#having such a clear concept of the story's core

[richardsphere]

i mean... Ideals contrasting powers are just inherently cool, create inherent drama and a clear-cut struggle where the character's power is as far away form an "I win"-button as it can feasably be. Like, A Seeker of Truth with the power of lies? Awesome way to build an inherent conflict. Freedom Fighter with Mind Controll? Code Geass has a fanbase that will never die. It came out literal decades ago and is still held as one of the Best Anime of all Time. Firefighters with Pyrokinesis? Like im never gonna watch or read Fireforce, but the concept is just fantastic. A character with the powers of darkness and destruction, but who wants nothing more then to help? Classic. The issue with Renalya (and Felix/Argos) is that doing this requires: 1-a willingness to explore said nuance, rather then a binary black/white morality governing your show. 2-A willingness to focus on the character whose powers contradict their goals. Rather then reducing them to a side-character who gets to matter in.... 3 episodes a season? 3-A willingness to be consistent in the characters reluctance with their powers (this affects Argos more then it affects Alya) And given that Miraculous will not under any circumstance let its marketable childrens-toys be considered anything but "pure", even Alya's promotion into Confidant and Future Guardian will not fix the inherent misalignment between "journalist" and "liar" as an issue. ---- But personally, and this might just be me... I never saw her as a journalist. it just doesnt seem to be a foundational part of her character the way the fanbase makes it out to be. You know how in mythology, most gods have a single "core" domain and a bunch of tiny odd side-jobs that spring off. Like how Hermes was the god of boundary markers. But because anyone who travels must cross borders, became the god of travelers, and then became the god of postmen, because postmen are travelers by trade and therefore interact with borders? But then down the line everyone just thinks of him as "oh right, the god of the mail" and includes him in greek-mythology stories almost solely as a messenger without referencing his broader portfolio... Well... Much like how portraying Hermes as a messenger isnt inacurate, but merely reductive. I feel that refering to Alya as a journalist is similarly so. I personally never saw Alya as, foundationally a Journalist. I saw her as a Storyteller first (such as her babysitting Manon in Stormy Weather). With heroics and heroics-related news merely being one of many stories there are for her to tell. An expression of her "core" that is extremely prominent within the story, and as such gets over-emphasised to a point it risks blocking our sight of the tree from which it branches. and the power to create illusions fits into the storyteller persona a lot more easily. That's probably also why in both in the original series and in the S6 soft-reboot. her first use of Mirage is on akumatised children.

I do feel Alya makes more sense to have the turtle with her being an inspiring journalist than Nino who would probably have fun with the fox since he's supposed to be a creative.

The fox is the last miraculous I would’ve given Alya 😭

How does giving her, a journalist who allegedly values the truth, the power of deceit make sense thematically??? Seriously please explain

And Nino -oh god Nino- I remember during the S1 days people theorizing he would eventually have the peacock bc his shirt has the same color and a vaguely similar pattern and anyway it’s not that they had to give him the peacock but at least give him something that makes sense for his character

Comparing them to Chloé who’s had bee visuals since S1, the besties becoming heroes really feel like an afterthought

[tokiro07]

Something I alluded to in this week's Ichi review was that while I've been invested up to this point, I haven't been as completely immersed as I had been with Undead Unluck or Cipher Academy, which both captured and held me from ch.1 all the way to the end

I decided to chase that and analyze why Ichi wasn't connecting with me the same way

Looking back at chapter 1, the thing that hooked me was the setting; a world where only women can wield magic, and do so by passing tests posed to them by monsters who embody the individual spells. Even ignoring the premise that a man manages to break the status quo, that core concept alone was enough to spark my curiosity

From there, each chapter continued to expand on that setting - giving examples of the types of monsters we'd see, teasing the process of finding and facing them, showing glimpses of the society built by the women who use magic, their tools and their fashion, but something was still missing

Every week I found myself asking "what are we doing this for?" What was the grander goal, and who was going to stand in the way?

It wasn't until the most recent arc with the introduction of the World Hater that I really got the answer to that question - one of the monsters, moreso than any other, wants to destroy everything. In turn, our protagonist, more than anything, wants to kill it - regardless of whether or not it would save lives, he just knows it would be fun. It's a fairly simple goal, but a compelling one nonetheless, allowing me to not only be invested in the setting, but now also in the plot

But something was still missing

And it was only during this chapter that I realized what it was. Desscaras, The Strongest Witch, faced with a situation that her strength won't help her overcome, chooses to be open and vulnerable, and suddenly that something wasn't missing anymore

I was finally invested in the characters

I thought Ichi was interesting enough, for sure, with how unhinged he was and the themes that his philosophy suggested for the series, but I didn't know what the intentions were for his arc. Desscaras was silly and fun to watch, but I didn't have a good read on how she would contribute to the narrative. Kumugi was the only one I particularly saw thematic potential in from the get, which is why I latched onto her pretty quickly, but it was clear she was meant to be a slow burn and wasn't going to be getting a ton of focus for the foreseeable future

In other words, everyone in the cast had an interesting hook, but no one had shown any real depth yet, at least not to the extent that I wanted

But now I can see it

The flaw in Ichi's philosophy that makes him reckless with the life that he supposedly cherishes so much, the weakness in Desscaras' heart that necessitated she become the Strongest in the first place, and the connection forged between the two of them

Granted, I also said from the beginning that I expected that sort of connection to come up between Ichi and Uroro, so it's not like I couldn't envision how this story would deepen its cast, but just imagining how it would do it and actually seeing it happen are two different things. Now that we're seeing the bonds deepening between two characters, we're likely to start seeing it happen with others more and more often, though likely still fairly slowly

Now that I have a clear picture of how the cast will grow, I can definitively get excited for it rather than just projecting a hypothetical that I hope to see

I think this is also why there are so many manga in Jump that I don't get excited about

I didn't care for Kagurabachi from the beginning because I didn't care about the setting, plot or characters. It was only during the Rakuzaichi Arc, which really started focusing on the characters, that I started feeling invested, but I still don't care about the setting and only slightly care about the plot. In the Samura Arc, though, I'm starting to care a bit more about the plot, and I can see a bit more of interest in the setting, but I'm still not there yet. If it can clinch that, I'll be all in

There are other factors that matter, of course - art style, pacing, themes, etc. all contribute to my enjoyment, but I can look past the art and pacing if everything else works, and I can only care about the themes if I like at least one of the previous factors

By analyzing my experiences like this, I'm getting a clearer picture of my tastes and how I define the quality of a work. Hopefully this framework will help me better articulate my opinions going forward and give me a better approach to appreciating what I read

[bookshelf-in-progress]

There's always a danger of caring too much about a story, and then getting paralyzed by the need to do it justice, so it never gets written.

I've solved this problem in the past by writing stories so fast that I don't have time to get too invested, or writing stories that I'm not that attached to.

But maybe the trick is to love the story so much that I want to share it any way I can, even if it's imperfect. To feel that any version of this story is better than the story never getting written at all. To get out of my own way and stop worrying about what other people will think of my writing, or even what I think of my writing, and love the story for its own sake, love the readers enough to want to have the joy of sharing the story with them.

Maybe it'll work. Maybe it won't. But so far it feels like a much better approach.

[arolesbianism]

I've been thinking abt eternal gales which ofc means doing my thing where I imagine myself in a hypothetical interview and while going through the many scrapped elements of eternal gales in my head I remembered a huge chunk of the staliens stuff I scrapped and while I'm definitely not bringing it back I am lowkey rotating the idea of a soft prequel in my head. Nothing that I'll do anything with mostly just a thought exercise but still fun nonetheless

[tahbhie]

The Act of Writing Psychotic Characters 

Part 1: Attention vs Intention

It's been a while since I received this request, and I ensured I took my time with the thoughts, evaluation, and analysis. This topic will be covered in three parts, so here's the first.

Before we proceed, please note that I am not a psychiatrist, psychologist, or any professional in that field. This is just an insight into how this kind of concept can fit into your novels.

Okay, let's begin.

The Attention vs Intention part of this topic will discuss two ways of portraying these type of characters in scenes. 

First, you need to understand that psychotic characters aren't psychotic based solely on their speeches or actions. If that's all you have in mind before approaching a story, you might leave a huge gap in the execution.

Rather, it's how they feel—the desire to satisfy their current emotions.

They have drives and motives, but most especially beliefs which, in most cases, are hardly understandable by other people. It's wrong and unacceptable by society, but to them, they wouldn't do it any differently.

That's why most psychotic characters have no remorse. You simply can't apologize or feel sorry if you don't 'believe' that you're in the wrong.

➜ Attention Psychosis

Psychotic characters whose main purpose in a story is limited to presence (i.e., showing up in scenes and visibly serving the role of a psychotic character) are attention psychotics. You don't flesh out their backstory or why they are who they are.

Their drives and motives aren't talked about enough to the point of justification. Readers hardly care about them, but the action they bring to the scene creates a rich narrative with the purpose of psychosis.

In summary, their role is minor. We see such cases in movies like The Babysitter.

Let's agree that none of the cult characters in that movie are exactly sane, as their main aim is to end their victims’ lives in the sickest ways possible. However, there's a certain character, Max, who simply enjoys the idea of "killing and seeing people bleed."

That has exceeded the central idea of being a cultist who gets involved in blood sacrifice to achieve their 'dream life' like the rest of the characters. It's now something more and different.

Something that has to do with homicidal ideation.

Max worked in a diner where he dealt with people that annoyed him so greatly that he wanted to kill them. So he got the opportunity to join a cult and do just that.

It was plain clear this guy had something else going on for him, but throughout the movie, his character had no special attention or even a peek into his thoughts. Although, it still worried the audience. Job done.

➜ Intention Psychosis

When a story is centered around a character's mental state, their motives, drives, beliefs, actions, and the story actually unfolds by going deeper into this concept, you have intention psychosis.

If not entirely, at least mostly, it defines the entire plot surrounding that character. People get to understand why they are who they are, their mode of action, what drives them, and even a peek into how they perceive the world around them.

Such scenarios are seen in movies like The Joker and Pyramid game (Korea). The audience gets a glimpse into their overall life and understands at least to an extent why they are the way they are.

Their beliefs get twisted for certain reasons, and there was just no stopping them. Here the characters were more than a presence; they were a central core.

In the movie Joker, we watched Arthur’s impoverished life unfold, with every event and incident worsening his condition further.

Baek Ha-rin in Pyramid Game literally created an entire game system to watch a student, who happened to be her old friend, suffer both physically and mentally. She went to great lengths to carry out this nefarious act under the guise of the game. Although this movie encompassed more than just this storyline, it was hard to ignore the unhealthy drive and actions of the young lady with an innocent face.

Before incorporating a psychotic character in your novel, determine their form of portrayal and appearance in the overall story. Are they going to serve as an attention psychotic or an intention psychotic?

Inspired by @sothera

Stay tuned for the next part!

۝ Before you go! ۝

My Characters and I is an extensive one-on-one coaching session designed to create characters that leap off the pages and become best friends with your readers.

What's a great story without remarkable characters? Spots are filling up fast, so grab yours now and get ahead of millions of writers out there.

👇👇👇

[frailsituation]

Tips for building immersive plots

1. Start with your core idea

• Every plot begins with a spark—a question, a concept, or a character. Build from that seed.

• How? Ask, "What excites me about this story?" and focus your energy there.

• Example: A story about a magical curse could explore themes of redemption or betrayal.

2. Brainstorm freely

• Don’t start by thinking about structure. Instead, write down every idea you have—plot points, character traits, world details—without judgment.

• How? Use mind maps, lists, or “what if” questions to expand your ideas.

• Example: “What if two rival kingdoms were forced to unite to stop a shared enemy?”

3. Map out key events

• Divide your plot into beginning, middle, and end, and identify major turning points. These events should shape the character’s journey.

• How? Use the three-act structure, or simply think in terms of setup, confrontation, and resolution.

• Example:

Beginning: A thief steals a sacred artifact.

Middle: The artifact begins to curse them, forcing them to seek help.

End: They must choose between keeping the artifact’s power or destroying it.

4. Plan with cause and effect

• Immersive plots follow logical progression. Ask yourself: “What happens because of this event?” for every key moment.

• How? Make sure each event impacts the characters or world.

• Example: A hero saves a village → the village leader reveals a secret about the hero’s past → this drives the hero to confront their estranged parent.

5. Flesh out your subplots

• Subplots add depth and make your world feel real. Tie them to the main plot for maximum impact.

• How? Use subplots to explore secondary characters, add emotional stakes, or introduce twists.

• Example: While on a mission to defeat a villain, the hero struggles to repair their broken friendship with their ally.

6. use story beats to stay organized

• Break your story into smaller moments: inciting incident, midpoint twist, climax, resolution.

• How? Write one sentence for each beat to outline the flow of your story.

• Example:

Inciting incident: A cursed item bonds to the protagonist.

Midpoint: They discover the curse is tied to a powerful enemy.

Climax: They must sacrifice their freedom to destroy the curse.

7. Think of immersive twists

• Twists keep readers engaged and make your story unforgettable. They should feel earned, not random.

• How? Ask, "What would surprise the reader but make sense in hindsight?"

• Example: The mentor helping the hero turns out to have caused the conflict in the first place.

8. Build emotional stakes

• Plot isn’t just about events—it’s about how those events affect your characters. The stakes should feel deeply personal.

