#i mean like at this point it has to be a psychological experiment

[tswwwit]

The smut at the end of portal au is so different from the smut in familiar au, and it took me a second (kinda embarrassing) but im pretty sure its cause dipper has had experience with NORMAL ppl/humans. and because his first time wasn’t with everything that bill is, he has (slightly) more confidence/acceptance when it comes to sex.

In familiar au smuts (even the ones outside of the actual stories that are still built on the foundation that they met and are together brcause of familiar au) dipper said the same, repeated phrases during sex, and the times that they are said is more or less when he can’t take it anymore and NEEDS to tell bill he needs ‘more�� or VERY RARELY that he’s feeling ‘good’. Alot of his thoughts during sex are just his THOUGHTS but in Portal au smut, he directly asks bill ‘do you wanna fuck me’ (obvi with the hesitance that comes with his personality, but its still more forwardness than familiar au dipper could muster on his own), at some point he even tells bill he’s going to ‘come’. Even familiar au dipper’s defiance levels during sex are way higher than portal au’s dipper, portal au dipper not only welcomes it, even asks for it himself. of course context and the defiance itself is a kink between them but familiar au’s dipper’s defiance is subconscious, ingrained, and let out even when not instigated, it seems to me this idea of thwarting his boyfriend in everyway that it even bleeds into their sex life, says something abt his first relationship, first time, first almost everythinf being with a demon. (Im saying that same effect may not be the same later on for portal au dipper, i genuinely think he’ll continue to be welcoming to them doing stuff and leave the defiance as a sex thing or as a response when instigated outside of sex)

These distinctions could mean nothing but its interesting to see the effects having your first time with a demon, wjth BILL, is when you compare it to another you that has experiences and chances to engage in sex that isnt an older, eviler, jerk of a man.

This is purely for fun but i do like to think of the psychological effects of dating a demon. Fiction is fiction and ik im dragging 🙏🙏 love ur writing btw

Those distinctions are intentional! I salute you and thank you for your analysis.

With Portal AU, I was aiming for a Dipper who had experience - albeit rather disappointing experience - with Regular Humans. He knows how it goes with a 'normal' partner, and he's had time to learn a few things about himself. His past has definitely changed how he approaches sex. Bill coming along with his very significant differences - both in dick and general treatment- was a pretty great find.

Meanwhile, Familiar Dipper had his whole existence with Bill colored by inexperience with partners, and, well. Their initial meeting. Which consisted of A: multiple murder attempts, B: stopping him from taking over the world, and C: Both of them being way worse at communicating. It's no wonder he's internalized being more defiant! And that he's less open about what he wants, considering he's figuring it out as things go! Plus, he's probably just more of a brat in general.

Anyway - It's been fun to experiment with how characters change depending on outside influences, and I'm glad it's noticeable!

[introspectivememories]

[catboybiologist]

“As a biologist, the terms biological woman and man don’t make any sense to me” okay then you’re an idiot and a terrible biologist. I swear to god, morons like you only become biologists just so you can hold it over others, when in reality, if biology deniers like you can become biologists, then being one really doesn’t mean much anyway. But this probably just gave an autogynophile like you a boner to read, anyway.

Oh fun! Haven't gotten one of these in a while. Disregarding the fact that you somehow think the qualification for being a biologist entirely hinges on defining womanhood, I do need to ask some clarification. I know I'm feeding the trolls here, but here we go: does your definition of "biological woman" mean:

Sociological woman? Eh, context dependent, I'm not fully out of the closet, but oftentimes, I am and present femme. So let's call that one 50/50.

Psychological woman? Because I am one.

Neurological woman? Because I am one [1].

Physical woman? My soft tissue redistribution is handling that well.

Hormonal woman? My blood tests are within cis female ranges.

Transcriptional woman? As a signalling molecule, the downstream effects of estrogen have broad transcriptional effects, completely changing the profile of gene expression and functional genomics of my cells. [2]

Genetic woman? I mean, see my above point- as far as my genes that are actually active, I have all of the same transcripts being produced, controlling which genes are expressed.

Karyotypic woman? I actually have a few signs pre-HRT that might point to a non-XY chromosome pair, but I haven't had a karyotype. We'll put that down as unknown. And hell, even if its XY, there's plenty of cis women who are karyotypically XY, with suppressed sry or complete androgen insensitivity. Interestingly enough, a completely androgen insesitive woman can go her whole life without knowing- and functionally, is very similar to a trans woman, actually. Fancy that. [3]

Reproductive woman? I can't produce an egg cell, but neither can significant fractions of cis women. Also, this is all gonna change soon, which is fun. [4]

There's also a lot of understudied aspects to the biology of HRT and even pre-HRT that are emerging, largely demonstrating widespread cellular and genetic remodeling of trans individuals undergoing hormone therapy. The field is a bit behind due to constant political pressure to revoke funding, but a lot of the results are extremely exciting in both testosterone and estrogen hormone therapies. I'm sure that, as a self professed biology As someone who presumably has a lot of expertise in biology, I'm assuming that you're aware of all of this cutting edge research, and are keeping up with modern papers, including but not limited to these cool findings:

Trans men on HRT exhibit significant genetic and transcriptional changes that make them biochemically male. [5][6]. It's a good hypothesis that the same happens with estrogen treatment, but those studies don't exist yet- I'm sure you're reserving judgment until more publications exist, of course.

Trans men on HRT develop male cell types and tissues. [7]

Trans women experience muscular and blood cell changes that align with cis women moreso than cis men [8]

And many, many more! This is an exciting, underserved, and groundbreaking field of research, and I'm sure you're keeping up with the latest in scientific journals about it.

I'm sure, of course, that you understand that it becomes impossible to draw a distinct line anywhere in here, and that words like "woman" are shorthand for the myriad of traits that invisibly synthesize in our mind and in society to represent a concept? I'm sure you understand that science is fundamentally descriptive, not prescriptive? I'm sure that you understand that these findings, while really cool and interesting, actually don't mean jack shit about what the word "woman" means or not?

As someone who is the ultimate decider in what a biologist is, I'm sure you know that bioessentiallism is a childish mindset that completely ignores and disregards the constantly changing, dynamic nature of biological systems, something that extends well beyond biological sex and its relation to gender.

I'm sure that also, that you understand that beyond just this, that the role of science in society is to advise how to achieve our moral principles, not create moral principles in themselves. And I'm sure that understanding means you know that trans affirming healthcare and supportive societal treatment leads to reduced mortality and increased happiness for everyone, right?

So great to talk to someone who is surely a scientist on this. You are a biologist, if you're talking like this, I assume? I assume you're not going to spit complete misreadings of scientific language from the background sections of these papers that only reveal you've never read a scientific paper in your life if you're thinking this way? I assume you have experience interpreting data like this?

Also, imagining my genitalia while writing this? Ew. Please stop projecting your fetishes into my inbox.

Works cited:

Kurth F, Gaser C, Sánchez FJ, Luders E. Brain Sex in Transgender Women Is Shifted towards Gender Identity. J Clin Med. 2022 Mar 13;11(6):1582. doi: 10.3390/jcm11061582. PMID: 35329908; PMCID: PMC8955456.

Fuentes N, Silveyra P. Estrogen receptor signaling mechanisms. Adv Protein Chem Struct Biol. 2019;116:135-170. doi: 10.1016/bs.apcsb.2019.01.001. Epub 2019 Feb 4. PMID: 31036290; PMCID: PMC6533072.

Gottlieb B, Trifiro MA. Androgen Insensitivity Syndrome. 1999 Mar 24 [Updated 2017 May 11]. In: Adam MP, Feldman J, Mirzaa GM, et al., editors. GeneReviews® [Internet]. Seattle (WA): University of Washington, Seattle; 1993-2024. Available from: https://www.ncbi.nlm.nih.gov/books/NBK1429/

Murakami, K., Hamazaki, N., Hamada, N. et al. Generation of functional oocytes from male mice in vitro. Nature 615, 900–906 (2023). https://doi.org/10.1038/s41586-023-05834-x

Pallotti F, Senofonte G, Konstantinidou F, Di Chiano S, Faja F, Rizzo F, Cargnelutti F, Krausz C, Paoli D, Lenzi A, Stuppia L, Gatta V, Lombardo F. Epigenetic Effects of Gender-Affirming Hormone Treatment: A Pilot Study of the ESR2 Promoter's Methylation in AFAB People. Biomedicines. 2022 Feb 16;10(2):459. doi: 10.3390/biomedicines10020459. PMID: 35203670; PMCID: PMC8962414.

Florian Raths, Mehran Karimzadeh, Nathan Ing, Andrew Martinez, Yoona Yang, Ying Qu, Tian-Yu Lee, Brianna Mulligan, Suzanne Devkota, Wayne T. Tilley, Theresa E. Hickey, Bo Wang, Armando E. Giuliano, Shikha Bose, Hani Goodarzi, Edward C. Ray, Xiaojiang Cui, Simon R.V. Knott, The molecular consequences of androgen activity in the human breast, Cell Genomics, Volume 3, Issue 3, 2023, 100272, ISSN 2666-979X, https://doi.org/10.1016/j.xgen.2023.100272. (https://www.sciencedirect.com/science/article/pii/S2666979X23000320)

Xu R, Diamond DA, Borer JG, Estrada C, Yu R, Anderson WJ, Vargas SO. Prostatic metaplasia of the vagina in transmasculine individuals. World J Urol. 2022 Mar;40(3):849-855. doi: 10.1007/s00345-021-03907-y. Epub 2022 Jan 16. PMID: 35034167.

Harper J, O'Donnell E, Sorouri Khorashad B, McDermott H, Witcomb GL. How does hormone transition in transgender women change body composition, muscle strength and haemoglobin? Systematic review with a focus on the implications for sport participation. Br J Sports Med. 2021 Aug;55(15):865-872. doi: 10.1136/bjsports-2020-103106. Epub 2021 Mar 1. PMID: 33648944; PMCID: PMC8311086.

[pippin-katz]

In Defense Of Edwin

Something that has bothered me is that there's a significant amount of people who talk about Edwin being unaware of Charles' pain as if he's oblivious, or like he did something wrong; that is simply unfair to Edwin.

Charles is happy, friendly, and wonderful. That is his personality. That is not all forced.

People are quick to jump on the line that Charles has been hiding his pain from Edwin, but a line people are ignoring from that argument is: "He's probably been hiding it from himself!"

His behavior indicates that he doesn't talk or think about trauma or negativity unless it's relevant to the situation. I doubt Charles even realized how bad his trauma was until the Devlin Murders. His pain was so repressed that he wasn't "feeling" it anymore.

Charles’ Triggers

While I'm not going to say that Charles did not hide his pain from Edwin at all, I am going to point out that this may have been the first time, in a very long time or ever, that they encountered something this close to home for him.

The only real reason Charles discusses his trauma now is because the Devlin House triggers him, genuinely in a psychological way. It's not just the "crazy dad" that gets to him. There are so many details that fit Charles personally. That whole situation is too fucking much for him.

The song Owner Of A Lonely Heart playing in the background; a song that he says he liked enough to get the cassette tape but that it was smashed by his father.

The controlling and restrictive behaviors of the father on his daughters. The eldest daughter writing about walking on eggshells and looking forward to graduation.

The way that the father kills them; he doesn't shoot them, or poison them, or whatever, he butchers them. His attacks are physically direct. He swings an axe, so his movement is the root of the violence. If it had been a gun, it would've been his finger on the trigger, but the bullets hitting them. Charles was abused by his father through the means of a belt, which is physically direct.

The loop, having to watch it over, and over, and over again with no break, no relief, and not being able to do anything, no matter how many times he sees it happen. Charles' abuse seemed to be regular and constant, no matter what he did. It always ended the same way.

All of that is then exacerbated by the Night Nurse forcing him to reexperience his trauma the very next day. That's a lot of specific details and events that lead to his complete breakdown.

Charles hasn't been consciously choosing to hide all of that pain from Edwin. It had been buried to the point where even he couldn't see it anymore, but the Devlin House uprooted it from his subconscious.

Charles’ Parents

Now, he does hide his habit of checking on his parents from Edwin, but that's not fully about his abuse. Charles misses his family, his life, being alive.

It's worth noting that he only shows Crystal his parents because he's trying to connect with her about not being able to go home. He didn't bring that up on a whim. It was relevant to help Crystal feel understood. She's not special; if someone completely different from her did the exact same thing, Charles would've shown them too.

Now, let's talk about him not telling Edwin. Charles may not have a full comprehension of Edwin's experiences, but he knows he's different from "normal" people. Hiding his parents from him is likely just as much about not wanting to hurt Edwin as it is protecting himself.

Edwin does not show any type of longing for his life. Everything he knew about the world from his time is gone or been changed beyond recognition. He doesn't have a family to miss, not that he was close to them in the first place; even if he did have an emotional connection to them, they've been long dead.

