesbian sister who writes poetry? How can Laura be best girl and biggest slut, how is that possible, what am I missing?

Once more you may see as it is revealed -- as Donna approaches the table at which Laura is seated with her two bucks, one asks if she is included in "the deal" -- to which Laura objects, which Donna insists on including herself, sealing it with the shot she takes from her mark.

Donna is self-initiating into the cult of ritual prostitution by means of libation that she may enter into sympathetic resonance with Laura. Laura, though she may seem to dismay it, is protective of Donna's innocence, and doesn't wish to see her corrupted. Though Laura may appear beautiful and bright and alive, inside she is consumed by darkness and fears being close to anyone, fears that her influence on anyone might be corrosive, and yet -- she's missing Meals on Wheels deliveries and unable to give excuses, although -- nobody wonders why despite the fact there's nobody there. There's nobody there, but maybe the two of us can sneak off later and snuggle in my truck while we listen to non-diegetic music over the radio and reflect on the beauty and tragedy of the night.

Furthermore, the Missing Pieces make clear the crossing of an additional boundary -- namely that the girls literally cross northward into the territory of Canada to engage in their Pink Room Prostitution Cube. The abrupt cut in the feature film, on first impression -- may lead one to believe the Pink Room is an extension spatially, literally ... (a backroom) as well as metaphysically and thematically ... of the Roadhouse, rather than another place, called The Power and the Glory some many miles away.

It is in this scene where Donna loses herself to her latent passions, caressing herself as a boa in the sweater which Laura had discarded as she disrobed, she sees then her old coworker, Ronette Pulaski (named for the park by my house, by which I mean not the French Jesuit Missionary, but the street not named for him) emerge from the pink fog of time, the mirror image of what Donna might become: the two reflect upon their past experiences in the brothel where they worked, recruited through the perfume counter at Laura's dad's lifetime friend and business partner's department store high school grooming and sex trafficking ring.

It is important to understand that consensual sex work performed voluntarily by an adult woman (or man or anyone else for that matter) who understands the risks they're accepting, as they would accept with any choice of occupation, is quite different from a situation where a girl is coerced, both overtly and subtly, into acting against her own self-interest by playing into what seems inevitable pre-scripted scenes by invisibly abusive authorities with loving faces. Laura may enjoy sex, and sex is empowering, but this is occurring from a place of deep hurt. Laura has been repeatedly humiliated, repeatedly disempowered, repeatedly had her body turned into a source of shame, that her ability to connect and be vulnerable with other men has been compromised. Truthfully, Laura enjoys humiliating men through sex. Laura loves the power she has over them. Laura enjoys that she can coerce, bully and intimidate adult men who know they're raping her, because at least these fuckers aren't her own father. Remember when Bobby breaks down crying with Laura in his arms, realizing she's only using him for cocaine, and he just gives it to her anyway cause he wants her to be happy? He just knows that she's in pain and he can't really help and he needs her, and it's fine. She needs these drugs. Maybe she needs these drugs. You can't get her off drugs. What can you do for her? What can anyone do for her? Nobody appreciated how Bobby was a good man all along but his own dad and nobody can understand that because nobody has a time-traveling airforce superdad who can hypnotize you in a diner with the best possible version of yourself he glimpsed in his Project Bluebook heaven research because an actual Good Christian Man might as well be sci-fi!

Oh my god, bro.

It just now occurs to me that I am literally recapping a soap opera to explain the gospel. The cute Polish pup with the muscly veins and roid acne was right, you are obnoxiously American! Well, it's important to remember that if cute little German boys didn't love American melodrama, we wouldn't have the great works of RW Fassbinder.

I win and this is an effective hybridization of film criticism and spirituality which rightfully makes actual Christians look like aesthetically and intellectually stunted-dweebs formaldehyded into guppies by doctrine!

My page is so much fun, you will not see this shit elsewhere. Never forget how special you are to me for appreciating my words, brothers.

Laura, you see, understands the nature of discreet energetic resonance.