• How? Tie the plot to your protagonist’s fears, desires, and growth.

• Example: A hero who’s afraid of failure is forced to lead a mission where the cost of failure is catastrophic.

9. Create a planning routine

• Writing immersive plots takes time and refinement. Set aside regular sessions to brainstorm, refine, and test your ideas.

• How? Use tools like storyboarding, sticky notes, or apps like Scrivener to organize your ideas.

• Example: Start each session by reviewing your previous notes, then tackle one section of your plot.

10. Test your plot

• Once you’ve mapped out your story, summarize it to see if it holds together. Does each event flow logically? Are the stakes clear?

• How? Share your outline with a friend or writer’s group for feedback.

• Example: “A reluctant hero must destroy a magical artifact to save their world, but doing so will cost them their memories.”

Follow for more!

[adambja]

✴️THE SUBCONSCIOUS MIND✴️

The Guide - the only post you will ever need to understand how your subconscious mind works!

1. Time isn't real

Let me break it to you! Time isn't real at all cuz think about it all these hours and numbers are made by humans!

But how?!

They just track how the earth moves around the sun and that's all

Yes without time there will be morning and night and still these hours aren't real

As in whole THE UNIVERSE!! TIME DOESN'T EXIST IF YOU AREN'T ON THE EARTH!

which GETS US TO THAT ONE POINT

SUBCONSCIOUS MIND REPROGRAMMING DOESN'T TAKE 21 DAYS OR ANY TIME

Subconscious mind reprogramming is instant

That's why I always add it to my tapes as benefits and that's why I made the benefits! cuz it bypasses the conscious mind and it makes it easier for your subconscious to make it reality!

So basically it all comes down to what you assume!!

2. Languages

I got that question a lot about what if I can't speak English, will the affirmations work?

Yes ofc they will

whatever it's affirmations only or my tapes

Even if you make your own tapes it will work!!

3. Thoughts

Is it really "it is what it is"?

Yes, it is what it is

For ex.

if you think you already got 50k US DOLLARS you already have it it's that simple (like that success story a girl experienced with one of my free tapes she manifested 50k US DOLLARS! - also this one success story - The tape is on YouTube btw)

Again it all comes down to what you assume!

4. Assuming

Assuming hmmm... Do you know that all your thoughts are assumptions?

But there are two things about these thoughts!

Did you assume that they are real and true?

Do you assume that whatever you want is already achieved?

Do you assume that you are always right?

Or did you assume that it can't happen cuz you think you are lying!

Just be honest with yourself

Get a piece of paper and write everything you think about down ABOUT A SPECIFIC MANIFESTATION YOU GOT ON YOUR MIND!

And if you think you are lying why? Ask yourself! Make all that noise go away and clear it for yourself! You deserve better

Now this gets us to another point which is your manifesting self-concept and your self-concept they are very important for ur existence like they are the core of your life! So a little advice work on them then do whatever you want!

Cuz it changes the way you think and what you assume

So like a person with a bad or mid self-concept they will always assume the worst for themselves

Another person with a good self-concept they will be aware of who they are and what they are capable of!

5. Thoughts, Feelings and beliefs!

Again and again

How you feel is created by thought

Subconscious programming → beliefs → feelings → thoughts

So if you keep saying "oh I am sad" multiple times you will be sad it's just that simple

Use it for your own good!

And imagine what... Right now

Your beliefs will reflect in your reality after one thought instantly after reading this post so be careful cuz i already manifested this while typing this!

And listen to in control tape by me on YouTube!

Basically you can always create beliefs instantly cuz you believe that time isn't real... Did you know what we are doing here? Just assuming the best for us but you still have to be constant to get used to it and make it a part of your programming like everyday

Someone like me I enter the void every time I nap and sleep I got used to it and I don't even feel tired anymore when I wake up there and I don't use it that much anymore!

I literally enjoy how easy it is in life to do whatever I want and experience whatever I want!

6. Simple assumptions to have a good relationship with your subconscious mind

I will give you 10 affirmations from my paid subconscious mind tape at the end (I know it won't be the same as the tape itself because of the benefits but still it might help you guys!)

Do you know that your subconscious mind is here for you like a parent it's like your personal assistant - it has everything about you, your memories and it controls ur whole life it accepts every single thought you think about unless you say it it's not something you accept so it gets in your subconscious mind like "oh I don't accept this"

Even the negative statements your subconscious mind knows it negative!! Same thing with the positive statements

Like for ex.

I am not a bad person - negative statement

Your subconscious mind acknowledges it!

Your subconscious mind won't take it in like "I am a bad person" without the "not"

Even the same thing with

I am a good person - positive statement

Your subconscious mind acknowledges it TOO

The subconscious mind ACCEPTS THE NEGATIVE STATEMENTS TOO!

IT IS simply WHAT IT IS!!

It's not the opposite at all as some weird bloggers said! Or even that book about the subconscious mind it's called "the power of the subconscious mind by Joseph Murphy" it's full of bs and limiting beliefs - I genuinely hate it

I literally saw a coach in Saudi Arabia on X (PREVIOUSLY Twitter) selling a whole course for almost 30k USD and sharing all the limiting beliefs in that book and that was months ago!

I mean at least IF YOU ARE MAKING PEOPLE PAY FOR SOMETHING PROVIDE THEM WITH THE BEST THINGS AND INFORMATION

I hated how some people let some crazy stuff like that get to them without doing their own research or just creating their own rules!!

Be a little independent please for your own good

Your subconscious mind can be programmed instantly YOU DON'T NEED ANY TIME all you need to realize and understand is that yes "I always reprogram my subconscious mind instantly" and YOU JUST NEED comfort and just repeating the affs - this is a way

Another way to do it - make your own tapes and it's just repetition

Another way to do it - simply be it be whatever you want to be! Like it's already you!

One last way to do it - my free tapes + paid tapes they are very effective they work from the first listen because they have benefits again what actually made my tapes get that much success stories is the benefits

I am gonna upload 2 new free tapes they are small but very effective! Everyone here will like them!!

🎀10 Affirmations for your subconscious mind🎀

from my paid subconscious mind tape

Affirmations:

Me and my subconscious mind are one.

My subconscious mind already accepts everything I say as true.

My subconscious mind already accepts everything think about as true.

My subconscious mind is already my best friend forever.

My subconscious mind always helps me with everything.

My subconscious mind always loves me.

My subconscious mind always helps me reach my highest potential in this lifetime!

My subconscious mind already believes what I want it to believe easily effortlessly quickly and instantly.

My subconscious mind always manifests everything I want easily effortlessly and instantly.

I have a perfect relationship with my subconscious mind.

Thank you guys for all the support and love and I hope this post helped you!

If you have any questions you can always send an ask I will be happy to answer them whenever I am free! Also you can dm me if you want a paid tape or a custom tape!

One last thing these tapes are with benefits they aren't like any other tapes that are available everywhere these days! 🎀

Enjoy!💗

[hawkepockets]

1 of my da:v opinions is that. ok. “eldest daughter/people pleaser raised in a land strange to her people” is an awesome core character concept. it’s just not at all who i thought harding was based on her inquisition dialogue? in veilguard, harding talks abt how she learned to butter people up and take up less space after being harrassed as a little dwarven girl in ferelden; in da:i, she said the same experiences taught her to be rough-and-tumble and to aim for the balls. even her minstrel song is about the vindictive glee she feels in battle while “cutting men down to size.” it calls her the “inquisition’s bloody prize.” she’s a violent person! violent enough to inspire ballads! by fereldan standards!

it’s not that she couldn’t have learned both behavior patterns, but since we don’t rly see them contrasted in harding’s da:v characterization, it feels more like an overwrite to say she’s gentle now.

she’s also just never been a people pleaser! her role in da:i was straight talker! she was one of the few npcs the inquisitor could trust to give a blunt report on the terrain and political situation in a new map. in “jaws of hakkon,” she had the clearest, frankest, most compassionate but also harshest insight about how their personhood was being eclipsed by their reputation and titles—

she’s forthright, without illusions, and also one of the most uncompromised & uncompromising believers in the inquisition’s cause. NOT one of the many followers courting the inquisitor’s favor & backing for their own agenda. absolutely not a pushover or a kissass.

and what’s the significance of calling harding an “eldest daughter” with implied negativity when her ma doesn’t appear in the game and their relationship is drawn as wholly positive?

so i think maybe harding & taash could’ve switched roles, with harding being the clear eyes of the party who tends toward the blunt, crass, and fanatical but will never lie or fawn, and taash being the heart, the people-pleasing eldest first gen immigrant daughter who gets in touch with their masculinity, individuality and fire during the story—while still retaining harding’s warm, naturalistic speaking voice & taash’s clipped commentary, and the contrast between their personalities that attracts them to each other.

the addition of younger siblings, whose relationship with shathann is not strained in the same way taash’s is since they are neither adaari nor the children shathann left the qun for, could also add depth & complexity to taash’s questline, more cultural ties for them to untangle (or - my preference - to realize don’t need untangled) and another contrast with only child harding, whose heavy responsibilities are all taken on by choice and not inherited… or so she thinks until her own personal quest.

maybe taash could even have another mom, who isn’t fridged?

just a notion!

[ohnoitstbskyen]

Which LoL character do you think is in the greatest need of an ASU and why?

Hard to pick just one...

There's a solid argument for Singed, since Arcane is meant to be The Canon now and Singed...... just is not That Guy

Besides him though, Zilean and Corki have probably the ugliest and least fitting models and animation in the game

But I really wouldn't be who I am if I didn't also throw in one of the worst examples of total mismatch between champion design and story in the entire game

And it's not just that her story insists that she's a hard-bitten, traumatised sole survivor who has struggled for her life against extradimensional horrors her whole life, bonded to an alien ravenous symbiote and hated by the people she is trying to save as a "monster," while her character design insists that she's a physically flawless swimsuit model in a body condom.

It's also that 99.9% of her skins actively ignore the fact that she's supposed to be a symbiote character - that her alien suit is supposed to be core to her character, the split between the human and the monstrous. But nah, her skins just put her in various outfits and then she has pods floating behind her because [indistinct mumbling.]

I don't think there's a champion in League of Legends where it is more profoundly clear that Riot does not give a single solitary shit about the concept of the character, they ONLY care that she's a hot woman who can be put in hot woman outfits.

>sigh< at least Dana Luery Shaw gave us Hollowspun

[deception-united]

Let's talk about worldbuilding.

Worldbuilding is a crucial aspect of writing fiction, particularly in genres like fantasy and science fiction.

Remember that worldbuilding is a dynamic process that evolves as you write. Don't be afraid to experiment and make changes to your world as needed to serve the story.

Here are some tips to help you build a rich and immersive world:

Start with a Core Concept: Every world begins with an idea. Whether it's a magic system, a futuristic society, or an alternate history, have a clear concept that serves as the foundation for your world.

Define the Rules: Establish the rules that govern your world, including its physical laws, magic systems, societal norms, and cultural practices. Consistency is key to creating a believable world.

Create a Detailed Map: Optional, but helpful. Develop a map of your world to visualise its geography, including continents, countries, cities, and landmarks. Consider factors like climate, terrain, and natural resources to make your world feel authentic.

Build a History: Develop a rich history for your world, including key events, conflicts, and historical figures. Consider how past events have shaped the present and influenced the cultures and societies within your world.

Develop Cultures and Societies: Create diverse cultures and societies within your world, each with its own beliefs, traditions, languages, and social structures. Explore how different cultures interact and conflict with one another.

Flesh Out Characters: Populate your world with memorable characters who reflect its diversity and complexity. Consider how their backgrounds, motivations, and personalities are shaped by the world around them. (See my post on character development for more!)

Consider Technology and Magic: Determine the level of technology and the presence of magic in your world, and how they impact daily life, society, and the overall narrative.

Think about Economics and Politics: Consider the economic systems, political structures, and power dynamics within your world. Explore issues like inequality, governance, and social justice to add depth to your worldbuilding.

Show, Don't Tell: Instead of dumping information on readers, reveal details about your world gradually through storytelling. Show how characters interact with their environment and incorporate worldbuilding seamlessly into the narrative.

Stay Consistent: Maintain consistency in your worldbuilding to ensure coherence and believability. Keep track of details like character names, historical events, and geographic locations to avoid contradictions.

Leave Room for Exploration: While it's essential to have a solid foundation for your world, leave room for discovery and exploration as you write. Allow your world to evolve organically and be open to new ideas and possibilities.

Revise and Edit: Carefully review your worldbuilding to identify any inconsistencies, plot holes, or contradictory elements. Pay attention to details such as character backgrounds, historical events, and the rules of your world's magic or technology. Make necessary revisions to resolve any issues and maintain the integrity of your worldbuilding.

Happy writing!

Previous | Next

[gerbithats]

The sims 4 is not a lost cause, it just needs some love.

SO i recently came back to playing sims 4 after a long hiatus and i have to say i'm surprised. I'm no EA apologist, they are indeed cashgrabby. But to see that lots of new features were integrated over the last few years that facilitated different styles of gameplay actually surprised me.

It seems tho that a pattern has been set, were they will release the most lackluster pack (whatever it is) and keep fixing it over the next few years. Pack reworks became a thing and thank god for it, since the releases don't seem to be stoping in order to give us better results.

It's a bittersweet feeling for sure. The game has more than 70 packs released and somehow it can still feel dead when it comes to live mode. And that's what this post is about: how could they bring the love the other games had for live mode in a base game that's so purposefully made for cas and build/buy?