And Edwin seems unbothered, but there’s no way for Charles to know that for certain. Watching his parents weekly would remind Edwin constantly that he does not have anyone. He’s worried about being insensitive; he feels like he would be unintentionally taunting Edwin and rubbing salt into the wound.

Edwin has been dead for over 100 years and spent 70 of those years being torn apart by a demon in Hell; how could he even remember physical sensations other than pain and exhaustion? How could he remember the taste of food while running through Gluttony, watching its inhabitants vomit profusely? He never saw the appeal of romance or sex prior to his death, and then he witnesses the bloody masses of people in Lust; how could he be anything other than repulsed?

Charles tells him that pain is not a contest, but he almost without a doubt compares his own experiences to Edwin's. It's something people with low self-esteem do more than others. He feels guilty, like he’s selfish for being upset; Edwin has it so much worse.

How does being abused by his dad compare to being dragged to Hell? He got hit with a belt; Edwin was ripped apart. Who is he to whine about his life to a boy who has died more times than days Charles has existed?

He may not have had the specific details before, but the knowledge of it being Hell was enough. When you don't put your own needs on your priority list, that's one of the first "justifications" your brain comes up with. They already have enough on their plate, and you don't need to talk about it. You're totally fine! So yes, hiding his parents from Edwin makes sense from his perspective.

But his abuse? Charles doesn't even realize how much pain he's in; how could Edwin have realized?

My point is that Charles wasn't actively choosing to hide all of his pain from Edwin for thirty years, so to blame Edwin for not noticing is like blaming a blind person for picking up a red ball instead of a blue one. He couldn't have noticed; there was nothing for him to notice. Charles wasn't wearing a full mask.

The second Charles shows any indication that something is wrong, Edwin does notice!

Edwin may have trouble with people, but he's not oblivious, and he knows Charles. If he's ever been upset like this before, he would've noticed. He notices Charles' change in behavior after Crystal joined in only a day, and he doesn't deny it when Edwin calls him out.

Edwin also follows up on asking if he needs to talk about his father. Charles brushes him off, but Crystal and Niko show up before Edwin has a chance to press a little more, which I think he would've. I don't think Charles would've opened up, but it would've shown that Edwin is aware that all is not well. He is aware, but on top of being in the dark about it, he's got his own shit he's working out and cases to solve. His attention is divided.

I think it's important to remember this fact that has been driving me mental for months now:

Charles and Edwin’s dynamic during the show is a completely different dynamic than the one they've had for the past thirty years.

The introduction of Crystal, going to Port Townsend, meeting Niko, Monty, fighting Esther, the Cat King, etc. etc. etc. Everything about their relationship gets shaken up from the start of the show. They're both acting differently in all sorts of ways, and some they even acknowledge to each other.

What we saw of them in Port Townsend is not what Charles and Edwin were during those thirty years. It's unfair to pass judgement on something we don't actually know about.

I guess what I'm saying is that I'm getting really tired of fics/posts making a commentary about Edwin not noticing being something he has failed at. Does Edwin feel guilty for not realizing it sooner? Absolutely, but please, at least acknowledge that it wasn't his fault if you're sticking to canon. If you want to twist some shit into it to make it more complicated, make it more angsty, go right ahead! I'm absolutely not stopping you!

But canonically, at least I feel after studying these characters under a microscope, Edwin could not have known sooner.

(ko-fi)

[rottmnt-residuum]

Hi, I've read the Residuum comic, and I think the characterization of the boys is really good. I was wondering if you have any tips on how to write them? Especially Mikey, please.

I'd actually recommend re-watching the show with one character in mind. All my notes on the turtles come from doing separate re-watches for each of them. The key is to ONLY watch the character you are focusing on.

In the end, you'll probably be happier with your own personal interpretation. As we are with ours lol

TL;DR

Massive post under the cut

To preface: we'll be contrasting (this Mikey) against the fandoms version of Mikey, as our interpretation is very different. Don't worry if you prefer the fandom version, there's nothing… wrong per se with writing him this way. We just find him flat and uninteresting. (Main author: not me, I just hate him, lol).

Every reader or fan comes into a story with their own biases and experiences. A ton of our view of Mikey is based on how our siblings acted. We see Mikey as the young sibling that got preferential treatment from the whole family, simply due to being the youngest, but is now aging out of the privilege. Which all youngest siblings do at some point or another.

The fandoms version of Mikey is empathetic, naive, vulnerable, co-dependent and quite often a door mat who cries at the drop of a hat. And as much as the fandom like to say that people love him… when this particular character archetype is in other media, they seem to attract the most criticism. Mable pines, Bolin from Korra, people rag on Aang all the fucking time, and Steven Universe is a whole other bag. These characters don't deserve it, and yet it happens anyway.

To flatten Mikey to simply 'the baby' is a disservice. We don't see or write Mikey as the fandom “baby” version (cinnamon roll uwu). Part of this comes from having multiple siblings, so we interpret the times when Mikey does the puppy dog eyes as typical younger sibling bullshit, mostly by the way that the other turtles rarely react to it, if at all.

The other turtles traits can also get projected onto Mikey. Mikey being the fandom therapist is in the same category as this. He isn't a therapist, he's a psychology nerd who likes to psychoanalyze people and meddle in their relationships. (Donnie and Shelldons relationship, Splinter and Draxums...) he's not trying to resolve your emotional issues. Of the turtles, the character that cares the most about people's feelings is Raph. And Leo is more of a consoler than Mikey ever is. It flattens all the turtle's characterizations when you start doing this because you are ripping out parts that are integral to another characters' complexity.

Co-author has told me that they've seen people become confused when going into the show after only reading fan fiction or coming from the movie. They see his characterization as inconsistent and become upset when their view of him is contradicted. This also happens when a fandomized version of him becomes the primary characterization that they use. Sometimes when this disconnect happens (or if they just don't like the character), Mikey characterization is swung in the complete opposite direction.

They make him manipulative and abusive, or someone who is hyper violent and avoids being held accountable for anything. This is an uncharitable interpretation of him and can come off as pretty racist depending on the circumstances. (like if someone considers the turtles black or not)

Every version of Mikey is a shithead (affectionate), even this one. Especially this one, really. When Mikey not doing the "baby schtick" hes mean. If you pay attention to what he's saying, and just not his tone of voice, he's consistently saying pretty mean or condescending stuff. (You could take this as simply naïveté, but he still says mean shit pretty often regardless)

The times he does say genuinely nice stuff the turtles don't exactly expect it from him, at least, in the early season. And while he is mean, and seems to find saying mean things to be funny, Mikey isn't cruel. Nor will he ever be.

This shit-headery behavior is found in both 2003 and 18 Mikey. They have a degree of social intelligence that lets them use it to annoy people into doing what they want. 18 just has the advantage of being baby faced and having better tonal control. He's good at using people's perception of him to get what he wants.

Let Mikey have his problematic traits, but don't overexaggerate them. He doesn't revel in fooling people. He loves doing character bits, and the baby faced one just happens to be one of them. However, to infantilize or to deem him incompetent is to piss him off, he wants to be viewed as a competent part of the team and competent as an individual. He's not insecure about being young, he just doesn't want to be treated like he can't do anything.

Mikey above all is an optimistic character, he sees the brighter side quite often and is conscious of the harm his actions have on people. Mostly after the fact, but he consistently attempts to rectify the harm he has personally done to peoples lives. (Todd, Bullhop, Draxum). Food and shelter seems to be a thing that he considers to be a right. He doesn't cross a boundary twice once he learns of it, and he never pushes people too far (if he likes you, that is. if he doesn't know you or doesn't like you, he doesn't give a singular shit. But that is standard to most people.). He doesn't care about people's stuff, though. He breaks things all the time.

Mikey understands boundaries, but he doesn't automatically recognize them. He needs them to verbalized or for there to be a very obvious reaction to the boundary being crossed (unfortunately, for Todd and Donnie). Sometimes people mess up (esp. younger people), and it can take a while for teens to learn where boundary is, but he fully respects the boundaries he does know about. He doesn't act petulant when he's told about boundary, he apologizes, accepts it, and moves on. He doesn't dwell.

Mikey doesn't hold on to distressing emotions. He bounces between emotions quickly, but isn't effected in the long run. One thing Iv'e seen people often conflate is the difference between sensitive and vulnerable. Mikey is sensitive, but I have never seen him vulnerable to others. To be sensitive is to be easily influenced by the current situation. To be vulnerable is to hold that influence for a long time. Characters can have one, both, or neither of these traits. But Mikey is not vulnerable. It is the difference between compressing memory foam and a piece of metal until they deform. One will pop back, the other does not.

Those who are vulnerable but not sensitive will take longer to effect, but once you do, they will hold on to that emotion for a very long time. The vulnerable, are grudge holders. (leo). But like I've said, Mikey bounces back. What a character does has an effect on his emotions, but it doesn't make a lasting impression.

Forgiveness is another thing people like to push on him. It is not that Mikey forgives people easily, it's just that he doesn't hold grudges. He neither forgives nor forgets, but he does not ruminate. He's generally affable, first impressions seem to be a big part of how he views people. He is idealistic, and doesn't assume people are unchanging and/or evil, but he's not a mark.

Mikey isn't so much as naive or overly trusting… it's just that he's inexperienced. He doesn't get fooled by anyone in the series except meat sweats, and that's because Meatsweats is on Todd drugs. Mikey just didn't notice when he started faking. He's not… actually all that aware of people's emotional states, passively. He has to tune in to notice things like that.

Mikey isn't someone who really tries to regulate others emotions, either. The fandom like to make Mikey afraid of his brothers fighting and others being upset, but Mikey doesn't actually care. The most distressed we ever see him in a fight is in the movie, and he's not SCARED, he's just concerned (and then alarmed once it turned physical). If anything, outside extenuating circumstances (like the movie), Mikey actually seems to find their fights annoying.

(Mikey actually seems to have a pretty short fuse, but his bounciness doesn't really let it linger very long, lmao)

(One pet peeve of fandom Mikey is the constant crying, crying at fights, crying at insults, crying for no reason all the time. Sure, he tears up when he gets emotional, but when Mikey is genuinely crying It's when he's desperate, like when he's hungry, or when he's trying to save Leo from certain doom. Same thing, really.)

Mikey respects no one (we love him for this). He admires people, he admires his family: April, the turtles, his dad, Lou Jitsu. He admires Rupert Swaggert, but he respects none of them. No one is sacrosanct to the Mikey.

Above all, the way we write characters is to give them a past that informs how they act now. We view Mikey and the other turtles as teenagers that were kids, and that will be adults. Yes they all have “problematic” traits, but 1) good characters need flaws, and controversial traits are one of the best to use, and 2) they're teenagers, don't expect adult behaviors from them, also don't expect them to be kids. They're minors, not toddlers.

This is getting as long enough as it is, so we'll stop here, but this is a very broad overview of how we characterize him. There's a lot we didn't cover here, but if we even started on hobbies, or the real minutia of his quirks and ticks, or even how he feels about other specific characters... we'd be here all day. So I hope this is good enough lol

If there was something you wanted to know in particular, you'll need to get specific. Feel free to ask again ahahh

[incognit0slut]

Much Ado About Nothing (Act I, Scene I: The Silent Agreement)

Ever since that night, you and Spencer have always been at odds, but there is one thing you both agree on.

Part warning: just two idiots bickering nonstop Words: 1,6k A/n: so nervous about starting this but welcome to the first part! It's a short introduction though I'm trying to make longer chapters in the future

SERIES MASTERLIST | MAIN MASTERLIST

Hate was too strong of a word, too intense and dramatic for the subtler, more nuanced disdain you felt toward him. It was more like a persistent itch you couldn’t scratch, a pebble in your shoe, or a fly that wouldn’t leave you alone.

You didn’t hate him. You didn’t even dislike him all the time. But there were moments when you wanted to shake him, or yank his tie hard enough to shut his smart mouth. Because every time he started throwing around statistics and facts, he made it sound like you couldn’t possibly understand, as if you weren’t on the same intellectual level as him.

And right now was one of those times you wanted to wipe that smug look off his face.

“You’re wrong,” you argued, not breaking eye contact as you leaned across the cluttered map with pins and photos of various crime scenes. “The Unsub doesn’t fit the profile of someone who strikes randomly. Look at the pattern, the meticulous planning in each location—it’s obvious they selected victims based on specific criteria, not opportunity.”

Spencer scoffed, his eyes narrowing slightly. “The victims have nothing in common. Different ages, different backgrounds, different cities. How do you explain the randomness of the victims if it was planned?”

“It’s the chaos that’s planned, the seeming randomness, each victim is at a pivotal point. The Unsub is not just killing; they’re sending a message through the timing.”

“A message? Or is that just what you want to see?”

You frowned, not liking the condescending tone in his voice. “Reid, not everything has to fit into your neat little boxes of logic. Sometimes, you have to look beyond the obvious.”