Laura knows that the essentialized state which underlies fetishism is not simply sympathetic psychological association, nor strictly a consequence of molecular chemistry. While Laura would agree that, yes (for Laura is keen-eyed and scientifically-minded, yet nevertheless -- is not blind to subtler forces at work in the world around her) that if your cute lil queer boy ass wanted to lick an alpha man's armpits cause it tastes real woody and salty almost like a saltwater toffee, but a bit more mulchy and mushroomy, like -- yeah, there'd deffo be a molecular component, for you would be inhaling his pheromones direct and they would be seeping into your tongue creating fast-acting pathways straight to your brain, and yeah -- your direct proximity to a hunky alpha man's muscular triceps and biceps and big meaty pecs would cement the paraphilic association, acting as both a trigger and deepening a visual impression around which your mind would naturally mold itself, allowing your body to follow -- all of that is true. She would probably agree in 2023 Twin Peaks reboot timeline where she's watching gay tumblr porn prolly cause she finds it lolzy and how gay are Mike and Bobby, actually? At least as gay as Donna is for me, right? Am I ready to speak publicly about how gay I suspect Donna is for me? She's basically a little sister. I can't believe she grows up to be the bad guy in Men in Black 2 before fully morphing into Pete Burns. Holy shit. Maybe I am a mean bitch. Why the fuck do I wanna come for Donna so bad? I just feel she brings it on herself?

All that aside, Laura understands the essentialized state transferred by a fetishistic object is primarily energetic. That is, as everything is vibrational, one might say that a shirt worn by a person, or their underwear, vibrates at the same frequency as that person, coming to -- in time -- carry subtle traces of that person, for the very fibers of the garment could be said to have been energetically infused via the pitch or the sound at which the individual's spirit resonates or sings, and things such as smell, while real -- are themselves closer to self-induced inductions where we recall distant days and so surrender ourselves -- making ourselves blank to receive the song we'll never hear.

Laura wears her mother's clothes. In another deleted scene, Sarah chastises Laura for taking one of her sweaters, then not only not returning it, but leaving it balled up on the floor of her closet. Later, Sarah wonders if Laura took her sweater again, for she'd spent all afternoon looking for it, only for Laura to then say rather pointedly "Mom. What are you wearing?" Prompting Sarah to glance down, and slip into a fount of weeping, to which Laura slowly and tenderly approaches.

We understand. Sarah has some demons in her. Sarah sees the visions of the white horse. That wasn't explained for a long time, and even now that it has been, it's still not something which is readily sensible to the casual majority of viewers. The explanation is given, but the intellect refuses it, for it confounds the intellect's neat and tidy categorical schematizations. The white horse is frustrating for it is both obscure and obvious. The readily material explanation is drugs, slang, things one step removed from immediate reality. You can have Abe Lincoln descend from the Sky in Blackface and Crush People's Brains Open before Reciting In Slant Rhyme the Answer All Along to Mock to Your Face Your Conscious, Logical, Route Memorization Sensibilities, but in truth, the image is less paradoxical than a depiction of a current and emerging unity.

Sarah's memory maybe isn't all there. Sarah's had her mind played with. Sarah's been on some shit. How much has Sarah been playing along all along? How much does it only look that way, for she doesn't see?

How much does she always allow?

Mom. What are you wearing?

Mom, are you wearing Sarah?

Laura takes off her face.

Laura is filled with Light.

Saraha takes off her face.

Sarah is filled with Darkness.

Sarah has Laura's smile.

Sarah has a swollen spirit finger.

What would it mean for her -- to know the man she loved, wasn't only cheating on her, not only abusing her daughter, but both in a single act which violated the very underpinnings of both their marriage and their family; to feel she had brought this on herself, by selecting this man, by... not being enough ... by breeding a whore ... why would this happen?

Did you sit there after the reveal of Laura's killer and see this woman standing upright, eyes-alert at her husband's funeral, vowing to be awake, vowing to be present, vowing to remember and to live?

Do you remember how she was then written out of the show forever? How nobody cared? Nobody wanted to look at her? Nobody wanted to think about what happened? Everybody wanted to immediately forget. Nobody wanted to admit that it was happening. Bobby cried out at Laura's funeral that they collectively killer her by ignoring what was obvious and nobody said anything. Bobby was right all along. Bobby was never the real asshole. Bobby was maybe one of the only people who really loved her almost selflessly despite being an infantile douchebag who got secondhand raped by his shrink, who -- oh yeah. Was a jealous older man pining away listlessly and leeringly for underage Laura's hot and heavy secret trauma, who wanted to fuck with Bobby for being a badboy hot jock with powerful latent telepathic abilities, the likes of which his false-gold Mercurial debt-scheme which miraculously works only on cyclopean state champ wresler kooks with amazing pussy control could never hope to dream, let alone conceptualize in false 3D.

Mike the Man grew up to be an insurance agent because of course he did.

Remember how Sarah only came back in at the last minute to deliver a message from the realm of chthonian spiritual trial, reduced and elevated to a cameo, being both chorus and iteral messenger of a hidden devil?