Part 1: Nostalgia driven gameplay

Seeing the UI from the sims 1, 2 and 3 brings me back a lot of memories. It was a staple to this series that was lost due to a cleaner redesign. Not only that, but a core mechanic was also changed: the wants and fears system.

I believe that what makes me so nostalgic is TO KNOW that this worked so perfectly and hardly needed any refreshes.

Your sims now have emotions and yet, they rarely feel like something integrated to a goal or something you can truly affect while in gameplay.

Bringing back the wants and fears system would not only make our decisions during gameplay more impactful to our sims emotions, but also help to choose the direction any story could go.

An aspiration meter that's connected to the rewards shop would make decisions much more impactful (rather than getting them just by working through what is currently known as the "tutorial aspirations").

Your sims moods should be important, and so what makes them feel that way.

Part 2: World overload

With the amount of packs released, the world selection menu quickly became a problem. When seeing that screen, it all just feels like a blur of information that's been set in a certain way for convenience.

Maps such as these became popular in the community for a reason. The experience of playing needs to be inviting from the get go. It's clear tho that the reason behind not giving us something like this is no long term planning and pack exclusive experiences.

So what if it just became a larger sims world? A concept were you wouldn't select the city at frist, but the entire region were it is located in order to acess the one you prefer.

That would also make this refresh friendly to a future create a world tool (whenever that may come).

Part 3: Pack refreshes are the bread and butter of the future

Let's face it: we're stuck with this game for another 10 years at least. So other than dwell on the fact that we don't have open worlds or things of that nature, we should look at what can reasily be solved, and that's pack refreshes.

From seasons coming out without properly made textures and snow depth to functions that will simply not work as they should, I like to believe we do have a voice in this community. I made this post several years ago and now, looking back at it, I see so much improvement over things that we were desperately asking for.

Don't get me wrong, by that I don't mean that EA developers are searching through my page or yours to find what we think and expect for The Sims 4. But talking about these things openly as a community is what makes the difference.

Part 4: Simmers Unite

In conclusion: uniting our voices to ask for these things to come as refreshes and revamped features are crucial for the next few years. Let's, together, avoid a "my first snowdepth pack" or similar things that could yet come our way.

I created a blog called @sims4-communitywishes to reblog rants and wishes such as these. Our blogs and separate voices may be small, but a repository of it is much more impactful.

So thank you for reading this all the way through and in case you want to share your wishes for the future of The Sims 4, tag it as #s4comunitywishes

[merakiui]

ebb and flow.

yandere!floyd leech x (female) reader cw: yandere, unhealthy behaviors/relationship, dub-con, nsfw, stepcest, obsession, getting high/use of edibles, reader is implied to have small breasts, octavinelle trio is human in this story, au with no magic, brief mention of alcohol use, brief mention of implied somnophilia, reader and trio are 18 in the last scene of the story (in case it isn't clear) note - like the tide, floyd's interests ebb and flow. you happen to be more than a passing fancy.

When he’s old enough to put his thoughts into words, Floyd declares, rather obnoxiously, that girls are gross and he wants nothing to do with them.

“All they ever wanna do is talk about dolls and dresses,” he laments, scuffing his shoe against the cobbles.

“You know I’m a girl, right?” You scoff and turn your nose up, mildly offended. “And not all girls are like that. I’m not like that.”

And it’s true. You give as good as you get. You lunge after Floyd when he yanks your favorite toys out of your hands or when he tugs on your hair, every infraction intentional. He knows just how to rile you up enough for you to give chase. You’re keen to wrestle him in the mud on rainy days in the same way he’s willing to race you up and down the streets to prove outlandish points.

Growing up with two brothers—though they aren’t your family by blood, referring to them as your step-brothers is a knotty mouthful you prefer to avoid—taught you things you never would have learned if you had a sister.

Perhaps their presence served to stoke the fires of playful violence—meaningless quarrels that were resolved in a matter of minutes, often punctuated with halfhearted apologies. Once, in the middle of a particularly nasty brawl, you kicked Floyd in the jaw and knocked his front tooth free. Morbidly amused, Jade applauded you for the show. Floyd held his bruised face in one hand, glaring viciously as blood dribbled from his lips. He reeled his arm back, but it never landed. Your father chewed the lot of you out before he could throw the punch.

“What are we going to do with you?” your mother would say while she patched the both of you up. “Always fighting like this… That’s not very nice now, is it?”

The twins’ mother died shortly after giving birth and so they never knew the concept of a mother until five years later when their father remarried. It was then when you joined their family of three, and the twins had taken to their new mother like fish in water. Adoringly, they would tug on her skirt and demand attention. She was all too happy to indulge them, lifting them into her arms one at a time.

“You know that means Mama and me, don’t you?” you add, skipping ahead of him.

“That’s different. Mama doesn’t count. She’s special.”

“What about me?”

Floyd takes one look at you and smiles that mean, mocking smile. “You’re even worse. You’ve got girl germs.”

You don’t bother granting him a head start. He’s already running.

On the cusp of a growth spurt, his face peppered in pimples, Floyd is only fifteen when you chase him out of your bedroom.

“Get out! Get out! Get out!” Your piercing shrieks and Floyd’s raucous laughter echo through the halls, drawing the perpetually curious Jade out of his room like a worm from an apple core.

He’s greeted with the sight of Floyd, who has clasped your bra around his head and is now parading about proudly. A plush octopus flies after him and smacks into the wall. Seconds later, you burst from your room with embarrassment painted on your face.

“Oh my.” Jade observes the scene unfold from behind his fist. His mismatched eyes glitter with mischief.

“You’re so tiny! Your boyfriend’s gonna fall in love with a shrimp!” Floyd sticks his tongue out at you. “Shrimpy (Name)! Shrimpy (Name)! I’ve got a shrimp for a sis!”

“That’s not funny, and Azul’s not my boyfriend!” You reach for him, but he avoids you with an agile sidestep. “Knock it off! Give it back!”

“But it fits me better.”

“It does not!” You turn to Jade and gesture wildly at Floyd, who is now batting his lashes like a princess. “Don’t just stand there! Help me out.”

“Oh, I’m afraid I’m much more suited to the sidelines. I wouldn’t want to interrupt your fun.”

You grit your teeth. “You ass—”

“So much noise! What in the world is going on here?”

Your mother makes her way up the stairs just as Floyd tugs the bra off his head. You round on her before the twins can. 

“Mooom, Floyd’s being gross. He stole my bra and won’t give it back.”

“Huuuh. No way. She’s totally framin’ me. I don’t have her bra.” Floyd folds his arms over his chest, feigning innocence. “That’s just icky. Why would I have it anyway?”

“Indeed,” Jade agrees coyly, pretending to search for it. “No bra in sight.”

“You’re liars—you and Jade!” You sneer at them. They merely smile angelically. “I’ll kick both of you in your dicks if you don’t—”

“(Name), mind your language!” Sighing, your mother issues both boys a stern frown. “Floyd, sweetheart, it’s not nice to tease your sister. You as well, Jade. Return what you stole and apologize.” She bends down to retrieve the fallen plush and passes it to you. “You too, (Name). You’re family. Family shouldn’t fight.”

“I don’t owe him an apology.”

“And I don’t have her bra.”

“He’s lying! Floyd was in my room, digging through my clothes.”

“Nuh-uh.”

“Yeah-huh!”

Jade smiles wide enough to reveal the braces on his teeth. “Now that (Name) mentions it, I did see Floyd sneaking about. Oh, but maybe that’s not right. I only caught a glimpse, after all.” 

Floyd has no reason to look so betrayed. Jade oscillates between sides whenever it sates his hunger for amusement. Today, as luck would have it, he’s on your side. For now.

“If you’re as innocent as you claim, surely there’s no reason to keep your arms clasped behind your back.”

“You really don’t have anyone’s back, do you?”

“Floyd…” Your mother looks at him expectantly, her eyes soft despite her tone.

He thrusts his arm out and drops your bra. “Fine. Take it back. Wasn’t havin’ any fun with it anyways.”

“Honestly, you’re such a pervert,” you snap, swiping it from the floor. “Next time you wanna come in my room, you’d better knock first. How would you like it if I went into your and Jade’s room and stole one of your shirts?”

He sticks his tongue out at you, defiant like the brat he is. If your mother wasn’t standing behind you, you’d have exacted your revenge right then.

“(Name), be nice to your brother. Floyd, apologize to your sister.”

Floyd doesn’t look you in the eyes when he spits a mean-sounding, “Sorry.”

Jade can only snicker, feasting on this live entertainment like it’s the richest meal.

“And I’m sooo sorry you’re annoying and everyone’s gotta put up with you.” With an exasperated huff, you strut back into your room and slam the door shut. It locks with a loud click.

“Give her some time. She just needs to cool down,” you hear your mother explain. “But, really, you should know better, Floyd. It’s not right to go into anyone’s room and take their things.”

“I would never do something so egregious, Mother,” Jade admits, which you find hard to believe because he’s just as sly, if not more so, than his twin.

“She’s just mad I’m funnier than her,” Floyd says. A blatant falsehood if you’ve ever heard one.

You could never understand Floyd’s obsession with your laundry. Maybe he was just your typical hormone-addled teenager with nothing better to do but fantasize about women and their undergarments, and seeing as you were the only girl he was close to—both in age and as siblings—who else could bear the brunt of his delinquency?

Or it had nothing to do with that at all, and he was just determined to be as much of a pest as possible.

Back then, that made sense.

Back then, you were foolish.

Back then, you didn’t know. No one did. Not really.

Lying between your brothers, lost in thought, you stare at the plastic stars and planets pasted to your ceiling. A dulcet adagio trickles out of the tiny speaker on your bedside table. The honeyed vocals soften the static in your brain, snuffing every burden with beautiful bossa nova. You soak in every lyric, imagining yourself in the singer’s position: falling for someone in midnight blue, blooming beneath their touch, your dress falling to your ankles, exploring each other’s shorelines…

The fantasy floats away as soon as Floyd opens his mouth, and you’re brought back to reality. No lover in your arms. No midnight blue. No flowering feelings. No dress.

“When’s this stuff supposed to kick in? I don’t feel a thing.”

“Patience,” Jade murmurs, practically melting into the mattress. “You’ll know once it happens.”

“Well, I don’t. Your shit sucks.”

“As does your attitude.”

“Whatever.” Floyd snuggles closer to you, pulling your arm into his chest. “What about you, Shrimpy? You feel it yet?”

“Mmh, sorta… I dunno. Don’t call me that.”

“Once a shrimp, always a shrimp.”

“I did offer the other half.”

“I’ll take it if I feel like it.” You shake Floyd off and pout at Jade. “Mom and Dad’ll lose it if they find out, you know.”

Jade flashes his teeth at you in a cheeky grin. “I’m counting on you to be a sweet, dependable sister and keep my little secret safe.”

“Lips are sealed.”

“What a good pet you are. So obedient.”

You exhale a soft, gasping laugh. “You’re so weird.”

“But you’re smiling.”

“Only because you’re weird!”

He giggles and leans in close, his nose brushing yours. When he speaks again, it’s in a softer tone, near-hypnotic. “So you do feel it.”

“Maybe.”

With a petulant whine, Floyd presses himself against you from behind. “No fair. I wanna be all silly like you and Jade. Gimme the other half. I’ll take it right now.”

“You can grab it.”

“You’re closer.”

“Alas… My limbs are lead.”

“Asshole,” Floyd gripes, leaning over you and Jade to swipe the box from the bedside table. He often keeps his stash there. Sometimes it’s stocked with gummy edibles or mushrooms, all wrapped in plastic. Jade’s resourceful like a squirrel, crafty in ways you can’t fathom.

Today, you’re holed up in your room because you have a bigger bed. There are fairy lights strung up on the walls, providing the space with just enough dimness for you to see your surroundings. It’s the perfect ambience for this slow, lazy Saturday in November. Your parents are out for the afternoon and won’t be back until later, and you couldn’t be any happier to have the house to yourself.

As soon as the door shut, you exchanged knowing looks with your brothers and hurried back to your room. Jade told you he’d take you and Floyd to his favorite spot in the forest after midterms and then the lot of you could truly kick back and relax with some pre-rolls. He’d invite Azul and make it a picnic in the woods. A whole day filled with fun. In your heart, it would be a date. Your brothers would just be the unwanted third and fourth wheels.

Really, you could care less about getting high. Azul is more than a drug—he’s oxygen—and you crave him like an addict feens for a fix. Floyd thinks your crush on him is stupid and misplaced. You beg to differ. You’ve admired him since childhood. How could you possibly fall out of love now?

Floyd flops back into the empty space beside you, chewing the rest of the gummy worm. His arm drapes across your waist. “What’re we doin’ tomorrow?”

“I’m going to the library to study with Azul.”

“Lame.”

“You’re not invited.” You roll over on your side to address him, speaking slowly. “Don’t show up.”

“Now I kinda want to. I wanna see what you and Azul get up to.”

“Studying.”

“Mmh, I doubt that.” Jade sticks to you like moss, his eyes fluttering shut. “Azul’s studying, at least. You’re daydreaming.”

“Not my fault he’s cute.”

“I’m cuter.” Floyd’s lips turn down in a disappointed moue. “Ain’t I cute?”

“No way. You’re ugly.”