“You mean baseless assumptions?”

“How about intuition?” you snapped back. “How about pattern recognition that isn’t immediately visible but becomes clear when you consider the psychological aspects?”

“You mean your hunches?

You gritted your teeth. “It’s not about my hunches. It’s about understanding the Unsub’s mind. They’re choosing victims who are at turning points in their lives for a reason. Maybe it’s symbolic, maybe it’s personal."

“Or maybe you’re just reading too much into this.”

Your frustration bubbled over. You knew if he weren’t talking to you, he might actually agree—No, he would definitely agree. You had enough experience working with him to understand his analytical style and to know that he valued well-reasoned arguments. Yet now it felt like he was purposely dismissing your perspective.

He wasn’t being fair.

“You know what? Sometimes I think you’d argue with a freaking wall if it meant you could prove a point.” To me at least. "Not everything is a textbook case, and not every answer is in your precious statistics.”

You saw him raise an eyebrow. “And you’d dismiss all logical analysis if it meant you could rely solely on intuition. How is that any more valid?”

“It’s not about relying solely on intuition,” you defended. “It’s about seeing the connections, the human behavior that your statistics can’t always explain.”

“But you’re assigning meaning where there might be none.” He gave you a pointed look. “Not only is that dangerous, you’re being reckless.”

Red. You were seeing red. Your retort was on the tip of your tongue when a sharp clearing of a throat suddenly interrupted. You both turned to see Hotch standing at the corner of the room.

"Let's redirect this energy towards something productive," Hotch interrupted, you could almost feel the weight of his stare. "Both of your insights are pointless if you keep arguing like this.”

“I wasn’t arguing.”

You rolled your eyes. “Sure, you weren’t.”

Your boss sighed, the kind of deep, exasperated sigh that seemed to pull the oxygen out of the room. “Just... work together. Please.”

The plea was simple, filled with the tiredness of having had this conversation more times than anyone cared to count. He then turned to leave and the room suddenly felt too big, the silence too loud.

You glanced over at Spencer the same time his eyes fell on you. But before either of you could say anthing, the door jerked open, and you watched as Derek sauntered into the room.

“Did you two fight again? Because Hotch asked me to babysit you.”

You scoffed. “Really? Those were his exact words?”

“Of course not, he asked me you needed supervision because you can’t stop sniping at each other.”

“Supervision,” you muttered under your breath, the word sounding ridiculous because it was the last thing you needed. “We don’t need supervision.”

“Exactly. What you both need is a babysitter.”

“We’re also not kids.”

Derek chuckled, leaning against the doorframe. “Could’ve fooled me. Given how loud you were, I half-expected someone to start throwing toys.”

Spencer was quick to defend himself. “We were having a professional disagreement.”

“A professional disagreement?” Derek mocked, pretending to be deep in thought. “That’s what they’re calling it these days?”

You huffed, crossing your arms. “Yes, Morgan, some of us prefer to call it that instead of ‘arguing like toddlers’.”

The grin spreading across his face was so annoying that you wondered whether you should’ve put your frustration on him instead. Derek pushed himself off the doorframe and walkes over to Spencer, casually draping an arm around his shoulders.

“Alright, Pretty Boy, let’s hear your side of this professional disagreement.”

Spencer shifted uncomfortably under his arm but managed to maintain his composure. “We were discussing the Unsub’s choice of victims. I believe the randomness is genuine, while someone,” he glanced pointedly at you, “Thinks there’s a pattern.”

Derek raised an eyebrow. “What pattern?”

You stepped forward, determined to explain. “Look at the victims’ timelines. They were all at critical junctures—new jobs, big moves, major life changes. The Unsub isn’t picking them randomly; they’re choosing people going through something significant.”

Derek nodded thoughtfully, removing his arm from Spencer’s shoulders. “Alright, I see where you’re coming from. And you, Reid, think it’s just a coincidence?”

“I think the Unsub might be targeting randomly to avoid detection. Patterns can be dangerous for them.”

You sighed. “Can we at least agree to look at both possibilities? If we cross-reference the victims’ life changes with significant dates in the Unsub’s background, we might find a connection.”

You held his gaze as he studied you. You were right, you both knew you were, but you could tell admitting he was wrong was the last thing he wanted to do. There was a tense silence as he considered your suggestion, his eyes flicking between the evidence board and you.

Finally, he nodded, albeit reluctantly. “Fine. We can analyze both angles and see if there’s any overlap.”

“See? That wasn’t so hard, was it?” Derek chimed in with a smirk, clearly enjoying the moment. “You know, you could’ve gotten more work done if you two still got along.”

Derek’s words hit harder than you expected, a bittersweet reminder of a time when things were simpler. He was right, of course. There was a time when you and Spencer were more than just colleagues locked in constant debate. You were friends—good friends, even. You could almost hear the echoes of shared laughter that had once come so easily.

You remembered late nights at the office, the two of you working over case files and tossing ideas back and forth. Back then, your debates had been lively, yes, but never tinged with the frustration and competition that seemed to color your interactions now.

And to make matters worse, Derek suddenly voiced out the question neither of you dared to ask out loud.

“You guys used to be inseparable,” he mused, glancing at the two of you with an amused smile. “Wonder where it went wrong.”

You knew he was joking, but his words carried an uncomfortable truth that you couldn’t ignore. You could also tell it affected Spencer because his eyes met yours silently.

You both were thinking the same thing. You were sure of it, because everything had changed after that night, that one night you wished to forget. That one night when you thought your friendship would change for the better, but instead, it turned into a moment of clarity, a freaking slap to the face.

The change was immediate, like the abrupt silence that follows a sudden, jarring noise. What had once been effortless and natural now felt forced and awkward. The distance between you grew. The ease with which you once communicated had been replaced by a strained formality, as if both of you were trying too hard to pretend that nothing had changed.

It was as if you had made a silent pact to never speak of that night, an unspoken agreement to bury it deep and carry on as best you could. Both of you were too proud, too scared to address the elephant in the room.

You looked away, unable to hold his gaze any longer. The weight of the unspoken words pressed heavily on your chest, and sure, it seemed childish to harbor such disdain at your big age, but you couldn’t help it. It wasn't just the loss of a friendship that stung; it was the betrayal of knowing someone so close could cause you such pain.

Because Spencer Reid had hurt you deeply that night, so much so that a small, spiteful part of you wanted to hurt him too.

[fangdokja]

:D oooh, I love those things where Scara isolates the reader so that she becomes reliant on his ass. So basically, psychological torture, please?

Your body is chained, but your mind? Still free. Or is it?

❤︎ Synopsis. Trapped in a mind game where love is a weapon and escape is impossible, you’ll learn that survival means surrendering to his twisted obsession. But as his control tightens, you’ll wonder: Are you his prisoner, or his willing prey?

♡ Book. World Ablaze (WA): For You, I'd Burn the World.

♡ Pairing. Yandere! Scaramouche x Fem. Reader

♡ Novelette. #1 - Lover or Captor?

♡ Word Count. 10,821

♡ TW. dom + top + older yandere, non-con, psychological torture, manipulation and conditioning, suggestive themes, fear play, emotional manipulation and abuse, hints at rough play and sex, psychological and emotional trauma, isolation, monitoring, lack of boundaries, non-con kissing and/or touching, forced relationship, threats, BDSM, psychological torture, Stockholm Syndrome, force feeding, uncomfortable food descriptions, control over food and water, implied kidnapping

♡ A/N. No problem. I genuinely enjoy writing all forms of torture. I’d say this is soft Scaramouche to be honest. But that’s just me. Since manipulation of circumstances pre-kidnapping is a classic (but also a traditional cliche at times), I decided to make some small fun facts on how psychological torture works in general. Also, do note that this has a different writing (especially formatting and plot progression) style from my usual works, but that’s the point… And, low-key got sick of editing this haha. But that’s nothing new. Either way, hope you guys enjoy :))

He watches you with an intensity that burns hotter than the static hum of the electro mist surrounding the enclosed space he calls home—your prison. His eyes, sharp like the edge of a newly forged blade, track every movement you make, every twitch of your fingers, every shallow breath you take. There is no escaping his scrutiny, no moment where his gaze isn’t a weight you carry as if he’s carved himself into your very existence.

“You’re trembling again,” he murmurs, his voice a lilt of mockery wrapped in silk, carrying an undercurrent of something darker. He’s closer now, the faintest scent of ozone and metal clinging to his presence. He’s always so near, yet somehow never close enough for you to strike—not that you have the strength anymore. His manipulation has bled you dry, turned your once vibrant spirit into a pale echo of itself.

“Have I scared you that much?” he continues, his tone like an echo of thunder in a storm, half-amused and wholly cruel. He kneels before you, tilting his head as if studying a particularly interesting experiment, and you wish, not for the first time, that he would lose interest in his obsession. But you know better than to hope; hope is a fragile thing here, something he’s crushed beneath his heel more times than you can count.

Your legs are bound, wrists tethered together with some unbreakable material that bites into your skin when you move too much. Not that movement helps. He’s seen to that too. The chains are just as much a part of his games as the room itself: walls painted in endless monotones, no windows, only a single dim light that flickers faintly, threatening to plunge you into complete darkness at any moment. He’s told you before that he’d like to see what the dark does to you—what he could do to you while you’re blind and helpless.

“Tell me,” he says now, his hand reaching forward to brush against your cheek. His touch is deceptively gentle, a lover’s caress that belies the brutality hiding beneath the surface. “Have you learned to appreciate me yet?”

You flinch but don’t answer. Words are a dangerous currency here. Silence earns punishment; speech earns worse. You’ve been caught in his web long enough to know the rules of his game are meant to ensure one thing: total control. But your defiance—the last ember of it—makes you cling to the belief that your silence is an act of rebellion, however small.

He chuckles lowly, the sound reverberating through the empty room. “Still so stubborn,” he muses, fingers now tracing the line of your jaw. “I admire that about you, you know. That fight in your eyes. But it’s exhausting for you, isn’t it? Fighting me? Fighting this?” He leans in, so close that you feel the ghost of his breath against your ear. “Do you think anyone’s coming for you? That they even remember you?”

Your stomach twists, a sick knot of despair and anger. His words are poison, injected carefully and methodically into your psyche.

“I erased you,” he whispers, his voice soft but cold enough to freeze your blood. “From their memories, from their lives. Your friends? Gone. Your family? They don’t even remember your face. Isn’t that a kindness, though? Sparing them the grief of losing you?”

He pulls back just enough to look into your eyes, searching for the cracks he’s so meticulously created. “Do you hate me for it?”

You do. You hate him with a depth that frightens you. But you say nothing, your lips trembling as you refuse to give him the satisfaction of hearing it aloud. His expression shifts, a flicker of annoyance crossing his otherwise perfect features, but it’s gone just as quickly as it came.

“Hate me all you want,” he says, his tone growing harder, sharper. “But you will love me. In the end, you always will.”

He stands, his shadow towering over you as he looks down, his smirk returning like a blade pressed to your throat. “I’ll give you some time to think about it,” he says, turning and heading toward the door. “But don’t take too long. I’m not a patient man.”

The door closes with a deafening finality, and you’re left alone in the dim, flickering light. Alone with your thoughts, your fear, and the suffocating realization that he’s right. He’s always right. The world has forgotten you, and all you have left is him.

And isn’t that the cruelest truth of all?

────────────

The room is a void—a cage designed not to hold your body, but to unspool your mind held by fragile thread. The walls are stark and featureless, smooth metal panels that offer no hint of escape. There are no windows, no visible doors, just the cold hum of fluorescent lights that seem to dim and brighten at random intervals, casting shadows that twist and crawl.

The air is heavy, oppressive, suffused with his presence even though he’s nowhere to be seen. You can feel him, though—lurking in the corners of your mind, a phantom stitched into your every thought. His voice crackles through the static-filled speakers embedded in the walls, sharp and invasive, like glass scraping against your skull.

“Lonely yet?”

You flinch at the sound, your knees drawing tighter to your chest. His voice is smooth and mocking, curling around your mind like barbed wire.

“I told you this is for your own good,” he continues, each word laced with a venomous sweetness. “Out there, the world would devour you. I’m saving you, little fool. But gratitude? That’s too much to ask, isn’t it?”

You press your hands over your ears, as if that could block him out. But his voice doesn’t come from the speakers anymore. It comes from everywhere. From nowhere. It vibrates in your bones, coils in your gut, whispers in the back of your skull until you’re certain it’s your own thoughts betraying you.

The silence that follows is worse. It’s his silence—calculated, suffocating, a predator’s patience as it watches its prey wear itself down. Hours stretch into days, or maybe longer. Time is meaningless here. The lack of human contact gnaws at your sanity, leaving only the relentless pounding of your heartbeat to fill the void.

Then, finally, his voice returns, and despite the fear it brings, a twisted part of you clings to it like a lifeline.