Fuckin sucks for her, am I right? Prolly made her a lil loopy while it was happening, then -- once everyone she thought was a friend or family ignores her cause now she's nothing but a walking reminder, invisibly reduced to a pariah in her own life, it's like she does nothing but sits and festers in a wound of her own making which will never heal.

Damn.

She sat in that house. Where it happened. For 25 years.

In front of the television.

While nobody talked about it.

You know, I've always just really liked Grace Zabriskie. I was sad when she was murdered in Child's Play 2. This is the only thing by David Lynch she's in where she's not already alarming and insidious. Wild at Heart. Disabled Vampyre Ritual Mexican Sex Assassin. Inland Empire. Your 6th grade history teacher harboring an omen of immanent death before using her witch powers to rearrange time. The Return. Literally Queen of Darkness. There she is, folks. The Mother of Evil.

Here in the pilot, she is simply a primal wail of despair which induces some to laughter simply for its intensity disturbs their peace of mind and they must laugh to hold their fragile rational framework together.

(You may attempt to prove me wrong if it would please you.)

Therefore we understand. Whatever is in Sarah is in Laura and whatever is in Laura is in Sarah. They're, now you sense, energetically tethered -- not only cut from the same cloth, for her flesh was stitched of her loom, but if their strings were plucked, they would produce pleasing sounds of a similar timber, and none could confirm this better than Leland Palmer, father, husband and brother, who has readily plucked them both!

You understand now fully -- why, for Laura, at the Pink Room called The Power and the Glory, to see Donna as the image of Ronette, a prostitute saved only at the last moment by providence, that she may open the door to beckon Laura's protective spirit -- why to see Donna wearing Laura's sweater would incense her as to leap to Donna's rescue and cease all further consumption of libation and ritual sex. Laura remembers who she is, and what she values. She doesn't want Donna to be like her. She doesn't want Donna to do what she inevitably does -- investigate her double, triple, quintuple life, adopt her manner and her attitudes, seduce naive doofy biker idiots and cute agoraphobic nerds who are so sheltered and fragile they will suicide at the first sign of betrayal.

She doesn't want her stable family life to fall apart when she discovers that she-bitch Audrey Horne is her sister, holy shit. It was so obvious. If Donna had any charisma she'd be Audrey, who is too feisty and independent which is why her own father never tried to rape her!

Why would her own father try to rape her? Her father has a healthy and trusting creative-personal-business relationship with his brother. Her father lacks the core loneliness to make him that kind of monster. Neither Donna nor Audrey understand men, which is why they're not Laura. Laura understanding men makes her Best Girl. The fact that her own father never tried to rape her made Audrey feel so weirdly inadequate -- much like Donna -- that she has to do mentally ill things like hide naked in Hunky FBI men's bedrooms before dishing out her daddy issues.

God. Thank God our old pal Coop's semi-autonomous AI demon-half shot a corruption load in her so she had a raise a hellspawn, marry her accountant, then go insane wishing she was still young and pretty!

Joshy Fuck Me. That's what I say instead of Jesus fuck now!

I was gonna keep this G-rated for language, but holy shit!

This shit's got as much rape and incest as an actual bible story, I'm just gonna assume you're all adults and have the psychological resilience to handle a dirty word or two, ooooh. What if I post a middle-finger pic? Like and reblog telling me if you would swoon or drenche yer knickers.

Rather tellingly, all Leland can see as he arrives up to pick up Laura for breakfast -- is this same fear of Laura herself. He sees Laura seated beside Donna on the couch, and remembers the day he was almost the John to his own underage prostitute daughter, arranged via their mutual connection, Theresa Banks, his earlier kill in Deer Meadow one year prior.

God, imagine how that must feel for the poor guy!

Ya fuck your own daughter's brains out in a drug-induced demonic trance, thinkin she'll have the common sense to be trauma bonded ta ya for life, but nooooooo. She wants to be out here like that totally scary and unfuckable little Audrey bitch threatening to cut off daddy's tiny peepee with her intimidating precocious little scientific intellect. Girls are scary! If they're not dumb, they're gonna notice how dumb we are first! We need to destroy their capacity to think and feel with our dicks! This is the right way of the land, for it is the right of the conqueror, the female being fecund and plenty as the soil and just as fit to trod upon.

I love America! It's real fun to pollute and rape!

I mean I absolutely believe Dolores seduced Humbert, let's not kid ourselves. Humbert Humbert may have had a silver tongue, but he was not leading man material, folks. Humbert Humbert wishes he was James Mason, but Kubrick's film of Lolita is a perverse Wonderland full-immersion in the psychopathic ideations of a pedophile verging on a pederast for Humbert is so fucking hipster and selective of his vintage, he will only rape little girls in these precise specific age ranges, holy shit.