“I’m inclined to agree.”

“No one asked you, Jade. ‘Sides, ain’t that basically the same as sayin’ you’re ugly, too?”

“I dunno,” he mumbles dumbly, the words muffled in your shoulder. “What do you think, (Name)?”

“Get yourself a girlfriend and then you can ask her.”

“Won’t you be my stand-in girlfriend?”

“Yeah, that’s good.” Floyd curls his fingers around the strap of your tank top. He tugs it up and down your arm in a languid rhythm. You’re floating amongst the clouds, your mind filled with a pleasant fuzz, so scolding him isn’t a priority. “Forget about bein’ our sis for a sec.”

“Get lost.”

“How cold…” Jade sniffles.

“Shrimpy’s ruthless.”

“Stop calling me that.”

Floyd’s hand crawls across your chest to grope you through your shirt. “Mmh, nope. Still small.”

“Am not.”

“Are too.”

“Am not.”

“I think you’re sized just right.” Jade’s spidery digits creep along your hip and splay across your stomach. “Azul won’t even notice. He doesn’t pay attention to your assets like we do.”

“I wish he would.” You meet Jade’s half-lidded stare. “Does he talk about me?”

“In what context? You’ll need to be specific,” he purrs, and if you weren’t swimming in bliss you’d elbow him in the mouth.

It’s like pulling teeth with Jade. He makes things so irritatingly difficult for no reason.

“You know the context.”

“Sometimes he says stuff,” Floyd replies instead. He rests his head in the crook of your neck and inhales the sugary notes of your perfume.

“Good stuff?”

Vibrating with a woozy warmth, you squirm between your brothers. It’s stifling being in the middle of their sandwich, but the proximity is pleasing. Comfortable. Reassuring. You feel like an anchored ship between the both of them, safely pinned down amidst the tumultuous waves of your bedsheets. You sigh dreamily when Floyd’s legs twine around yours.

“He thought your sweater was real cute.”

“Which one?”

“All of ’em.”

“Hmm. Okay.” But that doesn’t satisfy you. “What type of girl is he into?”

“Why don’t you make him your boyfriend? Then you can find out,” Jade says.

He aims for a sharp smile and falls short. It mellows out into something stupid and lopsided. He thinks he’s the funniest creature on the planet, and in this moment he is because the retort has you snowballing into a fit of giggles.

“Maybe I will.”

Floyd tracks your throat as it bobs with every swallow. He glances at your jaw next, at the glitters speckled on your cheeks. They sparkle like miniature stars, an entire galaxy imprinted on your skin. “You’re wearin’ makeup.”

“Hm?”

“Perfume, too. Smells good.”

“I bought some when I went to the mall.”

“When?”

“Last week? Two weeks ago? I can’t remember.”

“You doin’ it for Azul?”

“Who else? Certainly not you.”

Floyd scowls at Jade. “Don’t answer for her. I wanna hear it from her.”

“You’re my brother. Why would it be for you?” you mumble, more confused than unsettled.

Obviously it’s for Azul.

“Why not? It’s not fair other guys get to see ya lookin’ this good. Why should I be excluded just cuz I’m your brother?”

His lips drag against your neck. There’s nothing special about his affection. It’s dubiously platonic, but you’re used to it. He’s always been prone to expressing himself through physical means. Too-tight hugs, pecks on the cheek, a gentle squeeze in clasped hands. It was cute when you were children, but now you’re seventeen and it’s getting harder to explain his clingy nature.

“I don’t care what other guys think.”

“Just Azul?” Jade prompts, toying with the hem of your top. His fingers slide beneath it to prod at your navel, and suddenly Azul is no longer the most important part of this conversation. “Have you ever considered piercing it?”

“What? My belly button?”

“Ooh, good idea. You could match jewelry with us. How about it? I’ll getcha some sturgeon scales.”

“Mom’ll kill me.”

“In that case, we’re both dead.”

You blink at Jade, searching for the meaning in his mismatched hues. He opens his mouth, unfurling his tongue to reveal the venom piercing. The shock washes over you like a wave, and just as it’s receding it hits you—what you’re looking at.

“Your tongue! You actually—since when?”

“Two weeks.”

“What the hell! Why didn’t you tell me? I would’ve come with. Moral support and stuff.”

He laughs when you nudge him. “It wasn’t so bad. I’d like to get more.”

“Does Dad know?”

“Not at all.”

“Dangerous.”

“Thrilling,” he corrects, a minacious glint in his gaze.

“Jade’s changin’ up his whole look. Super cool, ain’t it?”

“And what about you?” You turn over towards Floyd. His hands settle on your lower back. He all but tugs you away from Jade, who frowns and shuffles closer until his hips press against your ass. You feel his mouth at your bare shoulder, lavishing it with little pecks. “Do you want more piercings?”

“You into guys with piercings?”

“I don’t really care. Piercings are great. Tattoos, too.”

“Then I’ll get a tattoo.”

“So it’s settled. (Name) will pierce her navel, and Floyd will get a tattoo.”

“Sure,” you agree, but you don’t expect anything to come out of it. Just a random idea thrown around in the haze of your high.

You’re closer than family should be, but that’s the last thing on your mind when you’re twisted between them. This is normal. At least, it’s the normal you’ve grown up with.

What isn’t normal, though, is Floyd’s insistence that he ought to shape himself into the man of your dreams when, clearly, the man of your dreams goes by the name of Azul Ashengrotto. But you’re not worried. It’s always said in jest, or you assume it’s in jest.

In the back of your mind, you wonder if Azul would like you more if you had a pretty piercing to show off.

You’re weeks away from prom when Azul says yes.

“Wait… Really? Seriously?”

“I was under the impression we were all going,” he says with that charismatic chuckle you love dearly. “As a group, yes?”

Your hopes plummet alongside pieces of your heart. “Oh. Y-Yeah, right. A group. Of course.”

“I do appreciate the poster, though.” He holds it up as if it’ll reveal a secret message when caught in the sun. The cartoon octopus you spent hours sketching, lining, and coloring smiles back at him. “‘It would be so tenta-cool if you could be the sea to my shore at prom.’ How ingeniously cheesy.”

Your laughter is hollow. That’s the last time I’m asking Jade for advice on ocean puns.

“I’m glad you think so… Hey, you’re coming over before the dance, right? We’re thinking of doing something.”

“A party before the party?” Azul rolls the poster up and carefully fits it into his messenger bag. It sticks out from under the flap. “I’m not opposed. What did you have in mind?”

“We could get dinner.” Just the two of us. “Whatever you want, really. My dad’s planning to send us there in a limo. Real classy, y’know.”

Azul falls into step with you. “If that’s the case, we might as well go all out.”

Sensing an in, you stare at him. “The girls in my class are going on and on about how prom’s gotta be this magical thing. It can’t get more magical than a fancy car.”

“Goodness. It’s really not that special. You can’t exactly put ‘Prom Queen’ on your resume now, can you?”

“No, but you can make lots of memories. So I was thinking—hypothetically, of course—if you’d wanna go as, like, my fake date. Like, we’re going as a group and everything, but if you want we could get flowers for each other and match outfits and… B-Basically, I’m just trying to see if there’s any merit to what they’re saying about prom. About it being magical with a date.”

“Hm… That’s true. It will be our final social event before we graduate and go out into the world. Our last chance to say and do whatever we’ve neglected in previous years.”

“Right.”

“I wouldn’t mind.” His stare is fixed firmly on the path ahead. “Hypothetically speaking, of course.”

“So…” You swallow your anxieties; your heart is in your throat. “So you’ll be my hypothetical date?”

“I would be honored.”

“Okay. A-All right… Yeah! Great!”

Azul’s pretty blues briefly flick over to you. His cheeks are tinged pink. “Wonderful. I… I’m pleased we’ve worked this out. All hypotheticals, naturally.”

“Yeah, definitely. Just hypothetical.”

“Did…you have a color in mind? Have you picked a dress yet?”

“Something pink or purple. Maybe red. I’m not really sure.”

“Blue would be very flattering on you.” As an afterthought, he scrambles to add, “But that’s just another hypothetical.”

You watch the way he wrings the strap of his bag. “I agree. Blue’s a good color.”

“Isn’t it?”

“I could wear you.” You regret it the moment it leaves your mouth, even more so when Azul raises a bewildered brow. “B-Because your name—no, sorry. That’s dumb. I don’t mean it in the crazy-murderer-who-skins-you-alive way. I meant in the way that’s like—”

“Cheek to cheek?”

“Yeah. No, yeah, that’s right.”

What am I saying? None of this makes any sense. 

Azul laughs and nudges you playfully. “You can wear me. Hypothetically, I’m your date to the dance. It’s only right that I act as your accessory for the evening.”

“Then… T-Then let’s be each other’s garments!”

He hums his approval and the conversation dies there.

You make the rest of the walk out of school in awkward silence. At the gates, Azul turns to you.

“None of this is hypothetical, is it?”

You heave a relieved breath. “Not at all.”

“Then allow me to do away with pretending. I’ll be your prom date. Factually.”

“My factual prom date…”

“It…doesn’t sound as smooth as a hypothetical.”

“But it’s real.”

He smiles shyly. “That it is.”

On the night of prom, alone in an empty corridor, Floyd yanks you into a rough kiss. The music from the ballroom is so loud you can faintly hear it from down the hall. It pulses through you with energetic vibrations, joining your panic in an unsteady duet. You push at Floyd’s chest, struggling against the wall he has you pinned to. He breaks off halfway just to savor your gasp before moving in to reclaim your mouth. It’s a ravenous action. He kisses you like he intends to devour you, licking and nipping at every possible crevice. His teeth click against yours as he endeavors to taste the wine at the back of your throat—courtesy of sneaky, rebellious Jade and his discreet water bottle.

Finally, after gathering enough strength, you shove him off of you. He stumbles, hurt flashing across his face. Ferociously hot up to your ears, your heart stumbling in your rib cage, you can’t believe it. You don’t want to believe it.

That wasn’t real… No way…

Still processing it, you smudge your lipstick when you wipe the drool from your mouth.

You and Floyd watch each other in silence. You’re waiting for him to break it. He’s waiting for you to run away.

“What…was that?”

“You were cozyin’ up to Azul—”

“Because he’s my date!”

“Yeah, but you—Shrimpy, c’mon, you know we agreed to go as a group…”

“And so what? That doesn’t give you the right to kiss me. I was going to—I had an entire plan for this. Azul was gonna be my first kiss!”

“Well, now he’s gonna hafta be second.”

You sputter in shock. “You—you’re so… I just… Wow.”

Floyd’s face hardens and softens and then hardens again. He looked like a kicked puppy a few minutes ago, cowardly and small, but now there’s determination smoldering in his stare.

“I like ya. I like ya a whole lot.” You open your mouth to protest, but he beats you to it. “More than a sister.”

And there it is—the truth you couldn’t confront.

Your frustration withers and blooms anew in a complicated tangle of weeds. “You…like me. Like… Like me, like me?”

Floyd cards a hand through his slicked hair and exhales a heavy breath. “I mean… It’s obvious, ain’t it?”

“Floyd, I… I’m sorry, but I like Azul. You know this.” Now it’s your turn to cut him off before he can speak. “You’re family, Floyd. My brother.”

“So what?”

“It’s wrong, that’s what! We’re family. That’s all we’ve ever been… Look—I don’t have time for this. Azul and Jade are gonna wonder where we went. We can talk about this tomorrow.”

You brush past him, hoping to leave this conversation here and pick it up after the dance. But Floyd won’t have that. He seizes your wrist and tugs you around.

“Just…” He avoids your stare. “Just hear me out, okay? I just wanna love ya.”

“So love me like a normal brother.” You try to pull yourself free, but he holds firm. “I really don’t have time to argue. Actually, this isn’t something I should have to argue in the first place.”

“We’re not related in that way. It’s fine, isn’t it?” He grabs your waist and drags you close.

“Mom and Dad won’t think so. Azul won’t. Honestly, Floyd, let it go. We’ll talk later. Please just—”

“You really don’t get it, do you?”

You inhale slowly, forcing yourself to remain calm. “No, I don’t. I really don’t.”

“I’ve wanted ya longer than Azul—than Jade. Longer than anyone. And I never got to have ya.” Floyd plasters you to the wall again, but this time he slots a knee between your thighs. “Drove me crazy every time I saw ya walkin’ around the house in those stupid shorts or when you’d bring your friends over and you’d wear that stupid nightgown. The soft one with the lace and bows. The one that’s so thin it shows your shrimpy tits.”

Your glower is so blistering it could melt him down to his bones. “You’re disgusting.”

“Maybe.” He laughs, but it isn’t funny. “Didja know? I wanted to kiss you in your sleep. Touch you all over. Stick my fingers in you and watch you squirm… Feel how tight you are when you cling to my cock. You’re still a virgin, ain’tcha? Azul hasn’t done it with you yet, right?”

You yelp when his hand slips under the ruffles of your dress and climbs up your thigh. “W-Wait—stop! Don’t—”

“Gonna take that as a no.”

“Floyd—”

“See? Can’t you say my name instead of his? You don’t gotta daydream with me around. I’ll make you feel good. You don’t need that stupid dildo when you’ve got me.”

His fingers press against the outline of your pussy, teasing you through the fabric. Your body goes rigid. “Y-You can’t… Not here. Someone might see.”