“Look at you,” he purrs, his tone dripping with mock sympathy. “So fragile. So desperate. Do you see now? No one else will come for you. Only me.”

The words settle over you like ash, suffocating and final.

And then he’s there.

The walls don’t open. He doesn’t step through a door. He’s just there, as if he’s always been there, a seamless extension of the room’s nightmarish design. The dim, artificial light casts a sickly glow over his features, making him look less human and more like a living doll—perfectly crafted, flawlessly sculpted, and utterly devoid of warmth. His smile is delicate, a razor-thin line that glints with malice beneath its veneer of sweetness.

“You’re quiet today,” he murmurs, his voice a low, velvety hum that sends shivers racing down your spine.

He moves closer, his boots clicking sharply against the metallic floor. The sound is deliberate, each step a calculated reminder of his control, his dominion over this place, over you. His presence fills the room, overwhelming, suffocating.

“I wonder,” he continues, stopping just short of where you sit, “is it silence out of submission? Or defiance?”

You don’t answer. You can’t. Words catch in your throat, strangled by the weight of his gaze.

He crouches before you, his movements slow, fluid, and predatory. His violet eyes gleam in the half-light, shimmering with something dark and unreadable. They lock onto yours, pinning you in place, and the room seems to shrink further, the walls pressing closer until there’s nothing but him.

“Look at me,” he commands softly, his voice a velvet glove hiding an iron fist.

Your head moves of its own accord, your body betraying you as your eyes meet his. The corner of his mouth lifts into a smirk, and the sight of it is both intoxicating and nauseating.

“That’s better,” he murmurs, his gloved hand reaching out to cup your face. His touch is achingly gentle, a cruel mimicry of tenderness, but his grip tightens just enough to remind you of his strength. Of your helplessness.

“You’ve been imagining things again, haven’t you?” he whispers, his tone almost pitying. “Seeing shadows where there are none. Hearing whispers in the dark. Poor little thing.”

He tilts his head, studying you like a scientist dissecting a specimen. The artificial light casts eerie reflections in his eyes, making them glint like shards of broken glass.

“Do you know what isolation does to the human brain?” he asks, his tone conversational, almost curious. “Deprive it of stimuli long enough, and it starts to turn on itself. Hallucinations. Paranoia. A complete collapse of the psyche.”

He leans closer, his breath brushing against your lips, his eyes boring into yours.

“But you’re not imagining me,” he says softly, his smile widening into something sharp, something cruel. “I’m as real as the blood under your nails, the bruises on your wrists.”

Your breath catches as his thumb brushes over your temple, the motion deceptively soothing. But then his fingers tighten, his nails digging into your skin.

“And do you know what the best part is?” he whispers, his voice dropping to a chilling hush. “You’ll beg for more. For me. Because I’m all you have left.”

The walls seem to close in entirely, the air growing colder, heavier, until it feels like you’re drowning in his presence. And through it all, his smile remains, a grotesque mockery of kindness, as he whispers again,

“Lonely yet?”

────────────

The camera in the corner of the room stares at you, its red light pulsing steadily like a heartbeat—like his heartbeat, if he had one. You can feel it watching, a cold, unblinking eye that absorbs every movement, every shallow breath. It’s not just the camera, though. The walls themselves seem to hum with an unseen energy, a constant reminder of the wires and devices hidden just beneath the surface, all tuned to you.

“You’ve always had a penchant for dramatics,” his voice crackles through the speaker embedded high above, sudden and sharp. You flinch, instinctively shrinking against the edge of the bed, the metal frame digging into your spine. “But let’s not make this more unpleasant than it needs to be. You know I’m only doing this for your own good.”

The static lingers, like the ghost of his presence, before dissolving into the oppressive silence that dominates your world.

———

Later, you find it—a book, an old one, its spine cracked and worn. A piece of the life you once had. The familiar weight of it in your hands brings a flicker of warmth to your chest. You don’t know how it got here or why he would allow you something so small yet so meaningful, but you don’t question it. You simply clutch it to your chest, savoring the moment.

But then, he arrives.

He stands in the doorway, his expression unreadable, his silhouette framed by the dim, flickering light. His eyes—those violet pools of cruelty and calculation—narrow as they land on the book in your hands.

“Where did you get that?” he asks, his voice calm, but there’s a cold edge to it, like a blade hidden in velvet.

“I—I found it,” you stammer, clutching the book tighter as if it might shield you from the inevitable.

He doesn’t move, but the air around him seems to shift, thickening with something unspoken. “Interesting,” he murmurs, stepping closer, his footsteps deliberate and measured. “You’re quite resourceful, aren’t you? Always finding ways to entertain yourself.”

You don’t answer. You can’t.

When he reaches you, he kneels, his movements fluid and precise, like a predator cornering its prey. He plucks the book from your hands with deceptive gentleness, his slender fingers brushing against yours for a moment too long.

“Do you know what this is?” he asks, turning the book over in his hands as though it were an artifact of immeasurable value. “A relic. A fragment of something that doesn’t exist anymore. Like you.”

His words sting, but before you can process them, he tightens his grip on the book. With a sudden, violent motion, he tears it in half, the brittle pages scattering like ash across the floor.

“Nothing from before matters,” he says, his tone cool, almost clinical, as he rises to his feet. “You don’t need distractions. You need me.”

———

That night, you try to sleep, but the room refuses to let you. The lights flicker intermittently, each burst of brightness searing your eyes through closed lids. A low, grating hum emanates from somewhere in the walls, setting your teeth on edge.

And then, the noise.

It starts as a soft, rhythmic tapping, like the distant sound of rain against glass. But it grows louder, more insistent, until it feels like it’s coming from inside your skull. You bolt upright, your breath ragged, your body drenched in cold sweat.

“You’re restless,” his voice coos from the speaker, smooth and mocking. “Didn’t I tell you to rest? Or are you defying me again?”

“I—stop it,” you whisper, your voice trembling.

“Stop what?” he replies, feigning innocence. “You’re imagining things again. Poor thing. You really should trust me more. I can help you.”

The noise stops abruptly, leaving an aching silence in its wake. You collapse back onto the bed, your body too exhausted to fight anymore.

———

The next morning, you stumble into the small, sterile kitchenette, your limbs heavy with fatigue. The stove is on—flames licking at the edges of a pan you don’t remember lighting. The smell of something burning fills the air, acrid and choking.

“Careless,” he says, leaning casually against the doorway, his arms crossed. “You could’ve burned the whole place down.”

“I didn’t—” you start, but he cuts you off with a wave of his hand.

“No excuses,” he snaps, his voice sharp as a whip. “You’re lucky I caught it in time. Do you see now why you can’t be trusted? Why you need me?”

You want to argue, to scream that it wasn’t you, that he must have done it himself. But the words die in your throat as his gaze pierces through you, cold and unrelenting.

────────────

The silence stretches into infinity, interrupted only by your own ragged breaths and the phantom echoes of his voice that claw at your psyche. You don’t know when he’ll speak again or if he’s watching, but the not knowing is part of the torment.

When his voice finally breaks the silence, it’s so sudden and sharp it feels like the snap of a guillotine.

“Still holding onto hope, are you?” His voice is soft, almost tender, a cruel mockery of comfort. “I admire your persistence. It’s… quaint.”

His tone is calm, calculated, each word chosen with the precision of a scalpel. It cuts through the fog in your mind, forcing you to confront the reality he’s woven around you.

“You think someone’s coming for you?” he continues, his voice dripping with incredulity. “How adorably naïve. Do you even remember what it’s like out there? The noise, the chaos, the endless parade of fools clawing at one another for scraps of meaning. I’ve spared you from that, haven’t I?”

You don’t answer. You can’t. The lump in your throat feels like it’s suffocating you, and the weight of his words presses down on your chest until it feels like your ribs might crack.

“Nothing to say?” he muses. “That’s fine. I prefer you this way—quiet. It suits you.”

———

You didn’t hear a door open. Didn’t hear the telltale click of boots against the floor. One moment you’re alone, and the next he’s standing there, a figure carved from shadow and disdain. The dim light paints him in stark relief, illuminating the sharp angles of his face, the cold glint in his violet eyes.

“I’ve been generous with you,” he says, his voice low and steady, like the distant rumble of thunder. He steps closer, each movement precise, deliberate, as though he’s stalking prey. “I’ve given you time to adjust, to see the truth. But you…” His lips curl into a faint smirk, though there’s no humor in it. “…You insist on clinging to those foolish little scraps of defiance.”

You flinch as he crouches before you, his gaze leveling with yours. His expression is unreadable, a mask of icy detachment that barely conceals the storm simmering beneath.

“Tell me,” he murmurs, his voice dropping to a chilling whisper. “What exactly are you holding onto? A memory? A promise? Hope?”

He tilts his head, his eyes narrowing as he studies you with an intensity that feels like it could peel back your skin, exposing every raw nerve beneath.

“You don’t even know, do you?” he says, almost pitying. “You’re just… grasping. Blind and desperate. It’s pathetic, really.”

His hand reaches out, and you flinch again, but he doesn’t touch you. Instead, his fingers hover just above your face, as though he’s considering it, savoring the moment.

“You’re so fragile,” he breathes, his tone a mix of fascination and contempt. “It wouldn’t take much to break you, you know. A little pressure here…” His hand shifts, his fingers ghosting over your temple. “…And here.”

His other hand moves to hover over your throat, and your breath catches.

“But where’s the fun in that?” he muses, withdrawing his hands with a slow, deliberate grace. “Breaking you would be easy. No. I want you to understand.”

He leans in closer, his breath brushing against your ear, his voice dropping to a dark, intimate whisper.

“I want you to know that every moment you spend here is a gift. My gift. And when you finally shatter, when you finally look at me with nothing but submission in those eyes…” He pulls back just enough to meet your gaze, his smirk sharpening into something vicious. “…That’s when you’ll understand. That’s when you’ll thank me.”

The air feels thicker, heavier, suffused with his presence. The room spins around you, the walls closing in, the ground tilting beneath you. And through it all, his voice lingers, wrapping around your thoughts like a noose.

“No one else will come for you,” he says, standing to his full height, towering over you. “No one else can. It’s just you and me now. Forever.”

He turns to leave—or does he? The edges of your vision blur, the lines between reality and nightmare dissolving as his voice echoes through the void one last time.

“Stop fighting it, little fool. Stop fighting me.”

────────────

The first thing you notice when you wake is the cold. It bites into your skin, gnaws at your bones, wrapping itself around you like a second, crueler layer of flesh. The thin, threadbare shift you wear does nothing to shield you from it, the fabric clinging to your body with a dampness that reeks of mildew and despair.

The blankets are gone again. He always takes them when you displease him.

Your stomach churns with the memory of his last visit—the quiet menace in his voice, the way he tilted his head as he watched you scramble to piece together what was left of your broken dignity.

“You want comfort?” he had said, his tone laced with derision. “Earn it.”

You had begged—how could you not?—but he only smiled, a thin, sharp curve of his lips that cut deeper than any blade. And then he was gone, taking with him not only the blankets but the small, chipped bowl you had been using to collect water from the condensation that dripped sporadically from the ceiling.

Now, the thirst claws at your throat, dry and insistent. You press your lips together, trying to ignore it, but it’s impossible. Every breath feels like sandpaper scraping against raw flesh.

———

When he finally returns, it’s without fanfare. The door—a seamless part of the wall when shut—slides open with a faint hiss, and he steps inside, his violet eyes sharp and calculating. He’s carrying something this time: a bundle of what looks like clothing, though you’ve learned not to trust appearances.

“You look worse than usual,” he remarks, his gaze sweeping over you like a scientist observing a failed experiment. “Pathetic.”

You flinch at the word, but you don’t respond. Experience has taught you that anything you say will only feed his twisted sense of superiority.

He crouches before you, placing the bundle on the floor between you. It’s not clothing, you realize, but a single, thick blanket. It looks warm, inviting—an impossible luxury in this place.

“Do you want it?” he asks, his voice soft, almost coaxing.

You hesitate, your body aching for the warmth it promises. But you know better than to trust him.

“What do you want me to do?” you whisper, your voice hoarse from disuse.

His smile sharpens, a flash of white against the shadows of his face. “You’re learning,” he murmurs. “Good.”

He stands, taking a step back and gesturing to the far corner of the room. There, you see it: a tray of food, simple but sufficient—bread, water, a small portion of fruit. Your stomach growls at the sight, a humiliating reminder of your hunger.

“Eat,” he says, his tone light, as if he’s offering you a gift.

You don’t move. It’s too easy. There’s always a catch.

He chuckles, a low, mirthless sound. “Ah, still suspicious. How charming.”

He walks to the tray and picks up the cup of water, holding it up to the dim light as if inspecting it. Then, without warning, he tilts it, letting the liquid spill onto the floor.

“No!” The word escapes you before you can stop it, a raw, desperate plea.