You are the most autistic and socially inept sex monster! I really believe all the women you meet are throwing themselves at you and Peter Sellers is the neurotic spazz radio man of a thousand voices. Kubrick's film is an irony which requires a level of psychological detachment which verges on psychopathic. It's more-than-less a feature-length 4chan joke, and I understand nobody will understand or appreciate it as a sterling treatise on irony as insurmountable as I do and I accept and appreciate this. Dolly can absolutely be aware of the sexual power she can wield over an infantile adult male, and it can still be illegal, immoral and that man's fault when he succumbs to his emotional weakness and rapes a child.

Joshy fuck me. Uncomfortable people leap to stupid fucking conclusions cause they're basically animals! People who are uncomfortable talking about raping children prolly wanna rape children, there I said it. I have only ever wanted to rape powerful and virile athletic men of an appropriate age and ferment, for I am a conqueror, a king, an alpha.

Well, you see -- Laura couldn't protect Donna, same as nobody could save Laura. In the end, Laura was the only one who could save herself.

Laura gave her body, to protect her Soul. When she places the Jade ring around her finger and weds herself to the Spiritual Mike, the Shoe Salesman and One-Armed Man Whose severed Autonomous Limb became First a Dwarf, then an Axxonal Bubblegum Tree, she was Free of Bob's Influence, and so ... Bob no longer able to farm her, was compelled by obligation to his former master to reap and immediately harvest her.

To put this in an economical sense more readily graspable for earthly carnivores, when Laura put on the ring, she allowed herself to be claimed by Mike, thus becoming His Property. BOB -- the spirit inside Leland -- once being Mike's familiar, now a runaway, was compelled by his very nature to kill this girl who had given herself to his master. As BOB had sought her out, slow-cooked her, flavored her, BOB saw Laura as his and wanted to enjoy her for a long, long time. When Laura gave herself to Mike, BOB was himself forced to sell now, and trade a good long steady drip for an immediate short-term gorging, most of which he then needed to immediately discharge submissively at the feet of his master.

For Laura had wedded herself to a demon, her soul was placed in the Black Lodge. Yet, Laura did not wed herself to a demon for any desire for earthly power or authority, but for it was a way to minimize malign influence. Laura's spiritual wedding was simple, practical harm-reduction. If BOB had corrupted Laura and entered her body, BOB could use her connections to every artery of the town to spread this influence everywhere. Laura "chose to let herself be killed" because this was in line with her dominant value of protecting the innocence she lost.

Look at Deer Meadow, the setting of the prologue to the film. See how little life means there. See how its evident nature as a stained and distorted reflection of the eponymous town was clear even before the doppelganger motif took stage as primary thematic preoccupation. Remember how nobody knew Theresa. Nobody came forward to claim the body. She was a drifter, a statistic, no family. Totally forgotten.

See how it was the love of real people who tried, who stepped forward, who had a desire to connect, and to care, and serve, despite the fears, the follies, the secrets and entanglements of other people in a vanishing tribal structure and way of life we do not and may not ever understand.

See how anyway, they never spoke.

For a time, they did.

Then all was inevitably forgotten.

See how it was through the laws of cause and effect; the accumulation and deterioration of karma as a debt, that Laura self-actualizes by taking control of her life by taking control of her death, that she breaks the cycle of violence and is so uplifted into Grace and Reverence.

See how the angel which came as she sat splendid and curled in the velvets of the Red Room was of her own making, as the one which appeared to open the door of the car for Ronette was of her own making, the lights splendid and alive as if hung ourselves on our own tree!

Tell yourself, brothers, as our sisters our able. That we deserve to be forgiven. That others will forgive us when we forgive ourselves. Any crime which may be mended may be done as such when we approach one another with a firm grasp of truth in an open heart. We were not born to be corrupted. We are not lowly and bestial. We are not the pawns of the powers that be, nor fated to sell ourselves half-willingly into slavery. If it is in a market that we must we live, we may set our value with those of so little they would design to ever think to put one on a human life.

Of this now, and at this time, I have said enough.

On another day, I will return to the ways in which our leading man and hero, chipper and chivalrous knight of the FBI -- boyscout in black tie --- who is easily able to clear the low bar of taking a high school girl crush out for ice cream and a pep talk instead of feeling her up, he already being telepathic enough to know a girl'd be murdered here a year ago, instead of, like ... y'know... fondling her prone naked body -- I will return to the ways in which he complements and contrasts the enigmas of our heroine, he being, by means of his multiplicity, quite an enigma himself.

17 notes · View notes