“Let ’em. Then they’ll know you’re all mine.” Floyd noses your throat and deflates against you, hedonistic and selfish. “You always smell so fuckin’ good. Like candy. Sweet and yummy. Makes me wanna bite you and never let go. Taste your shrimpy heartbeat in my mouth…”

“S-Seriously…” You squeeze your eyes shut and bite back a whimper when he squeezes your clit. “Get off of me. You can’t—you’re my brother.”

“Nah. Brothers don’t go around stealin’ their sister’s stuff and usin’ it to get off, do they?”

It occurs to you that you should be furious with him. He deserves more than just your ire. Instead, you can only feel intoxicated as you listen to him ramble filth.

“Remember that pair of panties you thought was clean? The ones with the stain.”

“Yeah, the ones I use when I’m on my period—”

“Not those. The other one.”

“W-What—” You slap your hand over your mouth to muffle your gasp. He rubs you in slow, deliberate circles. With dimming focus, you try to think of anything else—of boring, bland things—to fight off mounting arousal. “What about it?”

“I had that pair wrapped around my dick before you put ’em on.”

“So that was—the stain was—”

“Mhm.”

“Ew! You’re the worst! That was my favorite pair, Floyd!”

He snickers. “At least it wasn’t you. My old man’ll beat my ass if I knock ya up. Had to use the next best thing.”

“Use your hand, dumbass! Don’t use my stuff!”

“Then stop fuckin’ yourself on your dildo. I hear you through the bathroom door, y’know. Moanin’ like you’re in heat. All of it for Azul. I wanted to come in and help ya out every time, but I couldn’t. And that really ate at me.”

“I don’t want your help,” you spit, glaring.

“No? But you’re so wet. I think my fingers will slip riiight in.” He pulls your panties to the side and prods at your folds. “You wanna test it?”

You shake your head a second too late. Floyd’s already pushing two fingers inside. The breath sticks in your throat. He’s actually doing this, right here in the open. Someone could turn down the hall and spot you. That someone could be—

“A-Azul might catch us. Stop. You really can’t…”

“Aww. What? Don’t want Azul seein’ you like this? Don’t want him to see the mess you’re making? Don’t want him knowing you like being wrapped around your brother’s fingers?”

He’s mean when he curls them suddenly, a brute and a bully all at once. They press against wet, velvety walls, and the noisy squelch leaves you shuddering. You breathe heavily, little huffs that tremble sweetly as he stretches you out.

“S-Shut up. You’re a pervert.”

“That makes two of us.”

You yank him closer by his tie, intending to be threatening and failing. “I’m gonna kill you.”

“Sure you are.”

Without warning, he reaches for your chest and yanks your strapless dress down to reveal your breasts. Your perky nipples poke out against the lingerie tape. He whistles lowly while he marvels at them.

“Still the same pair of shrimpy tits.”

“Nuh-uh. I went up a size.”

“Yeah-huh. I would know. I steal your bras all the time. Same cup size, Shrimpy.”

“So you’re depraved and shameless.”

“No reason to hide it anymore.”

He drags his fingers out and thrusts them back in. You choke on a stifled moan. Deep down in a logical corner of your brain, you know you shouldn’t submit so easily. It’s wrong, but you can’t stop the pleasure that washes over you with every stroke of his fingers. It sends pleasant bolts of bliss up your spine. Your knees wobble, and your thighs are sticky with your slick. When he grinds his thumb against your clit, forcefully insistent, something in your stomach snaps. You come undone in an instant, crashing against a sinful shore. Orgasm wracks through you in a powerful tremor, shaking the thoughts in your skull like a disturbed ecosystem in a terrarium.

Unrelenting, he fucks you through it. You’re boneless in the aftermath, chest heaving and mind reeling.

Floyd’s fingers glide out with ease, shimmering with your juices. He puts them in his mouth to savor the taste of you, his tongue slithering between the space of both digits. Horrifyingly, you admire him as he licks himself clean. Even though you shouldn’t, you wish desperately to feel that muscle inside you, working you towards another grand peak.

“That wasn’t so bad, was it?”

You’re still in a daze when Floyd fixes your panties and dress. You look presentable, if not slightly debauched. Your makeup is a mess, and Floyd’s all too eager to fix it for you. You stand still when he wipes at the corner of your mouth with his thumb and then carefully applies lipstick. Within no time, you’re back to how you were.

“Lookin’ good,” he praises, stuffing the tube in his pocket. “The prettiest Shrimpy at the party. They should make you Prom Queen.”

You swat at him. “Don’t…” And then you sigh. What does it matter? He’s going to call you that regardless of what you think.

Thankfully, the slow dance is only just beginning when you return. You find Azul lingering near the wall, tapping anxiously at his phone. Jade’s also there. Physically. You can’t say the same for his head. He’s taking a trip in his own mental paradise. Floyd stalks after you, his hands stuffed in his pockets. If you didn’t just squirt around his fingers minutes ago, you would’ve assumed the atmosphere of the party was to blame for his euphoria. But you know the real reason.

Azul doesn’t, though.

So it’s with a guilty heart when you lead him onto the dance floor for a waltz.

Your childhood crush—the guy you’ve loved more than life itself—is right in front of you, looking at you like you’ve hung the stars, but the only one you can think of is your step-brother.

That can’t be a good sign.

Floyd joins Jade in his corner. He gazes through him and offers his water bottle. It’s nerdy enough for its contents to be unassuming, what with its mushroom print, but Floyd knows better than to take it at face value. Even so, he grabs hold of it and downs what’s left of the wine. It’s so sweet it sticks to the roof of his mouth.

“Azul’s not staying the night, is he?”

“I’m not sure.” Jade finds you and Azul in the crowd of dancers and hums. “How cruel of you to want to separate them.”

“He’s not gettin’ laid tonight if that’s what he thinks. Not if I can help it.”

“I don’t think he even knows how.”

Floyd laughs. “Nah. He knows.”

“Does he now?”

“C’mon, Jade. He undresses her every time he looks at her.”

“I suppose so.” He smiles moonily, distracted. “She’ll never let you.”

“She won’t let you either.”

“I don’t mind a little pain. To be bloodied and bruised by her gentle hands… I know of no greater exhilaration.”

Floyd rolls his eyes. “Azul’s got it lucky. He gets to hug and kiss her whenever he wants. Meanwhile, I’ve gotta pretend like I don’t wanna fuck her shrimpy brains out every time I get a whiff of her perfume.”

“The odds aren’t very favorable, but I suspect you’ve already had your fun.”

Floyd grins wickedly. “She’s cute. I couldn’t help it.”

“I must agree. She sounds sweetest when she’s caught in the throes of pleasure.”

Floyd starts to nod and then pauses. “How do you know—”

“Oh my. It appears I’ve said too much.”

“No, no. Keep talkin’. You haven’t said nearly enough.”

“You’re not her only brother, you know.”

Floyd thinks there’s more to that sentence, but Jade isn’t willing to get into the details. Not here, at least. He doesn’t have to pry too deeply to understand the hidden implications.

“Asshole. You went and did it before I could.”

“I don’t know what you’re talking about.” Jade giggles. “A little midnight snacking never hurts. She’s soft and snug inside. Very warm.”

Floyd shoves him away. “Fuck off.”

As long as it’s not Azul, he thinks, watching him as he spins you like a gentleman. Anyone but him.

[artbyblastweave]

The Maker I think is an example of comic books generating a character who's incredibly good, but also incredibly dependent on the gnarled sprawling context and editorial meta-context in order to understand why he's good. He's born out of the core tension of the Ultimate Universe- the tension between retelling familiar stories in a way that's accessible to modern readers, and actually doing genuinely new and unexpected things with the characters in a continuity where you had the leeway to do so without having to enact an editorial snapback- and it's not a coincidence that he's one of only two characters who differentiated themselves enough from the 616 status quo to escape the sinking ship that the original Ultimate Marvel eventually became. He's probably not a character that would exist in the way that he does if The Ultimates and then Ultimatum hadn't sent the entire tonal trajectory of the setting into a tailspin, he's the end result of that tension embodied, a character whose backstory you can't even describe without talking about two separate Universes.

Then, of course, you get into the fact that "what if Reed Richards snapped and turned evil" is a character concept that's only legible because of the existing referent of 616 Marvel, where people have been going, "Man, Reed Richards has a lot of character traits that would make him terrifying as a supervillain" for decades. And once you notice that, you get into the issue that in fact, quite a bit of ultimate Marvel was dependent on some recognition of the old thing to recognize why the New Thing is clever. For example, is the ambiguity surrounding whether Thor is actually a Norse God or just a crazy super soldier interesting, without the context of 616-thor for comparison? Is Gah Lak Tus an interesting spin on the world-eater if you don't know about the giant asshole in purple tights? All these characters where the new take is dependent on some knowledge of the original to land effectively (or, in many cases, to understand why the new take is dogwater.)

And then, of course, you get to the Maker's big Plan for the 2023 Ultimate Universe- to pare down and reconstruct a version of continuity that's simpler, more manageable, less chaotic- a metatextual reference to the project that originally created him, and like that project it almost immediately flies off the rails because for good or ill you can't keep an entire setting's worth of plates spinning without some of the participants getting their own ideas and breaking from the script. And what you're left with is a character with an arc about how we're never getting out of here- about how you're never, ever going to be able to escape the weight of continuity, you're never going to be able to reboot your way out from under what came before, and moreover it's not completely clear why you'd even want to- look at all this great stuff we've accumulated! Look at all the thematic parallels we can draw if we bother to remember what we've done! If you're not gonna pull all these ancient threads together why are you even bothering with 60 year old characters instead of just writing something new?

[morallysuperiorlips]

Looking for Ways to Make Your Unintelligent Villain Scary? Here are 10 Traits That Can Help!

Somebody on my TikTok asked about ways to make a villain who is technically unintelligent (i.e. probably not smart enough to play 3D chess with or come up with insane plots to trap your protag) unsettling and it really gave me something to think about!

1.) They have an unrelenting persistence: Without the intelligence to know when to quit, they'll keep firing at something until it gives way. This can create a sense of dread, because they will always keep coming, no matter what happens.

2.) They're completely detached: Because they're too unintelligent to have a sense of empathy or morality, they might cause harm without realizing the gravity of their actions, and they'll never understand why what they did was bad...because they quite literally can't!

3.) Lacking logic = no chance of reasoning: If they're technically too low IQ to understand basic logic, then good luck reasoning, bargaining with, or manipulating them. They might be stupid, but that stupidity could protect them from potentially being influenced by their foes, thus potentially making them much more dangerous.

4.) No sense of emotional regulation: Without the intelligence to regulate how they feel, your villain could be prone to flip-flopping emotions with very little warning. They could go from joyous, to forlorn, to violent in one fell swoop, with very little provocation, and their foes might never see it coming.

5.) Or, maybe they're REALLY in touch with their emotions: Without intelligence to worry about, you can use that space to toy with their emotional core, and how they process their own and other's feelings. They might be so in touch with the idea of emotions that they can use those of their foes against them. Or, they consciously use their own as fuel for their actions.

6.) Weaponized innocence: Why have an dumb angry brute as a big bad when you can have one that's far more innocent-minded? With a childlike approach to everything they do, from their actions to their goals, a villain can become much more unsettling when characters (and readers) realize that nothing they're doing is inherently malicious; they just don't know better.

7.) They have goals that change with the tide: Because your villain might not have the intellect to really understand the concept of objectives, any goals they might have could seemingly change at any moment, which can leave their foes scrambling to pin down their next move.

8.) Most of the destruction they cause is accidental: Because they might not be intelligent enough to regulate themselves physically, whether that's through their raw power or something of a more magical nature, the might attempt to approach things from a logical, more refined angle...only to leave a trail of unintended destruction in their wake.

9.) Put your characters in a moral dilemma in your villain's regard: If your villain is too dumb to really comprehend the gravity of what they're doing, is it fair to harm them? Giving your villain's foes a chance to answer that question, perhaps as your villain is laying waste to the countryside, can build on just how horrifying your villain actually is.

10.) Harmless now, dangerous later: It might be interesting to build into their unsettling factor by starting them off as a pitiable, almost pathetic presence in the story before it becomes increasingly clear that despite not having many lights on upstairs, a mix of some of the previously mentioned traits come out to make it clear that they are indeed a threat.

As always, happy writing <3

[apoloadonisandnarcissus]

Guide to Literary, Historical, Folklore and Alchemist Themes in "Nosferatu" (2024)

After my post about how the film itself debunks every "popular" view on “Nosferatu” (2024); and the ending explained through cast and crew interviews, (I did full breakdowns on here and on my personal blog), here’s a list of references in “Nosferatu” (2024):

Literary themes: "Dracula" by Bram Stoker (1897); and "Wuthering Heights" by Emily Brontë (1847);

Historical themes: early 19th century (1838), Victorian era. Strict gender roles; views on female sexuality (sickness; contagious; sin) as a marital duty, owned and controlled by their husbands; sexual repression/liberation; Ellen’s mediumship medicalized as “hysteria” and “melancholia”; “love” and “passion” as opposite concepts;

Folklore themes: Changeling (European); Strigoi myth (Balkans); Șolomonari (Romanian); Nachzehrer (Germanic);

Occult themes: Agrippa; Angels and daemons; Enchantress; Babalon and the Beast (New Age of Aquarius);

Alchemist themes:"Sylph" and Paracelsus; Humorism (Humoral theory); Alchemical Gold (Chrysopoeia; Gold-making); Myth of Isis and Osiris.