He turns to you, his expression unreadable. “Prove to me,” he says slowly, deliberately, “that you deserve it. That you can follow simple instructions.”

“What do you want?” you ask again, your voice trembling.

His gaze narrows, and he steps closer, the soles of his boots crushing the bread beneath them as he walks. He crouches before you again, his eyes locking onto yours with an intensity that makes it impossible to look away.

“Crawl,” he says simply.

The word hangs in the air, a command and a taunt all at once.

Your body stiffens, shame warring with desperation.

“Crawl,” he repeats, his voice harder this time, the veneer of gentleness cracking to reveal the steel beneath.

You hesitate, and his smile returns, cruel and mocking. “Or don’t,” he says, standing and turning away. “But don’t think I’ll be so generous again.”

———

The air in your prison grows colder with each passing day. The concrete floor seems to suck the warmth from your body, leaving you shivering in the thin, threadbare clothing he’s allotted you. Blankets are a luxury, one he dangles before you like bait on a hook. Hygiene products—soap, a toothbrush, even clean water—are rationed out like rare treasures, rewards for obedience that always seem just out of reach.

He watches you from the shadows, a silent predator waiting for the moment your spirit cracks. The sound of his voice is worse than the silence. It’s a scalpel, peeling away layers of your resistance with surgical precision.

“You look uncomfortable,” he remarks one day, his voice lilting with mock concern. He steps into the dim light, his figure framed by the cold, sterile glow. “How long has it been since you last had a proper shower? Days? Weeks?” He smiles, the expression brittle and sharp. “I could help with that, you know. All you have to do is ask.”

You say nothing, your eyes fixed on the floor, but he sees the flicker of humiliation in your expression, and it feeds him.

“No?” He tilts his head, feigning curiosity. “Still so proud, even now. Admirable, really. But pride won’t keep you warm. Or clean. Or alive.”

────────────

When the door finally hisses open, the sound sharp and invasive, you don’t lift your head. But you feel his presence immediately, a dark, oppressive weight that fills the room. His footsteps are soft but deliberate, each one echoing like the tolling of a bell. And then he speaks, his voice low and smooth, a dark current beneath deceptively calm waters.

“You’re looking pale again,” he remarks, his tone laced with mockery that twists your stomach. You don’t answer, keeping your eyes fixed on the floor, but he doesn’t need your response to continue. He never does. “Have you been refusing to eat? Or is it the water? You’ve always been so ungrateful, haven’t you?”

A shadow falls over you as he comes closer, and the sharp scent of ozone and something faintly chemical hits your nostrils. You flinch when his hand, cold and unyielding, grips your chin, forcing your face upward. His violet eyes gleam with a sick kind of amusement as he tilts his head, studying you like a specimen under glass.

“Thirsty?” he asks softly, almost gently, though there’s no mistaking the sadistic edge beneath his words. He reaches into the folds of his dark, flowing attire and retrieves a small, glass vial. It gleams in the dim light, the liquid inside as clear as crystal but no less threatening for its purity. “I brought you something special today.”

He crouches before you, setting the vial down on the floor with a deliberate clink. Then, with an almost theatrical flourish, he places a tall glass beside it, already half-filled with water. “Drink,” he says, his voice a command wrapped in velvet. “Go on. You must be parched.”

You hesitate, your body trembling as you glance at the glass. It feels like a trap—no, you know it’s a trap—but your throat burns with the dry, relentless ache of dehydration. It’s been days since he last offered you anything, the air in the room deliberately kept too dry, leeching the moisture from your body like some cruel experiment.

When you don’t move, his smirk widens, and he leans in, close enough that you can feel the chill of his breath against your skin. “Do you think I’d poison you?” he whispers, his tone almost tender, though the words slice into you like broken glass. “That I’d let you go so easily? Oh, no, little doll. If I wanted to destroy you, I’d make it far slower. Far more… personal.”

The implication chills you to your core, but the thirst gnaws at you with an intensity that borders on madness. You reach for the glass, your fingers trembling so violently you nearly knock it over. He watches with rapt attention, his eyes never leaving your face as you lift it to your lips.

The water is cold, colder than it has any right to be, and it slides down your throat like liquid ice. But then, the taste hits—metallic, sharp, and tinged with something acrid that makes your stomach churn. You gag, dropping the glass with a shattering crash, but it’s too late. The liquid burns as it courses through you, a searing pain that spreads from your throat to your chest, your stomach, your limbs.

He doesn’t flinch at the sound of the breaking glass. If anything, his expression grows darker, more triumphant, as he leans back on his heels, folding his arms across his chest. “How does it feel?” he asks, his tone almost conversational, as though he’s asking about the weather. “The sensation of your body rejecting what it so desperately craves? Fascinating, isn’t it?”

Your vision blurs with tears as you clutch your stomach, the pain radiating outward in waves. You want to scream, to beg, to curse him, but your voice catches in your throat, choked off by the bile rising within you. He watches it all with the calm detachment of a scientist observing a particularly interesting reaction, his head tilted slightly, his lips curved in a faint smile.

“Ah, but don’t worry,” he says after a moment, his voice softening in a way that’s even more sinister. “It won’t kill you. I wouldn’t waste such a useful tool on something as permanent as death.” He reaches out, brushing a stray strand of hair from your face, his touch cold and clinical despite the faux tenderness in his movements. “No, little doll, this is simply a reminder. A lesson.”

He leans in closer, so close you can feel the oppressive weight of his presence pressing down on you. “You don’t survive without me. Do you understand that now? Every breath you take, every drop of water you drink, every bite of food that passes your lips—it all comes from me. And it can all be taken away just as easily.”

The pain begins to subside, leaving you weak, trembling, and utterly broken. He stands, brushing off his knees as though he’s finished with some menial task. “Rest, if you can,” he says, his voice light and mocking once more as he turns toward the door. “You’ll need your strength for the next lesson.”

The door closes behind him with a resounding clang, leaving you alone in the suffocating silence of the room. Alone with the lingering burn in your throat, the taste of poison on your tongue, and the sick, suffocating knowledge that he’s right.

You don’t survive without him.

────────────

The silence he left behind had weight—a crushing, suffocating thing that pressed against your chest until your breaths came in shallow, wheezing gasps. Days stretched into nights, and nights into something darker still, where time seemed to lose its grip and your mind unraveled thread by fragile thread.

But then came the voice.

At first, it was a whisper—a delicate breeze brushing against the edges of your consciousness. Soft, insidious, and almost gentle.

“Did you miss me, little doll?”

Your heart stopped, then hammered violently against your ribs. You spun toward the sound, eyes darting across the empty room. Shadows stretched unnaturally, pooling in corners like ink spilled across parchment.

There was no one there.

But the voice persisted, lilting and melodic, curling around your thoughts like smoke. “Poor thing,” it cooed. “You look so lost. So lonely. Didn’t I promise I’d always come back for you?”

“No,” you rasped, clutching your head, fingers digging into your scalp as though you could claw him out of your mind. “You’re not here. You’re not real.”

The laughter that followed was low, rich, and agonizingly familiar. It reverberated through the empty space, vibrating against your skull like a tuning fork.

“Not real?” he repeated, his tone dripping with mockery. “Oh, my little doll, you wound me. But perhaps I’ve been too kind. Let me remind you.”

The world around you shifted—imperceptibly at first, like the faint sensation of vertigo. Then it hit. The walls groaned and shuddered, the fluorescent light overhead flickering wildly. The air grew heavy, thick with the metallic tang of blood. You stumbled, your knees buckling as the ground seemed to ripple beneath your feet.

When the flickering stopped, he was there. Or was he?

His face hovered just out of reach, a phantom etched in shadow and smoke, his violet eyes glinting like shards of broken glass. He was leaning in, his lips brushing against your ear, his breath unnaturally cold.

“Tell me, doll,” he murmured, his voice velvet and venom, “do you still think I’m not real?”

You screamed, a raw, guttural sound that tore through the silence. You clawed at the walls, at your face, your nails scraping skin as you tried to banish him from your senses. But the voice only grew louder, more insistent, wrapping itself around you like a shroud.

When he finally stepped into the light, the sight of him sent your stomach plummeting. His coat trailed behind him like the wings of some unholy predator, his silhouette framed in a distorted, sickly glow. He tilted his head, a parody of curiosity, and smiled.

“You’ve been busy,” he said, gesturing to the marks on the walls, the bloodied crescents under your nails. “What is it you’re trying to escape from, hmm?”

You stared at him, wide-eyed, your chest heaving. “You weren’t here,” you whispered, your voice trembling. “I heard you, but you weren’t here. You were—”

“Everywhere,” he finished for you, his smile widening. “And nowhere. Isn’t it delightful? How fragile your mind has become?”

He took a step closer, his boots clicking against the floor in a deliberate, measured rhythm. Each sound drove a spike of dread deeper into your chest.

“But don’t worry,” he continued, his tone softening into something almost tender. “I’m here now. Let’s forget all about those nasty little thoughts, shall we?”

His hand reached out, brushing a blood-matted strand of hair from your face. The gesture was achingly gentle, a cruel mimicry of affection. His touch left a burning, icy trail against your skin.

“You look so distressed,” he murmured, his voice dripping with mock concern. “Have you been imagining things again? Seeing shadows where there are none? Hearing whispers in the dark?”

You wanted to scream, to lash out, but your body betrayed you, rooted in place as his fingers ghosted over your cheek.

“No need to answer,” he said with a sigh, his thumb tracing the edge of your jaw. “Your silence speaks volumes.”

And then the illusion shattered.

His hand wasn’t on your face—it was inside your skull. You felt the sharp, electric jolt of something foreign scraping against your brain, an icy tendril of invasive thought slithering into the deepest recesses of your mind. Memories warped and twisted under his touch, familiar faces dissolving into grotesque, melting horrors.

“You see,” he whispered, his voice echoing within you now, “there’s no escape from me. Not in the silence, not in the noise. I’m in every breath you take, every blink, every beat of that fragile little heart.”

You sobbed, the sound choking in your throat as the room dissolved into a kaleidoscope of distorted images. Blood seeped from the walls, viscous and dark, pooling at your feet. You felt it creeping up your legs, cold and sentient, wrapping around you like chains.

And still, he smiled.

“Did you miss me?” he asked again, his voice slicing through the chaos. This time, there was no room for denial. He leaned in close, his breath brushing against your lips as he whispered, “I missed you, little doll. And I’ll never leave you again.”

────────────

The tray lands on the table with a resounding clang, a sound that reverberates through the suffocating silence of the room. The metallic echo seems to burrow into your skull, as if the very air conspires to mock your helplessness. He stands above you, a silhouette of unyielding authority, arms crossed and eyes gleaming with sadistic amusement.

"You should be grateful," he murmurs, his voice smooth and calculated, like a scalpel slicing through flesh. The faint trace of a smirk curls his lips, his tone dripping with condescension. "I went to such great lengths to prepare this. Just for you."

Your gaze falls to the tray, and the bile rises instantly in your throat. The abomination before you masquerades as food, a grotesque parody of sustenance that seems alive in the most horrifying ways. The slabs of meat glisten unnaturally, their surfaces marred by oozing black lesions that seep a thick, tar-like substance. A faint stench rises from them, sharp and putrid, a rancid blend of decay and chemicals.

Nestled beside the meat is a mound of gray paste, its texture like wet cement, flecked with jagged shards of something white—bone? Teeth? You can’t tell, and you don’t want to. The greens are no better: wilted, slimy, and crawling with tiny, wriggling creatures. The bugs move lazily, their segmented bodies glistening under the harsh fluorescent light, their sluggish movements taunting your growing horror.

“You’re staring,” he says, his tone lilting, almost playful. He leans in closer, his sharp features framed by the dim, artificial glow. "What’s the matter? Not to your liking? It’s safe, you know. Perfectly edible. Nutrient-dense, even."

You swallow hard, your stomach twisting itself into knots. Every fiber of your being screams at you to run, to scream, to do something, but you can’t. His presence roots you to the chair, your limbs heavy with the weight of his control.

“Don’t think I’ll let you starve, little doll.” His voice drops, the endearment laced with venom. He picks up the fork, prodding at the meat. The action elicits a sickening squelch as the black liquid pools beneath it, the viscous substance clinging to the metal tines like molasses. “Go on,” he urges, his tone soft but edged with malice. “Eat.”

Your shaking hands reach for the fork, but your grip falters. The metal feels impossibly cold, a physical manifestation of your dread. You stab at the meat, and its rubbery texture fights back, resisting your every attempt to cut it. When you finally manage to tear off a piece, the smell intensifies, a cloying wave of rot and iron that makes your vision blur with nausea.

“Don’t make me repeat myself,” he says, his voice low and dangerous. He steps closer, his shadow swallowing you whole. “You will eat every bite. I won’t tolerate waste.”