Literary themes

"Dracula" by Bram Stoker

"The Threat of Female Sexual Expression": Based on 1980's Feminist Literary Criticism (Second Wave of Feminism). the physical figure of the "sick woman" as one of the principal ways in which female sexuality manifests as a contagious disease (Lucy Westenra and her degeneration into vampirism) - Ellen's character as seen by the Victorian characters (especially Friedrich Harding)

19th century "Contagionism" theory: Victorian medicine on disease origin. Disease spread from individual to individual (neglecting environmental issues like polluted water or unhygienic spaces)

"I thought it was agreed you were to keep the girls from her. You mustn’t be swept up in her fairy ways."

Subverted Themes:

Robert Eggers subverted every literary theme in “Dracula”, like he said in one interview: “My influences are all very clear, and Nosferatu is a remake, after all,” Eggers says, yet he plays with the canon, with expectations and clichés – “hopefully subverting them to do something unexpected.”

The Promise of Christian Salvation: This is a Anti-Christian story, at its core. Religious items have no power against Orlok; the fact he can’t enter the Orthodox convent has nothing to do with God (but with him not being given entrance); the God-fearing and religious character (Anna) is the first to die; and the female heroine Ellen not only rejects God (calls it “destiny) but also says she needs no salvation (rejecting Christian salvation, completely);

Madness: Neither Ellen, Professor Von Franz nor Herr Knock are “lunatics”, but the Victorian characters think they are. Knock is in full control of his mental capacities, he’s just a religious fanatic obsessed in discovering Orlok’s secret to immortality and he’s behaving the way he does because he wants to become a strigoi, too, and will stop at nothing to achieve it (even seeking a “violent death” to seal the deal);

The Consequences of Modernity: Ellen’s character and the medicalization of her supernatural gifts and mediumship by Victorian society;

Money: in the novel it’s associated with Count Dracula evilness; here with the Victorian characters. Friedrich Harding (the Victorian patriarch) is wealthy and loans money to Thomas, who drowns himself in debt, in his ambition to climb the social ladder and being “no longer a pauper”. Ellen, the female heroine, rejects money. Orlok gives Thomas a sack of gold in exchange for his signature in the “covenant papers” (the divorce papers) as he’s paying for Ellen’s dowery;

The Threat of Female Sexual Expression: Ellen breaks Nosferatu curse and “saves the day” by embracing her sexuality.

"Wuthering Heights" by Emily Brontë

“I think that what ultimately rose to the top, as the theme or trope that was most compelling to me, was that of the demon-lover. In “Dracula,” the book by Bram Stoker, the vampire is coming to England, seemingly, for world domination. Lucy and Mina are just convenient throats that happen to be around. But in this “Nosferatu,” he’s coming for Ellen. This love triangle that is similar to “Wuthering Heights,” the novel, was more compelling to me than any political themes.”

Dream of Death: Robert Eggers on “Nosferatu” Interview

Love triangle between a free-spirited and medicalized woman (Catherine/Ellen) with a beastly men (Heathcliff/Orlok) and a gentleman (Edgar/Thomas);

Themes of the all-consuming, obsessive and self-destructive passion, wrecking the lives of everyone around them and only stops when they are both dead;

The Destructive Power of Love;

Blend of Hatred and Love;

Separated by death/United by death; couldn’t be together in life, united in death and reunited in the spiritual world.

Historical Themes

Historical context: early 19th century (1838), Victorian era

Strict gender roles: marriage and motherhood as a woman’s destiny; social reputation and provider as a men’s destiny; domestic (women) vs. public (men) spheres;

Infantilization of women: the ideal Victorian woman was a model of virtue, purity and modesty who obeyed their husbands; women were seen as innocent, ignorant and naïve about the world, and were thought to have no minds of their own; the average Victorian woman wasn't allowed to be educated nor possess knowledge outside of domestic life. A woman’s entire life revolved around men: obeying their fathers, preparing for marriage, seeking an husband and as a wife, living for her husband;

Women as their husbands' property; marriage was the institution where Victorian men fully accomplished their male responsibility and privilege: to form a household, provide safety and comfort, and exercise authority over dependents (wife and children) where the trademark of a successful man. This was also connected to their social and professional success, making them respectful in the eyes of other men. A man who couldn’t govern his wife was also seen as unfit, socially, professionally and morally; and the wife’s behavior would reflect on the husband (which is why Friedrich Harding accuses Ellen of being a social embarrassment to Thomas);

"I envy you. You’ve truly taken your father’s place now… it’s incredible."

Victorian views on female sexuality: female sexuality seen as a plague and a monstrosity in need of containment (sickness, contagious, wicked, sin); women should have no sexual desire whatsoever (Ellen's shame; "I'm unclean"); married heterosexual sex was the only socially acceptable sexual expression in the Victorian era, and everything else (masturbation, homosexuality, prostitution, etc.) was considered deviant, “sinful” and “evil”; sex was a marital duty women had to go through to have children and serve their husbands (women’s sexuality owned and controlled by their husbands);

Sexual repression/liberation, represented by her corset, as Linda Muir, the costume designer, reveals in her interview "The Costumes of ‘Nosferatu’ Are Gorgeous - They Also Tell a Story About Female Repression and Liberation": “Her [Ellen] true nature [takes over] in the end. She liberates herself by ripping herself open, ripping her striped dress open. She liberates herself by wearing the same garment over and over and over again when she’s staying at Harding’s home. So she’s liberated herself in that she doesn’t feel the need to dress up completely each and every day. And then she liberates herself completely in the end.”

“Love” and “Passion” as opposite concepts: Victorian love (Thomas) was meant to be chaste, modest and restrained, tempered devotion confined to the household; and the sacrament of marriage ("sacred") was meant to repress and contain "passion". Passion (Orlok), on the other hands, was erotism, sexuality and sexual desire, considered "animalistic" and corruptive.

"Find the dignity to display the respect to your caretaker. And for your husband’s sake, I pray you might learn to conduct yourself with more deference."

Ellen’s mediumship medicalized as “hysteria” and “melancholia”: Robert Eggers tells us: “[Ellen is a] victim to 19th-century society […] she can see into another realm, and has a certain kind of understanding that she doesn’t have the language for,” Eggers said. “But people are calling her melancholic and hysteric and all of these things.” and in another interview: “she [Ellen] has this understanding of this other world, and this other way of thinking that she doesn’t have language for, so she’s isolated. But the pull to it is very strong, and so people consider her melancholic and hysterical, and we can see her fighting within herself. I think having it stem from the realities of a woman who’s a victim of 19th-century society is something that makes it hopefully work."

And in another: “she’s [Ellen] as much a victim of 19th-century society as she is a victim of the vampire. People talk a lot about Lily-Rose Depp’s character’s sexual desire, which is a massive part of the character, of what she experiences — being shut down, and corseted up, and tied to the bed, and quieted with ether. Misunderstood, misdiagnosed. But it’s more than that. She has an innate understanding about the shadow side of the world that we live in that she doesn’t have language for. This gift and power that she has isn’t in an environment where it’s being cultivated, to put it mildly. It’s pretty tragic. Then she makes the ultimate sacrifice, and she’s able to reclaim this power through death.”

“She’s [Ellen] an outsider. She has this understanding about the shadow side of life that is very deep, but she doesn’t have language for that. She’s totally misunderstood and no one can see her […] this demon lover, this vampire, who is the one being who can connect with that side of her." (x)

 “Ellen’s husband loves her, but he can’t understand these ‘hysteric’ and ‘melancholic’ feelings she’s experiencing, and he’s dismissive of her. The only person she really finds a connection with is this monster, and that love triangle is so compelling to me, partially because of how tragic it is.” (x)

The Victorian characters and Victorian society are the actual villains of the story; which subverts, another theme of the "Dracula" novel (where the titular vampire is the villain).

Folklore Themes

Changeling (European folklore)

"Father… he would find me in our fields… within the forest… as if – I was his little changeling girl." 

“Changelings” are human-like creatures from European folklore. They are children kidnapped by fairies, elves or demons and a substitute child being left in their place. Ellen's father called her this because she she enjoyed playing and being in nature, when she was supposed to be indoors (domestic sphere).

Strigoi (Balkan Folklore)

Count Orlok: quintessential strigoi morti, a undead creature from Dacian mythology and, consequently, from Romanian folklore, who raises from its grave to feed on the living and must return to it before dawn:

Appearance: walking corpse; bald and leathery; skin infested with maggots, cracked and oozing with putrescence and decay; long, spidery fingers; fangs cannot be retracted (sores on his lips and chin); dressed in moldy, torn out clothing (the one he was buried in);

Cause of curse: Ellen resurrected Orlok and cursed him at the prologue (confirmed four times in the film). Connected with his tragic backstory Robert Eggers won't share with the public (but influenced Bill Skarsgård entire performance and gives meaning to the ending of the film); late 16th century voivoide (count) from Transylvania, was married (couple bedroom where he attacks Thomas) and had a family (multiple sarcophaguses on his castle cript);

Characteristics: "psychic vampire"; it's not blood he feeds on specifically, but souls (soul trapped in the blood), and that's what sustains him (and that's why Thomas had to be exorcised). Plague-carrier ("blood plague"); controls animals (rats and wolves); astral projection powers (shadow); and manipulation of dreams (nightmares to create fear).

Haunting: strigoi haunt the person they loved the most when they were alive, and drag them to their grave. Reincarnation theme.

Strigoi "repelling" blessings and tokens:

“Dau cu ustoroi de strigoi”

Ritual to locate a strigoi grave:

"The means of repelling and destroying vary greatly from region to region [...] Their efficacy is plainly unknown. Boiling wine, a spike of cold iron transpiercing the navel, decapitation, incineration…" Professor Von Franz to Dr. Sievers

A virgin girl on horseback will be attracted to the strigoi grave and locate it. Then the strigoi can be killed. Here with a spike of cold iron. This ritual is all wrong on purpose, because it’s usually a black stallion and done during the day (when strigoi are resting on their graves). No strigoi was killed in this scene because the Roma people work for Orlok (as in the "Dracula" novel) and he wanted Thomas to see this ritual.

Șolomonari (Romanian Folklore)

"A black enchanter he [Orlok] was in life. Solomonari. The Devil preserved his soul that his corpse may walk again in blaspheme."

Șolomonari are dark wizards from Romanian folklore, who were believed to ride a dragon (“balaur”) and control the weather (rain, thunder, storms), and usually lived as beggars. The were frequently recruited among the common people and taught black magic at the Solomonărie (or “Scholomance”, in the Germanic version); some call it “Devil’s school”, others “School of the Dragon”. They are said to be taught by the Devil himself, and their school was located underground, in the Carpathian Mountains, in Transylvania. The name Șolomonari is often associated with King Solomon and alchemy.

According to folklore, there were seven, ten or thirteen students, who didn’t saw the sunlight during the seven or nine years duration of their studies. Some accounts describe them as “strigoi vii” (living strigoi; wizards and witches); but this isn’t Orlok’s case otherwise Robert Eggers wouldn’t be so secretive about his backstory (the reason for his curse is something else). At the Solomonărie, they learned magic (spells), the secrets of nature and the language of all living things; as well as ride flying dragons and control the rain.

As their final assignment to become a Șolomonar, they had to copy their entire knowledge of humanity into a “Șolomonar’s book”, a book of wisdom, which would become the source of their power. Which is what we see in “Nosferatu” with the Șolomonar codex of secrets Professor Von Franz finds in Herr Knock’s office; it was written by Orlok himself.

At the end, it’s said one of the students was chosen by the Devil to be the “Weathermaker” and tasked with riding a dragon to control the weather. This dragon was said to be kept submerged in a mountaintop lake, south of Sibiu. While the other was selected to be servant to the Devil himself; which is what the Orthodox Nuns believe Orlok to be, as does Professor Von Franz.

“Our Nosferatu is of an especial malignancy. He is an arch-enchanter, Solomonari, Satan's own learned disciple.”

However, Orlok is no “devil worshipper”, because like his iconography tells us, he’s a Pagan enchanter, follower of the Dacian god Zalmoxis, owner of the secrets of life and death.

The "demonized Pagan": the connection between Zalmoxis worship and the folkloric Șolomonari began in the early 20th century by Romanian social scientist Traian Herseni, who proposed the “Dacian cloud travelers” and “Șolomonari weathermakers” are connected, and this myth has its roots in Dacian religion. Nowadays, this theory is openly embraced by xenoarchaeologist Jason Colavito. No matter the historic validity, this is the interpretation Robert Eggers is using in “Nosferatu” (2024).

Orlok sigil: an heptagram (seven-pointed star) surrounded by a Dacian Draco ouroboros (rebirth; reincarnation; immortality); the letters are cyrillic for “Zalmoxis”; the center is the alchemist symbol for blood; the symbols appear to be Vinča; archeological findings in Romania with these symbols being over 8,000 and 6,500 years old, and consider by many as the oldest form of human writing, but their meaning is still unknown (they are here either to show Orlok comes from an ancient bloodline; or he has known reincarnations throughout the ages)

Heptagrams are connected to the seven elements of Alchemy but aren��t represented like this. Heptagrams are also connected to divine feminine goddesses, like Babalon and Isis.