Your lips part reluctantly, and the moment the meat touches your tongue, the taste assaults you. It’s rancid, the flavor an overwhelming mix of decay and metallic bitterness. You gag instinctively, your body convulsing as you try to spit it out, but he’s faster. His hand clamps over your mouth, his grip iron-tight.

"Swallow," he hisses, his breath cold against your ear. The word is sharp, absolute. Tears stream down your face as you force the foul lump down, your throat convulsing violently around it. The moment it settles in your stomach, a heavy, alien weight, he releases you with a cruel smile.

“Good,” he purrs, wiping a stray tear from your cheek. “But we’re not done yet.”

He picks up the gray paste next, scooping a heaping forkful. The gritty, slimy mass clings to the metal like glue, its acrid stench burning your nostrils. Without warning, he presses it against your lips, smearing the substance across your skin when you try to turn away.

“Open,” he commands, his tone brooking no argument. His other hand grips your jaw, forcing your mouth open, and he shoves the paste inside. It coats your tongue, the texture gritty and uneven, punctuated by the horrifying crunch of the shards within. You don’t want to think about what they might be. You retch, but his unyielding gaze pins you in place.

“Chew,” he orders, his voice devoid of patience now. When you hesitate, his grip on your jaw tightens, the pain sharp and immediate. “Chew.”

You obey, the shards cutting into your gums as the paste coats your mouth in an unholy mix of textures and tastes. When you finally swallow, it feels like swallowing broken glass, the jagged edges scraping their way down.

“Such a good little doll,” he croons mockingly, his fingers stroking your cheek in a grotesque parody of affection. His eyes glint with dark satisfaction as he gestures to the greens. “Finish it.”

The slimy leaves glisten under the light, their surfaces writhing with life. The tiny creatures embedded within them squirm and twitch, their segmented bodies pulsing faintly. He picks up a forkful and holds it before you, the bugs wriggling and falling off the edges, their tiny legs scrambling for purchase.

“No,” you whisper, your voice hoarse and trembling. It’s the first word you’ve dared to speak, but it’s a mistake.

His expression hardens instantly, his smile vanishing. He grips your hair, yanking your head back with brutal force, and presses the fork against your lips. “You don’t get to say no,” he snarls. “You will eat. Every. Last. Bite.”

The greens and their crawling passengers are shoved into your mouth, the slime coating your tongue and the bugs wriggling against your teeth. You chew reluctantly, each bite filling you with a fresh wave of nausea as the creatures burst, their insides bitter and sickly. Some continue to move, their twitching bodies sliding down your throat even as you swallow.

By the time the tray is empty, you’re shaking violently, tears streaming down your face as your stomach churns with the unholy concoction. He watches with satisfaction, his smirk returning as he steps back.

“Well done,” he says, his tone almost congratulatory. He sets the tray aside and crouches before you, his fingers brushing against your tear-streaked cheek. “See? You can do as you’re told.”

You stare at him, hollow and broken, the taste of his twisted meal lingering on your tongue. When he finally leaves, the door slamming shut behind him, the oppressive silence returns, and you crumble, your body wracked with dry sobs.

The food sits heavy in your stomach, a grotesque reminder of your helplessness. You know he’ll return tomorrow with something worse. He always does.

────────────

The sterile air of the room feels heavier today, pressing against your chest like invisible hands. You can’t shake the unease, the gnawing sensation that something is wrong, even more so than usual. It’s in the silence that stretches just a beat too long, in the flicker of the overhead light that seems timed to your uneven breaths.

Then, the door opens, and he steps inside with the quiet elegance of someone who knows he doesn’t need to announce his presence. Scaramouche. His name alone sends an involuntary shiver down your spine.

He looks the same as always—poised, meticulous, as if every strand of hair and every fold of his outfit had been arranged with precision. But today, there’s something different in his eyes, something colder, more calculating.

“You’ve been quiet,” he says, his tone almost conversational, as if you’re old friends catching up. His lips curl into a smile that doesn’t reach his eyes. “What’s the matter? Cat got your tongue?”

You don’t answer. You’ve learned by now that anything you say can and will be twisted, reshaped into a weapon aimed at you.

He sighs, a sound filled with exaggerated disappointment, and steps closer. The room feels smaller with each measured step he takes, until he’s standing just a breath away, towering over you like a shadow.

“I’ve been thinking,” he begins, tilting his head slightly, the motion almost childlike but laced with menace. “You haven’t been entirely honest with me, have you?”

Your heart stutters. “What are you talking about?”

“Oh, don’t play dumb,” he snaps, his voice cutting through the air like a blade. “I saw the way you looked at me yesterday. The resentment, the defiance. After everything I’ve done for you.”

“I didn’t—”

“You did,” he interrupts, his voice softer now but no less dangerous. “And it hurt me. It hurt us.”

His words sink into your chest like daggers, each one meticulously placed to draw the maximum amount of guilt and confusion. You know he’s lying—there was no resentment, no defiance—but the certainty in his voice, the way he says it as though it’s an undeniable truth, makes you doubt yourself.

“Do you know how hard I work to keep you safe?” he continues, crouching down so his face is level with yours. “Do you have any idea what I’ve sacrificed for you? And this is how you repay me? With distrust? With hatred?”

“I don’t hate you,” you whisper, your voice barely audible.

“Don’t you?” His smile widens, cruel and mocking. “Then why do you keep trying to hurt me? Why do you keep betraying me?”

Your mind races, desperately trying to piece together what he’s accusing you of, but there’s nothing to grasp onto, no crime to confess.

“I didn’t do anything,” you say, your voice trembling.

His eyes darken, and he leans in closer, so close you can feel the chill radiating off him. “No?” he whispers, his tone dripping with venom. “Then why do I feel like you’re lying?”

────────────

The first time you see him again, it’s through a haze of adrenaline and fear, your limbs trembling as you push yourself upright. The sound of boots pounding on the concrete echoes like gunshots in the cavernous space. Everything smells like oil and blood and something metallic you can’t quite place.

He bursts through the shattered doorway, his dark silhouette haloed by the dying embers of light spilling from the outside. His eyes, sharp as a blade’s edge, scan the room until they lock onto you, crumpled in the corner, battered and bleeding.

“I told you not to wander off,” he says, his tone more exasperated than angry. But there’s something underneath it—an undercurrent of urgency, of barely contained panic.

Before you can respond, he’s kneeling in front of you, his gloved hands moving with precision as he checks for injuries. His touch is cold, clinical, but his gaze burns with something raw and unspoken.

“You could’ve died,” he mutters, almost to himself. “Do you have any idea what they would’ve done to you if I hadn’t gotten here in time?”

The words hit you like a blow. You remember the men who dragged you here, their faces masked but their intentions clear. You remember their laughter, the way they circled you like predators, and the sickening certainty that no one was coming to save you.

And yet, here he is.

“Why…?” Your voice cracks, barely audible over the pounding of your heart. “How did you find me?”

He pauses, his hands stilling as he meets your gaze. “Because I always find you,” he says simply, as if it’s the most natural thing in the world. “Because you’re mine to protect. No one else cares enough to keep you safe, to pull you back from the brink every time you stumble into danger.”

You should feel grateful—relieved, even—but his words don’t sit right. They coil around your mind like a serpent, squeezing tighter with each repetition.

———

Days later, after he’s taken you back to the sterile confinement of your “safe place,” the cracks in the story begin to show.

You wake up screaming, your dreams plagued by shadowy figures and muffled threats. The first thing you see is him, sitting in the corner of the room, his arms crossed and his expression unreadable.

“Still having nightmares?” he asks, his tone calm but laced with faint condescension.

You nod, your throat too dry to speak.

He stands, walking over to you with measured steps. “I warned you,” he says, sitting on the edge of the bed. “The world out there is cruel, unrelenting. They don’t care about you like I do. That’s why you need to stay here, where I can protect you.”

“But—” you start, the words dying in your throat as his gaze sharpens.

“But nothing,” he snaps, though his voice never rises. “Do you remember what happened? What they said they’d do to you? Or are you already twisting it in your head to make me the villain again?”

You flinch, the accusation stinging even though you know it isn’t fair. “I didn’t say that,” you whisper.

He leans closer, his presence suffocating. “But you thought it,” he murmurs. “Don’t lie to me. I can see it all over your face.”

The conversation leaves you shaken, his words gnawing at the edges of your mind. Had you misunderstood him? Was he right?

———

The next day, you notice something strange. The small, cracked mirror on the wall—the one you’ve stared into countless times, trying to find traces of the person you used to be—looks different. The crack is gone, the glass pristine, almost too pristine.

You press your fingers against it, your reflection wavering slightly. “Was this always here?” you mutter to yourself.

“It was,” his voice answers from behind you, making you jump.

You turn to find him leaning casually against the doorway, his arms crossed and an infuriating smirk on his face. “Are you doubting your memory now?”

“I…” You hesitate, the weight of his gaze making it impossible to think clearly.

“Maybe it’s the stress,” he continues, pushing off the wall and walking toward you. “Trauma does funny things to the mind. Makes you see things that aren’t there, remember things that didn’t happen.”

He stops just inches away, his hand brushing against your cheek in a gesture that feels both comforting and imprisoning. “But don’t worry,” he says softly. “That’s why I’m here—to keep you grounded, to make sure you don’t lose yourself completely.”

———

Over time, the little inconsistencies pile up: a drawer that seems to shift its contents overnight, a diary you swore you wrote in that now sits blank, the faint smell of antiseptic that lingers on your skin despite not remembering any wounds.

“You’re imagining things,” he says whenever you bring it up. “Do you want me to get the doctor again? You remember what he said last time—about your delusions?”

The mention of the doctor shuts you down. You remember the cold metal of the examination table, the too-bright lights, the clinical detachment in the doctor’s voice as he listed off your supposed symptoms.

“You’re not well,” he had said, his tone devoid of compassion. “But with time, and the right care, you can recover.”

And who had been there to hold your hand through it all? Who had whispered reassurances in your ear, promising that he’d never let anyone hurt you?

Him.

Always him.

———

One day, he takes you outside—or what he claims is outside. The sky is gray, the air heavy with the acrid smell of smoke. There’s no one around, just endless stretches of concrete and metal, like the remnants of a city that never finished being built.

“This is what’s left,” he says, gesturing to the desolation around you. “You wanted freedom? Here it is. Go ahead. See how far you get.”

You take a hesitant step forward, then another, the silence pressing in on you like a physical weight. But the farther you walk, the more it feels wrong. The same twisted tree looms in the distance no matter which direction you turn.

“It’s a loop,” you whisper, realization dawning like a shard of glass slicing through your thoughts.

He steps up behind you, his breath warm against your ear. “It’s safety,” he corrects. “And the sooner you accept that, the better off you’ll be.”

You sink to your knees, the weight of his words crushing you.

Because deep down, you know he’s right. There’s no way out.

────────────

The “gifts” arrive in silence, placed delicately where you can’t ignore them. They are always wrong in ways that make your stomach churn—a photograph from a vacation you can almost remember, the faces distorted into grotesque smears as if melted under the heat of his touch. A trinket you once cherished, now fractured or tarnished beyond recognition, its edges sharp enough to cut. A letter written in your own handwriting, the words rearranged into senseless patterns, like a code you’re too far gone to crack.

You don’t want to touch them, but you do, every time. They feel like a thread tying you to the world you left behind, even as the thread frays in your trembling hands.

Today, it’s a letter. A crumpled piece of paper, brittle and yellowed at the edges, that wasn’t there when you closed your eyes to the oppressive dimness hours—or was it days?—ago. The words shift as you read, the ink bleeding into itself until sentences collapse into meaningless blotches.

“It’s all gone, you know,” his voice cuts through the silence, a dagger laced with mockery.

You whip around, the paper crinkling in your grip as you face him. He’s standing in the doorway—or at least, where a doorway would be if this room obeyed the laws of reason. His silhouette is backlit by a faint, sterile glow that gives him an otherworldly edge, making him seem more phantom than man.

His smirk widens as he steps forward, his movements slow and deliberate, his boots echoing against the cold floor. “Everything you had. Everyone you loved.” He pauses, tilting his head as if savoring your reaction. “I made sure of it.”

His words pierce through you, sharp and unrelenting, a scalpel carving away at your hope. Your hands shake, the letter slipping from your grasp and fluttering to the ground.

“I don’t believe you,” you manage to whisper, though your voice wavers under the weight of his presence.

“Oh?” His tone drips with amusement as he crouches before you, his violet eyes glinting with something dark and twisted. He picks up the letter, smoothing it out with a precision that feels mocking, before holding it out to you again. “Then tell me—what does it say?”

You stare at the paper, the lines of ink writhing like living things under his gaze. The harder you look, the more the words evade you, slipping through the cracks of your comprehension like grains of sand.

“Nothing?” he presses, leaning in closer, his voice dropping to a low, dangerous murmur. “How tragic. And here I thought this might bring you comfort.”

He straightens, looming over you as his smirk softens into something almost tender—almost. “But you don’t need those relics, do you? Memories are just burdens, after all. And I…” He reaches out, brushing a strand of hair from your face with a touch so light it feels like a mockery of affection. “…am here to unburden you.”

You recoil, pressing yourself against the wall, but there’s nowhere to go. His hand lingers in the air for a moment before he withdraws it, his expression shifting into something unreadable.

“You have me now,” he says, his voice calm, measured, but with an undercurrent of something that makes your skin crawl. “And isn’t that enough?”

———

You don’t answer. The silence stretches between you, heavy and suffocating, until he chuckles—a low, mirthless sound that vibrates through the room.

“No?” He turns his back to you, pacing with the languid grace of someone who knows they’ve already won. “Ungrateful to the end, I see. Typical.”

He stops near the far wall, his hand trailing across its surface as if feeling for a seam. The room responds to him, a soft click reverberating through the air as a hidden compartment slides open. From within, he pulls another “gift”—a locket this time, small and tarnished, the metal warped as though crushed under immense pressure.

He holds it up, letting it dangle from his fingers as he turns back to you. “Do you recognize this?”

Your heart clenches at the sight of it, the faint glint of its once-polished surface sparking a memory so vivid it feels like a slap. You don’t answer, but he sees the recognition in your eyes, and his smile sharpens into something predatory.

“You kept this with you always, didn’t you?” he muses, his voice soft, almost reverent. “So sentimental. So human.”

He steps closer, dangling the locket just out of reach. “And yet, it couldn’t save you, could it?” His smile falters for a split second, a flicker of something bitter crossing his features before his mask of cold amusement snaps back into place.

He drops the locket at your feet, the sound of metal striking the floor echoing in the silence. “Take it,” he commands, his voice suddenly hard, sharp enough to cut.

You hesitate, your hands trembling as you reach for it. The moment your fingers close around the cold, misshapen metal, his boot comes down next to your hand, so close you can feel the air shift.

“But remember,” he says, his voice low and venomous, “everything you touch, everything you remember—it’s mine now. Just like you.”

His words sink into your mind like hooks, tearing at your resolve as he turns and disappears into the void he came from, leaving you alone with the locket and the crushing weight of his truth.

———

You want to say no. You want to scream it, to hurl the word at him with every ounce of strength you have left. But the word sticks in your throat, a jagged shard of glass you can’t swallow or spit out.

He doesn’t wait for your answer. He doesn’t need to. The smirk that plays at the corners of his lips tells you he already knows.

“You’ll see,” he murmurs, his tone almost reverent now, as though speaking of a truth so profound it defies comprehension. “In time, you’ll come to understand. I’m all you have. All you’ll ever need.”

He steps back, his boots clicking against the floor in a rhythm that echoes like a heartbeat—your heartbeat, weak and faltering.

“Do try to appreciate my generosity,” he says over his shoulder as he moves toward the shadows. “These little gifts of mine… they’re not just for you, you know. They’re for me, too. A reminder of how far you’ve come.”

And then he’s gone, leaving you alone with the letter, the photograph, the watch. Alone with the fragmented remains of a life you can no longer remember.

The lights flicker again, plunging the room into darkness.

His voice lingers, though, soft and venomous, a ghost that refuses to leave.

“Gratitude, little fool. That’s all I ask.”

────────────

The room you’ve been confined to has changed again. Not in any tangible way—no new walls, no new objects—but in the oppressive way it seems to warp around you, making even its empty expanse feel too small. It’s as though the walls breathe, inhaling your will and exhaling despair. The only constant is him. Scaramouche, who looms like a god in a world of his own creation.

He stands before you now, framed by the stark artificial light, his expression unreadable. Every movement, every glance he spares is a study in calculated perfection, as though he’s rehearsed this scene in his mind countless times before bringing it to life.

“You’ve made progress,” he begins, his tone soft, almost kind. “I can see it in the way you’ve stopped resisting.” He kneels to your level, his hands clasped neatly on his bent knee. “But we still have work to do.”

You flinch as he reaches out, his fingers brushing against your wrist. His touch is light, fleeting, yet it feels like chains being wrapped around your bones.

“Tell me,” he says, his voice dipping into something more intimate, more poisonous. “What’s your name?”

You hesitate, your lips parting but refusing to form the words. The question isn’t innocent; you know that by now. It’s a trap.

Scaramouche’s smile deepens, and it’s the kind of smile that makes your stomach churn. “I see,” he murmurs, withdrawing his hand. “You’re still clinging to it. That identity. That name. That life.” His gaze sharpens, cutting through you like glass. “How selfish.”

“I’m not selfish,” you manage to whisper, your voice trembling.

“Aren’t you?” he counters, rising to his feet. He begins to pace, his hands clasped behind his back, his every step deliberate and echoing in the oppressive silence. “You insist on holding onto a version of yourself that no longer exists. Do you know how exhausting that is for me? Watching you struggle, knowing you’ll never succeed?”

His words are a scalpel, precise and cutting. “Let me simplify things for you,” he continues, his tone lightening as though he’s offering a gift. “You don’t need a name. Names are for people who belong to the world, and you…” He pauses, turning to face you fully, his violet eyes glowing with an unearthly intensity. “You belong to me.”

The words hang heavy in the air, suffocating you in their finality. He kneels again, his hands resting lightly on your shoulders. “Say it,” he commands, his voice velvet and steel. “Say you’re mine.”

You shake your head, tears pooling in your eyes. “I—I’m not—”

His grip tightens, not enough to hurt but enough to remind you of his power. “Say it,” he repeats, his tone leaving no room for defiance.

When you don’t respond, he sighs, releasing you and rising once more. “You still don’t understand,” he says, his voice tinged with disappointment. “But that’s alright. I’ll help you. I always help you, don’t I?”

———

The next morning, you wake to find everything in the room gone—your blanket, the single chair you’d been allowed to sit on, even the thin mattress you’d been sleeping on. The floor beneath you is cold, unyielding, and utterly barren.

When Scaramouche arrives, his expression is one of practiced pity. He crouches down, inspecting you like a scientist observing a fragile experiment. “It’s painful, isn’t it?” he says softly. “To have everything stripped away. But it’s necessary. You have to learn that those things were only weighing you down.”

“Why are you doing this?” you ask, your voice breaking.

“Because I care,” he replies without hesitation. “Because I want you to be free.” He tilts his head, his gaze softening in a way that feels like mockery. “Don’t you see? I’m saving you from the prison of your own mind. The sooner you let go of who you were, the sooner you’ll find peace.”

You don’t respond, but he doesn’t seem to mind. He rises to his full height, towering over you like a judge delivering a sentence. “I’ll leave you to think,” he says, his tone light but his words laced with menace. “But remember: the only way out of this is through me.”

———

Days pass—or maybe weeks; it’s impossible to tell. The walls seem to close in more each day, their featureless expanse a blank canvas for the chaos in your mind. You begin to question everything: your memories, your sense of self, even your sanity.

One day, Scaramouche returns with a new “gift.” It’s a mirror, small and oval, its edges gilded in a way that feels almost mocking. He sets it before you with a flourish, his smile unreadable.

“Look,” he says simply.

You hesitate, your hands trembling as you reach for the mirror. When you finally raise it to your face, you barely recognize the person staring back. Your skin is pale, your eyes hollow, your hair disheveled. You look…empty.

“Do you see now?” he murmurs, crouching beside you. “This is who you are. Who you’ve always been. The world out there didn’t care about you. It chewed you up and spat you out. But I…” He pauses, his gaze locking onto yours in the reflection. “I’m the one who picked up the pieces. I’m the one who’s here for you.”

Tears stream down your face, and you don’t even know why. His words are poison, but they seep into the cracks of your mind, filling the void with something dark and insidious.

“You’ll thank me someday,” he says, his voice soft and almost tender. “When you finally see the truth. When you finally understand that I’m your savior.”

He takes the mirror from your hands, his fingers brushing against yours in a way that feels both possessive and gentle. “But until then,” he says, rising to his feet, “you’ll stay here, where you belong. With me.”

────────────

If you want to be added or removed from the tag list, just comment on the MASTERLIST of World Ablaze (WA): For You, I'd Burn The World. Thank you.

General TAG LIST of “World Ablaze”: @berry-berry-beam

[elysiansparadise]

Hi again! Can you tell me what does Jupiter in 9th house mean besides being drawn to religion and philosophy? Already thank you for the answer!

Hello love. Sure, I can tell you about this placement.

Jupiter in the 9th house

This astrological position shows a native with a fascinating mind, not only because of the high intelligence they have, but also because of the inquisitive attitude that the wearer has. They tend to be curious people, quick to learn and with immense enthusiasm for new and complex ideas. They are attracted by the strange, the new, what is not as simple as it seems. They are fascinated with intellectual challenges, with what keeps their mind in constant learning. They feel driven by that desire for personal growth, to know themselves and create a path in which to become the person they aspire to be. They question everything around them from a very young age. Many of them, although they appreciate points of view different from their own, will always seek to find what resonates most with them, they seek to define the truth on their own. It is worth mentioning that these natives, from a very early age, have that sense of justice deeply embedded in them, not hesitating to speak their minds when something is not correct under their moral compass. Likewise, they will never try to control other people, allowing them to express themselves and be authentic.

They tend to be people with a lot of knowledge in different areas and can stand out a lot for their intelligence and skills in a specific area. It predicts great success for them in their college student years, whether due to the experiences they will live, socially or academically. Academically they may not have significant problems, and, if Jupiter is well aspected, they may be easily liked and appreciated by teachers. These natives will be good at research, teaching, psychology or in general any activity that puts their mind into action. Many of these natives have a passion and talent for writing, and may be presented with the possibility of publishing or presenting their work to others. It is very likely that these natives have the ability to learn languages, as well as a taste for cultures other than their own. There are great possibilities of traveling abroad, attracting friends, mentors or influential people in your lives who come from other countries. They will not like simplistic or very mundane concepts, as they will prefer to choose to delve into the depths of something, and this not only applies to their interests, but also to themselves and other people. Something that is said a lot about this placement is that long trips are not only exclusive to the physical, but also to the spiritual and personal.

With Jupiter in this house it is common for people to choose to study things related to the humanities, social sciences, law or topics related to the law. Many of them have the philosophy of either doing things well or not doing them at all, and that is something they apply in different areas of their life. Despite how open-minded they can be, they are very blunt and clear people when it comes to their beliefs. They have very well defined what they want and do not want in their lives and what they are not willing to experience again. They may have a strong inclination towards spirituality and the search for universal truth. People can explore different religions, spiritual practices or even philosophical currents. Being in one of its domicile houses, Jupiter can shine easily, bringing luck, opportunities and a lot of wisdom to the life of the native. Ideas are very likely to come spontaneously to your minds, especially when you least look for them. They can easily be inspired by things that others don't see appeal or greatness in. They know how to appreciate the little things in life.

[suniverseastro]

ASTROLOGY OBSERVATION #14

Mars in the 2nd house is very possessive

Moon Aquarius is easy to sympathize with those around, although they may have many bad qualities, they will often be ignored by people because of their support in the team. Some in this group when they don't like someone and hate openly can easily recognize their feelings, these people can play bad tricks like using crowds, councils to bully

Here are some of the positions that I don't like very much, doesn't mean they will all be the same and I hate everyone with this aspect, it just brings some difficulties and disadvantages, takes a lot of time time to recognize and transform it:

1. Moon Square/Opposite Pluto: often emotionally volatile and explosive, has difficulty controlling anger, may experience more bad luck with women

2. Moon square / Opposite Uranus: actually this is one of the most horrible corners for me because as far as I know and actually it means about their separation from the mother physically or mentally

3. Venus square/opposite Mars: causes sexual attraction but often changes partners too quickly and gets nowhere

4. Mars Libra: passive in problem solving. The house in this position plays an important role, like the one who moves the pieces tactically. I think it is necessary to add other angles to strengthen this position, especially Pluto to increase ambition and determination.

5. Venus Gemini: often emotional, easy to play emotional roller coaster with others, unpredictable, interesting, but for me this is not a very good position in love, they easily find it difficult. hard to find the right person

6. Moon square/Opposite Saturn: often encounters problems in childhood such as abandonment, working in a difficult, deprived environment, shouldering responsibility, loneliness; They have quite a lot of psychological damage, rarely share, confide, and find it difficult to open their hearts to others. When they learn to be less strict with themselves and learn to accept and love themselves, the door in their souls will lead them to the good things that are waiting for them on the other side of their hearts.