Nachzehrer (Germanic Folklore)

When Professor Von Franz discovers the Șolomonari book in Herr Knock's office, he also finds a cryptic writting: "His thunder roars from clouds of carcasses, I feedeth on my shroud, and death avails me not. For I am his.” 

This is based on Germanic folklore, where the "nachzehrer", also known as "shroud eater", is a sort of vampire who needs to devour both its burial shroud and body in order to survive. It's immortal, and lives off humans even after death. In folklore, it's believed the most common way for a person to become a nachzehrer is to commit suicide or die accidentally (which is what happens to Herr Knock and what he was seeking). It's also associated with disease, for in Germanic folklore, when a large number of people die because of a plague, the first people to have succumbed to it would be transformed into a nachzehrer.

Occult Themes

Agrippa

"He [Professor Von Franz] became obsessed with the work of Paracelsus, Agrippa, and the like [...] Alchemy, mystic philosophy… the occult."

Henry Cornelius Agrippa von Nettesheim was one of the most famous occultists in Europe in the 16th century. He was a versatile scholar, and knowledgeable in the fields of science, medicine, magic, philosophy and theology. However, he was dismissed as a charlatan and self-promoter by many, while others praised him for his pioneer role in the scientific revolution, especially due to his intellectual curiosity (in opposition to the church authority).  

His works incorporated elements of the cabala, numerology, mathematics and theology; a mix of Christianity, Neo-Platonism and occult science. His most notorious treaty is called “The Nobility of the Feminine Sex” (1532) where he asserts the natural superiority of women, and counterarguments Greek and Roman philosophers and even the Christian Bible, advocating for social gender equality.  

Professor Von Franz is probably based on Agrippa, mostly his “reputation” as a charlatan and self-promoter (he’s an outcast in Victorian society and considered a “lunatic”), and he's the only human character who recognizes and respects Ellen’s supernatural gifts, as well as her agency.

Angels and daemons

When Professor Von Franz tries to determine with whom Ellen is communicating with, he uses his Abraxas stone ring to compel her to speak, and he conjures both angels and demons during this scene:

"Who, damn you!? Speak!! I command you, hearken to my voice. By the protection of Chamuel, Haniel, and Zadkiel, impart your speech unto me. In the name of Eligos, Orabas, and Asmoday, impart your speech unto me."

Chamuel: Also known as Kamael, "One who seeks God", is the angel of peaceful relationships, and considered one of the seven Archangels (who have the honor of living in God's direct presence in Heaven) by Jewish Kabbalah and some Christians;

Haniel: "Joy of God", is the Archangel of joy who's known for taking Enoch to Heaven;

Zadkiel: "righteousness of God", is the angel of God's mercy;

Eligos: is a "Great Duke of Hell", ruling 60 legions of demons. He reveals hidden things and knows the future of wars;

Orabas: is a "Great Prince of Hell", with 20 legions of demons under his control. He answers questions and gives one power and control over others;

Asmoday: is the "King of Demons", in the legends of Solomon and the constructing of Solomon's Temple.

Abraxas stone rings were considered magical talismans or charms since the Middle-ages, connected to the Seven Olympic Spirits (Aratron (Saturn); Bethor (Jupiter); Phaleg (Mars); Och (Sun); Hagith (Venus); Ophiel (Mercury) and Phul (Moon)); and to Gnosticism (personal spiritual knowledge above organized religion), who considered Abraxas as “the God above all Gods”.

This is also connected to Agrippa, “Occult Philosophy”, book three, which covers the intellectual world of Pagan gods and spirits (including angels and demons), and gives magical procedures for invocation and communication with them, as well as with God (sigils, amulets, magical alphabets, sound, perfumes, etc.); and the kabbalistic tree of life (hierarchies of angels and Demons associated with each sephirot). The idea behind this conjuring is to infuse the lower angelic orders with the light they receive from God, as they instruct the orders.

Enchantress

Ellen has been a somnambulist since infancy, and she always had supernatural abilities; premonitions (“I know things”), as she would know what her Christmas presents were before opening them, and when her mother would die, which indicates she always had a connection to the spiritual world.

Professor Von Franz recognizes Ellen's spiritual power and ability to communicate with the spiritual world (“I believe she has always been highly conductive to these cosmic forces, uniquely so”). She's a medium (or a psychic); someone with the ability to connect with the spirits of deceased loved ones, spirit guides, and other non-physical entities.

What the Victorian doctors call “hysterical fits” and “epilepsies”, are, in fact, trance-like states of spiritual communication (trance mediumship), similar to Pagan priestesses. Like Von Franz tells the audience, Ellen inhabits the “borderland”, a peripheral area, a portal between the two worlds: the physical (matter) and the spiritual. And this is what Victorian society medicalizes in Ellen, and tries to restrain with drugs and corsets, not only her sexual nature, but her spiritual power, her own nature.

Orlok calls Ellen "enchantress". Historically, enchantresses were practitioners of feminine magic: oracles, healers, herbalists, midwives and shamanic shapeshifters. They were what’s commonly known as “witches”. These female magicians studied and practiced their art in goddess temples, mystery schools, alchemy schools and hedge schools. The alchemists of the Middle-ages studied these dynastic lineages of “wise women”, and they had several names: "enchantresses", "chantresses", "encantrices", or "incantrix". 

Ellen is, then, a "incantrix": uses words, incantations, songs, spells and prayers to shape reality. They were, also, the priestess of an old religion (as Professor Von Franz also calls her "great priestess of Isis"), gifted with magic power and authority to command the elements or the body by the power of their word.

Babalon and the Beast (New Age of Aquarius)

The birth of the New Aquarius was already the occult meaning of the original 1922 “Nosferatu”, because Albin Grau was a student of the occult and a member of the Fraternitas Saturni (German magical order devoted to Saturnian doctrines) under the magical name Master Pacitius. Within the occult leaders there was tension due to their beliefs, and Grau eventually sided with Aleister Crowley Thelema (which views we see in Eggers “Nosferatu”).

While Stoker saw Count Dracula as pure evil, Grau reinterpreted the vampire as a symbol of transformation through confrontation with darkness. Saturn, in esoteric tradition, represents restriction, death, and rebirth (the forces that initiate profound spiritual change). Grau viewed the vampire as a reflection of these principles, a shadowy force that compels the aspirant to face mortality, fear, and their own inner darkness. And his death symbolized the birth of the New Age of Aquarius (Saturn as ruler of Aquarius), a new era of collective awakening and innovation.

Robert Eggers included the divine feminine (Babalon), his heroine is already a dark character, as he describes his Ellen as “dark chthonic female heroine”, who makes the ultimate sacrifice to "reclaim this power through death". Chthonic = gods or spirits who inhabit the Underworld; and, in his version, Orlok gifts Ellen with immortality and rebirth (not death like in the original "Nosferatu").

When Ellen and Thomas are returning home, there’s a man in the streets rambling bits from the “Book of Revelations” (Apocalipse) from the Bible: “And I saw a beast rising out of the sea, owith ten horns and seven heads, with ten diadems on its horns and blasphemous names on its heads.” (Revelations, 13:1).

This passage is about Orlok arrival and his "blood plague", but there's a character (also from the "Book of Revelations") connected to this beast: the Whore of Babylon, the “Mother of Prostitutes and All Abominations of the Earth”, and she rides this Beast, which is the same as Crowley’s Babalon. What Crowley did was a positive reinterpretation of this biblical figure, symbolizing liberated female sexuality by embracing the powers of the Divine Harlot.

Initiatrix, Creator and Destroyer, Babalon is the “Great Mother” because she represents Mother Earth. Like Isis, she’s the Archetypical Mother, the Womb, the Great Sea and the Divine Blood itself. According to Crowley, the “whore/harlot” facet is about enjoying sex without the burden of reproduction; and the “mother of abominations” connects with destruction like natural catastrophes, plagues, etc. She’s the ruler of the cosmological sphere and both good and evil (as evil as elemental forces can be or are considered as). Babalon is the guardian of the Seven Principles of the Underworld, a place of darkness and transformation. Babalon is also the goddess of the liminal point, who can access other realms. As Goddess of vengeance, Babalon punishes when life is out of balance, and exerts violence and corruption upon those who are in the wrong. Ellen ("mother of abominations") unleashes Orlok onto the world, and we can interpret him bringing plague into Wisburg as Ellen’s reckoning against Victorian society, which ostracizes her and will never accept her.

According to the Thelema, Babalon is the “Sacred Whore”, and her primary symbol is the Chalice or Graal (symbolic womb). She’s a consort to the Beast, who has seven heads, which is symbolically represented in her heptagram sigil (parallelling Orlok's heptagram). To Crowley these are archetypes in his Sex Magick beliefs: the “Scarlet Woman” is the High Priestess, and the “Beast” is the Hierophant: Ellen (the priestess, enchantress) and Orlok (priest-shamam; enchanter). Orlok is described as a “beast” several times in the film, and he says Ellen’s passion is bound to him, like Babalon’s passion is united with the Beast.

All rites and initiations of the Underworld Goddesses include rites of sex and death. Which is what we see with Ellen at the end of “Nosferatu” (2024). By Thelemic occult tradition, she, the manifestation of Babalon, has sex with the Beast (Orlok), “representing the passion which unites them” and her womb (Holy Grail; cup) is “aflame with love and death” (sexual climax, orgasm, with an un-dead vampire), to give birth to the New Age of Aquarius.

Crowley described Babalon:

“She rides astride the Beast; in her left hand she holds the reins, representing the passion which unites them. In her right she holds aloft the cup, the Holy Grail aflame with love and death. In this cup are mingled the elements of the sacrament of the Aeon”.

"the cup, the Holy Grail" = womb

"Aflame" = orgasm

"with love and death" = sex with undead Orlok

"sacrament of the Aeon" = the "aeon" in Thelema is a spiritual age, in this case it's Ellen's womb who gives birth to the New Age of Aquarius

Alchemy Themes

"Sylph" and Paracelsus

"Do extend my tardy congratulations to your wife. She is truly a… A nonpareil of beauty. Almost a sylph." Herr Knock to Thomas Hutter

A “sylph” is air spirit (or nymph) from the 16th century works of Swiss physician, alchemist and theologist Paracelsus, with roots in folklore. Sylphs are invisible beings of air (or air elementals), connected to fairies and pixies. On his “A Book on Nymphs, Sylphs, Pygmies and Salamanders, and Other Spirits”, Paracelsus described the four elemental beings, each corresponding to one: Salamanders (fire), Gnomes (Earth), Undines (water) and sylphs (air).

Sylphs are formed and live in air, and they have power over the air element, particularly the wind and the clouds, where they move freely. They do not fare well outside of their element; they burn in fire, drown in water and get stuck in earth. They are portrayed as the guardians of secret knowledge, and protectors of nature.

During the 19th century, there was a renewed interest in sylphs in European society, especially in theatre, where they appeared in several plays and operas as ethereal, graceful, charming and ultimately unattainable.  

Ellen is compared to a fairy three times in the narrative: by Herr Knock ("sylph"), by her father ("his little changeling girl") and Friedrich Harding ("her fairy ways"). We also see her floating at the prologue when she meets Orlok.

Humorism (Humoral theory)

“You [Dr. Sievers] have bled her to decrease the congestion? […] And her menstruations are also? [Liberal]. Too much blood. Too much.”

Professor Von Franz physically examines Ellen, as her trance is beginning, and determines she has “too much blood”: in connection to “Humorism” (or “humoral theory”) with possible origins in Ancient Egyptian medicine, and then used by Ancient Greeks and Romans. Hippocrates suggested that humors are the vital bodily fluids, and they are four: blood, phlegm, yellow bile, and black bile. This belief was common during Middle-ages in Europe.

Ellen having “too much blood” means she has a sanguine temperament (not a melancholic temperament); it was believed that, when in good health, “sanguines” are cheerful and loving; but when there’s an imbalance, they are “hysterical”, which is what Victorian doctors also diagnose Ellen as (“hysteria”).

The treatment is bloodletting (bleed the patient, drain their blood; a practice still used in the early 19th century), to remove the excessive blood; which is what Von Franz also advices in Ellen’s case. “Congestion”, in the medical sense of this time period, means “containing an unnatural accumulation of fluid”, in Ellen’s case it’s blood. This diagnose will come full circle when Thomas and Dr. Sievers discover that Orlok is with Ellen when they go to Grünewald Manor. Von Franz tells them “She wills it! Your wife wills it!” and Orlok himself “can’t resist her blood", which means Orlok cannot resist Ellen, herself.

Mutual healing theme: At the end, Orlok drains Ellen of her excessive blood, balancing her “sanguine temperament” and ending her “hysteria” and “melancholy” (he also gives her an orgasm, a nod to hysteria as repressed and frustrated female sexuality); and Ellen’s love and willing sacrifice sets their spirits free from the rotten vessel they were trapped in ("and freed them from the plague of Nosferatu"); as they are reunited in the spiritual realm, now fully healed.

Alchemical Gold (Chrysopoeia; Gold-making)

"I had nearly unlocked the final key of the Mysteriorum Libri Quinque. No… No matter. I miscalculated the stars. Hermes will not render my black sulfur gold this evening." Professor Von Franz to Dr. Sievers and Friedrich Harding

“Mysteriorum Libri Quinque” is part of a collection of mystic writings by mathematician, hermetic philosopher and astronomer Dr. John Dee (16th century). An avid learner of the secrets of nature, he made no distinctions between mathematical research and the supernatural (which he considered mere tools to achieve a transcendent understanding of divine forms underlying the visible world, called “pure verities”). In 1580, he began experimenting with evocations to contact and communicate with angels, and Edward Kelly joined him in this project in 1582. They both documented every interaction they had with angels and wrote about their language, which they called “Enochian”. This collection of esoteric writings was only found, by accident, after John Dee’s death.  

Alchemy, at its core, is the transmutation of base materials (lead, etc.) into noble materials (gold), and the pursuit of immortality (“philosopher’s stone”). Occultists reinterpreted this as a spiritual quest of self-transformation, purification and regeneration of the human soul. Hence physical death being seen as a gateway to another life (rebirth, reincarnation).

Both Ellen and Orlok evolve from a diseased and corruptive state (physical world; black sulfur) into regenerative and perfect state (spiritual world; gold), after being purified by fire (Sun). Their old selves are empty shells, as their spirits ascend. This also finds parallel in the myth of Isis and Osiris, as they both went from “daemons” to Gods in the Plutarch essay.

"I believe only you have the faculty to redeem us [...] You are our salvation."

At the end, Von Franz succeeds in transform black sulfur into gold, as he, too, emerges redeemed and avenged by Ellen’s fulfilling her covenant with Orlok.

In modern occult beliefs, alchemy is considered as a mystical system designed to transmute the soul from a “base” or “leaden” state of spiritual impurity to a “gold” or purified state of divinity, with the chemical procedures of alchemy being an elaborate metaphor for psycho-spiritual development. This idea was popularized by Carl Jung, among others.

In alchemy, this “gold” wasn’t like common gold, it was a miraculous, incorruptible substance, “the true and indubitable treasure”, which could only be perceived by those who can see with their mind’s eye: “Nolite dare sanctum canibus” (“Do not reveal what is sacred to dogs”) and “Neque mittatis margaritas vestra ante porcos” (“Nor cast your pearls before swine”).

Myth of Isis and Osiris

"In heathen times you might have been a great priestess of Isis."

The “Osiris Myth” is one of the major surviving pieces of Egyptian mythology. It’s a ancient tale, with its early versions dating back to the 5th Dynasty (c. 24th century B.C.). It has known several adaptations throughout Egyptian history. The most complete version is in “The Moralia” by the 1st-century scholar Plutarch of Chaeronea, a collection of essays about Greco-Roman culture; that became very popular during the Renaissance era (14-16th centuries) and the Enlightenment period (18th century) in Europe. 

Isis and Osiris were brothers, and according to Ancient Egyptian religion, they were in love with one another before they were born, and enjoyed each other in the dark before they came into the world. They eventually married. They had a brother, Seth (or Typhon in Plutarch essays), the God of deserts, storms, disorder and violence, who murdered Osiris to take his throne. He tricked Osiris into climbing into a wooden chest/coffin, shut the lid, sealed it shut, and threw it down the Nile River, knowing Osiris would never be able to survive. In some versions, it’s said Seth cut Osiris body into pieces and scattered them throughout Egypt.

Osiris had two facets as a God: in life, he was the God of fertility, agriculture, and vegetation, being considered a “Shepherd God”; in death, he was the God of the Underworld, the judge and Lord of Dead, the afterlife and resurrection. The pharaohs of Ancient Egypt were associated with Osiris in death, because as he rose from the dead, so would they unite with him and gain eternal life through imitative magic. Which is also the whole deal between Orlok and Herr Knock in “Nosferatu” (2024), as Knock seeks to gain immortality like Orlok, by serving him.

Isis is the epitome of the mourning widow in this myth, as she mourns Osiris’ death deeply. Here enters the symbolism of the lilacs in "Nosferatu", the symbolic flowers of Ellen and Orlok: in the Victorian era, they were associated with widows because they represented a memento of a deceased lover. Isis sought for Osiris’ mangled body and with help of tree other Gods (Nepthys, Thoth and Anubis), they sew Osiris’ body back together, and then wrapped it head to toe in strips of linen, creating a mummy. Orlok’s corpse appears almost mummified at the end of the story.

In the Osiris myth, Isis uses powerful magic (incantations and magic spells) to bring her dead lover back to life; similar to Ellen who resurrects Orlok with her summoning prayer. In one version, this happened on a night of the full moon; in “Nosferatu” (2024) we also have a full moon connected to Ellen and Orlok, in the prologue, when he reveals himself to her:

According to Ancient Egyptian funerary texts, it’s Isis sorrow, sexual desire and anger that empower her magic to be able to bring Osiris back to life. When Ellen prays for a companion of “any celestial sphere” in the prologue, she’s crying (sorrow), she’s upset because her father recoils from her now that she’s no longer a child (anger) and she’s in her teenage years/puberty (sexual desire). Like Isis with Osiris, it’s the combination of these emotions that power her magic to unconsciously resurrect Orlok. 

However, Osiris can’t remain among the living, because he has to return to the Underworld and become King of the Afterlife. But before he goes, Osiris and Isis conceive Horus, the God of the sun and the sky, who will restore peace and order to the universe.  In “Nosferatu” (2024), Professor Von Franz says that “with Jove’s holy light” before dawn, the plague will be lifted. “Jove” is Jupiter, the “King of the skies”, who’s connected with the Egyptian Horus. Horus and Ra are often merged together in Ancient Egyptian religion, making Isis and Osiris the metaphorical parents of the Sun.

In “Nosferatu” (2024), as Orlok and Ellen complete their covenant, consummate their wedding, the sun is also the metaphorical result of their union. As dawn breaks, the sunlight vanquishes them both from the physical world, as they both die in the material realm. After being buried by Isis, Osiris goes into the Underworld to rule over it. And from then on, Isis herself is also associated with funeral rites, as she would guide the souls of the dead, helping them entering the afterlife. Through her magic, Isis helped resurrecting the souls of the dead, as she did with Osiris, acting as a mother to the deceased, providing protection and nourishment. At the end of "Nosferatu" (2024) we see Ellen fulfilling her role as “priestess of Isis” (or as Isis herself?), as the Goddess of healing, who ends the Nosferatu curse, the blood plague in Wisburg, and also guides her dead lover Orlok with her to the Underworld.

[horse-girl-anthy]

The City and the Self: Or, the Uses of Lesbianism

someone in my server recently asked why Ikuhara seems so hung up on lesbians. I gave a short answer which in hindsight doesn't satisfy me. even this post won't touch on everything, there's plenty more that could be said, but here's a stab at a more complete answer, drawing from RGU specifically, though I think these points generalize to YKA as well.

a long time ago--around 2017, I believe--I posted in the RGU tag, asking about differences between how the western and Japanese fanbases see the show. the answer I got surprised me: I was told a popular fan theory held that Utena and Anthy were the same person. this is confirmed in the interview Ikuhara did with Mari Kotani:

Kotani: How did you think about relationships between two women, like the relationships between Utena and Anthy, Juri Arisugawa and Shiori Takatsuki, and so on? Sometimes it is thought of as one girl and her alter ego. Ikuhara: Yes, that's true of course.

at the time, this didn't make sense to me. now, though I don't take the "alter ego" concept literally, I certainly see where these theorists were coming from.

the very first impression the audience gets of the show, the opening seconds of the theme song, depict Utena and Anthy as mirror images of one another. I can't find the post now, but I once saw someone do a face swap of Utena and Anthy... and there was almost no difference in the final result aside from their eye color. yes, the show has somewhat same-y character designs (pointy chins, noses, etc.), and yes, Utena and Anthy are differentiated by coloring and height. however, there are differences in the facial features of the other characters, including other female characters like Juri and Nanami, meaning that you wouldn't get the same result from face swapping them that you do from face swapping Utena and Anthy.

visually, the show is trying to tell you something: Utena and Anthy are counterparts; not "the same person," in that there are clear contrasts between them, but perhaps different aspects of a single self. to put it another way, they cannot be separated from one another; what happens to one of them will affect the other, and how they relate to each other tells you a lot about how they relate to themselves.

RGU is not the first story to have this premise. I just watched Ingmar Bergman's Persona, which uses two women to tell the story of one woman, and that came out all the way back in 1966. I think that it's possible to do this kind of story with characters of different genders--however, it's most often done with homosexual/homosocial pairings because two people of the same gender are seen as better mirrors to one another.

when I initially gave my response as to why Ikuhara writes a lot of lesbians, I cited the influence of shoujo manga. however, I didn't detail how homosexuality was featured in those manga.

Ikuhara once said that the core theme of shoujo is "self-revelation." he wanted to capture that in RGU, and it seems to have come across. consider Takemiya Keiko's reading of RGU as "A story about independence, about finding oneself. It feels like a story about a girl defining 'what is myself?'"

this journey of self-discovery must involve encounter with the other. part of romance is other-longing, the desire to meet the unknown; love requires a separate entity which is not merely an extension of the self (this is why I don't believe that Utena and Anthy actually are "the same person"). through encountering the other, one can find one's own self, and further, through this encounter, the selves which meet can be transformed.

while plenty of 20th century shoujo did center heterosexual couples, I believe that homosexual and homosocial relations were so prevalent because they facilitated this romance more effectively. on a visual level, a homosexual pairing can create a clearer parallel, as discussed above. for a more thematic angle, RGU's lead writer Enokido has mused that homosexuality removes the issue of "genetic advantage" from the equation; since there is not a clear "survival and reproduction" benefit to homosexuality, it is easier to see it as "pure love." along the same lines, Ikuhara has said that "as soon as you see the destination point of producing children, sex becomes a social system." that's not to say that homosexual couples exist independently from social systems. the point is that writers who wish to pursue the idea of "self-discovery through the other" may wish to do so in the context where the norms of heterosexuality are not an issue, as they could muddy the water.

as an example, take Kaze to Ki no Uta, an influence on RGU. Gilbert and Serge, the lead couple, are very different people. often in conflict, their love ends tragically. that is precisely the power of the story: Serge, who is left alone after Gilbert's death, will live the rest of his life feeling incomplete, unwhole, because he has lost the "other self" by which he came to be defined. in Ikuhara's words, "It’s a story about that which forms the core of an artist - a starvation that can never be satiated."

when done properly, this kind of romance can be very moving, because it is not only a "love story" but also a story about the self and its relationship to the other. and even more potent are stories which are both about "finding one's other self" and about "the city":

Ikuhara: Out of your works, I particularly like the stories about cities... Stories of cities and “one’s other self” are enchanting aren’t they. There are a lot of shoujo mangaka who write about one’s other self, but there aren’t really any who write about cities. I think a story is weak if it only talks about relatives and neighbours and never about cities. In contrast, I think your stories which are simultaneously about cities really bring out their era. I think that allows you to mark out a line for the story of the other self. Takemiya: Personally, I feel at a basic level that stories without a sense of daily life aren’t very interesting. If one thinks of each person as a single cell, then the city becomes the “body”, and one cannot create a world without both. Based on where they live, some people become more modern or more provincial - the environment really plays a role. For me, it is a necessary component.

I agree with this exchange: the best stories about "one's other self" aren't solely about love between two people, but instead love between two people placed in a particular social context. it is that social context which gives the relationship flavor.

this brings us to the other reason that lesbianism (and homosexuality more broadly) is used in Ikuhara's works. not only does it allow him to tell stories about "one's other self," but also to tell stories about social systems. homosexuality is "deviant" within the social system that is set up to produce children in the nuclear family; thus, homosexual couples will face resistence and prejudice. as Ikuhara discussed in this interview, he is not necessarily trying to capture "the lesbian experience" in his works, but rather using lesbianism as an allegory for the sense of being a minority; a person outcast for standing out from the crowd. homosexuality thus allows for a marriage between the themes of "the self" and "the city" which are central to the telling of a great romance.

bringing it full circle, let's take a look at how this plays out in Utena and Anthy's dynamic, specifically the climax of the first arc. in the build up to it, Utena has been insisting that Anthy behave like a "normal girl," and believes she's succeeding in this venture. however, her illusions are crushed when Touga defeats her in the duel called Conviction. Anthy, now his bride, tells Utena that she likes being the Rose Bride and doesn't mind being alone.

Utena's reaction to this is interesting. suddenly, she is obsessed with being a "normal girl" herself, deftly signaling that all along, she was projecting her own conceptions onto Anthy. though she comes to realize this, Utena ultimately decides to duel again; in the episode 11 preview, she says, "Himemiya, wait! I have to try to get the real you and the real me back!" their selves are linked, tied; Utena cannot be herself without Anthy. what's more, the "false self" that Utena presents is linked to Anthy's "false self"--for, despite her words, it is quite difficult to believe that she "enjoys" being the Rose Bride, any more than Utena "enjoys" wearing girl's clothes. after Utena wins the duel called Self, she and Anthy meet again, paralleling the end of the first episode, but when Anthy tries to impart the rules of the rose crest, Utena tells her, "never mind all that, let's just go home." the two share a moment of authenticity, their "false selves" blown away like petals in the wind. they've drawn closer to each other and to who they truly are, while simultaneously gaining a level of independence from the system which seeks to define them by their gender. the rest of the show will play out in the same manner.

----

side note: I don't think that Ikuhara is more fixated on lesbianism than he is on male homosexuality; however, I'm not sure if he's focused on "mirroring" between homosexual males the same way he has between females, despite the fact that his cited inspiration for the way he wrote relationships between girls in RGU is yaoi.