7. Venus square/opposite Uranus: feel less interested in wanting a relationship Some positions I like:

Moon trine/sextile Pluto: I once wished to have this aspect because it gives the ability to read other people's psyches and understand emotions deeply and they themselves also have a protective covering for their minds. mine

Sun trine/sextile Pluto: have their own privilege in society, they can be people whose image others consider as an authority and important figure, admire; Their passion is strong and they will try to do it

Mercury conjunct/ trine/ sextile Neptune: they have acumen, speciality and development in language, can know 2 or more languages, have artistic abilities, their voices are quite cute

Venus trine/sextile Mars: they easily radiate sexual attraction to other people (regardless of gender), which makes it easier for them to have relationships

Ascendant trine/sextile/conjunct Mercury: usually curious, cheerful, child-like eager people, they often have an active, playful appearance.

Ascendant trine/sextile/conjunct Sun: confident, shine, positive energy

Moon in Sagittarius/9th: very active, cheerful, likable, open and optimistic, they respect others and different cultures and religions

Mercury in Gemini: funny people, lots of topics to talk to, easy to talk to anyone, except people they don't like

Mercury conjunct/trine/sextile Pluto: their voice has charm, weight, usually straight to the point, analytical, inquisitive and rarely afraid of knowledge and reason

Moon sextile Venus: cute girls and boys, graceful words, pleasant, non-aggressive, cohesive and peaceful

(a position can't say who you are, everything will change, maybe for the better, maybe for the worse) try to take a deep breath and try to feel the peaceful moment in the present

Thank you everyone for inspiring me to write articles on this topic. Thank you for your love for me; love you all. Wishing you all good health, peace and luck ⭐

[misscammiedawn]

Hypnosis and Dissociative Disorders

I've been meaning to write this since Charmed.

I shall not point fingers or name names but during Charmed 2024 there was a 101 class that taught that it was unsafe to play with those who dissociate as part of a mental illness. The graphic, which I'll paste below, used the word "Can't".

I wanted to speak to that.

Hypnosis has several different definitions. One could go to a hypnosis event and ask every presenter "define hypnosis in a single sentence" and get a different answer every class, likely a few may even contradict.

One such definition I could use is "Hypnosis is an altered state where a hypnotee is lead to a suggestible state where the hypnotee is dissociated from their conscious thinking." though one could say it is "an altered state that leads to breakdown in critical thinking and a heightened state of suggestibility" or you could start talking about the unconscious or subconscious mind.

Fact is, there's a lot of theory work at play and the language we use to shape the concepts isn't as important as understanding the concepts.

Dissociation is a natural part of hypnosis. It's also a natural part of existing. In much pre-talk patter we as hypnotists tend to ask an introduction level hypnotee to think about their experiences with time dilation, with highway hypnosis, with spacing out, with walking into a room and forgetting why you came in there.

Things so normal that as part of rapport, a hypnotist tends to assume the hypnotee can latch on to one of the concepts.

Dissociation is a spectrum. Literally. Within psychology the DES-II tool grades dissociation experiences on a scale, hence the acronym.

Graphic source

When people, including myself at times, describe dissociative disorders they tend to be referring to disorders that focus on dissociation as their main symptom. Depersonalization, Derealization and of course Dissociative Identity Disorder. Over the course of my life I have been diagnosed with all three.

But the scale includes Post Traumatic Stress Disorder, both complex and standard. Complex simply refers to a level of trauma that has been ongoing long enough that it is not a single memory or incident that triggers the symptoms.

According to the American Psychiatric Association one in eleven people will be diagnosed with PTSD at some point in their life with 3.5m diagnosed per year in the USA.

Which is to say that dissociating as part of an illness includes 8% of the population. Does that mean 8% of all potential hypnotees are too dangerous to play with?

...the answer is not a clear cut, "no". There is some elevated danger. But rather than teaching people not to play with those who live with these experiences, perhaps we can teach why there should be heightened caution and then allow people to navigate together.

We should always strive to educate and provide tools. When you tell a person they can't do something then they'll just do it without understanding why they aren't supposed to or, worse, predators will find those who were excluded from safer spaces. Harm is not reduced, an educator just gets to walk away from the harm with a simple "I said they shouldn't".

And plus, I said 8% of the general population...

Within hypnosis circles I assure you it is far higher when one factors in that multiple studies have supplied evidence that hypnotic susceptibility increases along with dissociative capacity.

Suffice to say, from utilizing hypnotic susceptibility tests (HGSHS) and dissociative tests (SDD and DES) the more a person dissociates, the more susceptible to hypnosis they are.

The human mind uses dissociation as a way of coping with physical and emotional pain, among other necessary inner needs, and so a person suffering from a mental illness that features dissociation becomes a naturally gifted hypnotee. It's a matter of practicing a skill constantly without realizing that they are refining something useful. Wax-On/Wax-Off.

This leads to a number of safety concerns. We've typed on serious concerns such as altering sense of identity and derealization attacks from lack of grounding. This is a topic near and dear to our heart as we acknowledge that we needed to gain an education in how to safely consent to hypnosis play and failing to do so in the past caused harm to ourselves and to those we played with.

So here's a list of potential dangers in playing with those who are further along the dissociative spectrum, how to mitigate those dangers and create a space where everyone can play safely.

I'll focus on hypnotees with dissociative experiences for the most part as the relationship between dissociation and hypnosis is primarily a concern while the hypnotee is in trance. That having been said I acknowledge that Dom Space connects just as much to the spectrum and an entire new post can be made on the topic of performing hypnosis when you have a dissociative disorder.

Heaven knows it is a topic I study feverishly to maintain safety for myself and those who entrust their mind to my care.

So... with that said, let's talk about the dangers.

Abreactions

This is likely the most common concept that comes up when thinking of the relationship between PTSD and hypnosis. An abreaction is the moment a hypnosis session or scene goes off the rails because the hypnotee is actively reacting to a trauma trigger while they are in a suggestible state. Their Fight/Flight/Freeze/Fawn impulse may be triggered and cause a physical or emotional reaction which was not part of the negotiated/planned scene.

This could be a cut and dry example of "and think about all the times you've been hypnotized right there on that sofa" causing a hypnotee to follow the suggestion and regress in memory to a time before a bad break-up when their former partner hypnotized them on the sofa they are currently on.

It could be an abstract example like "imagining yourself in a field of flowers and breathing in, noting how lovely the scent is, like the most beautiful perfume." causing sense memory to trigger the scent of a perfume that was in the air during a traumatic moment of their life that instantly flips the switch in their mind to go into F/F/F/F mode.

Likely any given hypnotist will experience this at some point in their life. The first example is one that any person could experience. Hypnosis naturally draws upon associations and when you create an association in the present to a negative emotion in the past you will summon it into the present.

With the second example, that association is already there and it was activated during the scene. The source of the abreaction. I avoid using the word "Trigger" both because of shitty internet discourse in the 2010s and because the term is used for other things in hypnosis, but that is what it is. A sense, a memory, an association which causes the source of trauma to intrude upon the present. The danger that the hypnotee experiences in these moments is very real.

Typically when I discuss these topics I put a disclaimer and emphasize how present the traumatic experience is. My hope is that anyone who is interested in hypnosis knows full well how true and powerful inner experiences are. If you doubt that then I sincerely do not know why you are in this community to begin with.

How to prevent an abreaction is important but should never be learned at the expense of learning how to handle an abreaction. Prevention is about disclosing during negotiation, asking the hypnotee to volunteer anything which may activate a negative reaction or simply what topics to avoid. Phobias are common enough examples of things that a hypnotist should know before working.

But disclosing every part of a trance or scene during the early phases of a hypnotic relationship is essential too. This way the hypnotee does not get surprised by anything propping up during play and they can measure their expected reactions before going into a suggestible state.

But if, despite caution, something does happen? What then?

Noting that every abreaction manifests specific to the person, their situation, their emotional state and how the scene caused it to happen. The first thing the hypnotist needs to do is not overreact. Over-correcting is an easy mistake to make in the moment but it will lead to an overall negative outcome.

Assess the situation and try to recognize what is happening. I had mentioned that the reflex is "Fight/Flight/Freeze/Fawn" this can be obvious like thrashing or ejecting out of trance instantly. It could be something harder to notice like locking up and becoming unresponsive or emotionally regressing to a terrified state.

If the hypnotee is still in trance then do your best to offer comfort and grounding. Remind them what is happening, remind them that they are safe, perform some grounding exercises such as box breathing (breathe in, hold, exhale for a number of seconds).

Touch is a case by case situation here. I know if I were having an emotional flashback to an assault then being touched would launch me further into abreaction territory. If you believe holding a hand would be beneficial then at the very least communicate it "I'm here, I'm going to take your hand, everything's safe, I'm here."

Over distance you should communicate this via modality. "I'm here, just listen to my voice, focus on the sounds in the room, I'm not going anywhere" for an audio example, "Just feel the blanket beneath you, you can brush your fingers against it if you need" for touch based.

The idea is to use emotional comfort, sensory grounding and patience to bring the hypnotee gently out of the moment.

Then apply aftercare and discuss what happened, what could be improved, what the hypnotee needs and acknowledge that the stress of these moments impacts the hypnotist too. Leave room for the hypnotist to recover as much as the hypnotee.

Decide together if this will end the session or not. Do not cut off on principal. If someone is conditioned to believe that displaying their negative reactions will lead to play stopping then they will hide those reactions. Accept that they happen. Learn how to grow together and incorporate care, comfort and safety into every scene.

Spontaneous Hypnotic Amnesia

One danger for those who suffer dissociative disorders is that their brains are very good at editing information. The further down the spectrum one is, the more adept their mind is at naturally pushing away things that they do not wish to think about nor have the capacity to integrate.

One categorization of dissociation is a failure for the brain to integrate information and experience. It is the cause of time dilation, it is why critical thinking is bypassed and it is why those further on the dissociative spectrum are able to compartmentalize their experiences so effortlessly that they can maintain dissociated personalities.

Where most people who practice hypnosis typically have to study how to achieve post-hypnotic amnesia, those who begin working with hypnosis with patholigized dissociative experiences may need to learn how not to experience it. I include this as I have spoken to multiple people who have lived this reality and it is something we ourselves experienced in the past.

Should a newer hypnotee show signs that they are not remembering what is happening during trance, it is a good practice to train them on how to retain information. Hypnotee Agency is a skill that one develops and allowing them the knowledge that they can chose to retain the information during a trance is as important as reinforcing how easy and normal it is to forget when that is a negotiated part of the scene.

All it takes to be safe here is to just remind them that if they wish to and find it enjoyable to do so, they may retain the information from this trance.

Nothing more complicated than that.

Derealization/Unreality

Derealization is a common experience within dissociation that is actually lower on the dissociative spectrum than PTSD. It is when you do not feel attached to your present experiences in real time.

A common version of this is "Deja Vu" which is a sensation where you are having difficulty integrating your present experience because it "feels" like you've already experienced it.

It can manifest in many other ways, however the commonality is that the person experiencing this knows that it's abnormal. When a person is disconnected from their surroundings like this they may experience a barrier between themselves and the world, they may have a distorted sense of time and they may become physically unresponsive and withdrawn.

Source: Mayo Clinic

The best way to handle this is to make sure that grounding always includes a thorough count-up that lets a person feel both in their body (this will help with depersonalization too) and aware of their surroundings. Ensuring both debriefing and aftercare focus on keeping reality in the room is important when someone's sense of what is real can drift.

For that reason it's a good idea to try and reinforce those ideas of what is real and save them in a little box that can be stored away if there are ever any reality altering suggestions in play, that way retrieving and unpacking that box can just be a natural part of the post-scene.

I linked it earlier, but my post on the topic can be found here.

Depersonalization/Altered States of Identity

Ah, our favorite soapbox.

Much like derealization, depersonalization is a symptom that is lower on the scale than PTSD and is actively invoked during inductions such as the Bandler which turns a handshake into the hypnotee starring at their hand and having the sensation of the hand distanced from their mind. Literally dissociating the hand from your body and using that sensation to build a trance.

It's a good induction. All forms of dissociation are not bad things. That is something I want to make sure an audience fully understands. This post is here to destigmatize, particularly when a 101 class was teaching stigma.

Depersonalization is a disconnection from one's sense of self. These are the moments when one feels like they are not the ones living through a moment, they are experiencing themselves from an outside perspective.

Once again, things that are utilized heavily in induction patter.

Source: Mayo Clinic

The derealization advice works well in this case, particularly the idea of creating a "back-up" to restore carefully at the end of a scene.

The big difference though is that depersonalization as a natural thing that those with dissociative disorders do can lead to some bleed when doing suggestions which alter a person's sense of self. I highly recommend an optional suggestion or affirmation that can help a hypnotee ground themselves. That may be too close to therapy for many though.

The hard part about being safe with depersonalization symptoms is that they are typically things that we actively engage with during hypnosis. I guarantee at least one person read "Feeling like a robot or that you're not in control of what you say or how you move." and thought of that as an absolute win.

This is where a bit of negotiation and hypnotee agency comes into play. Reality needs to be kept in the room during all hypnosis. Diving into ego-death or erasing reality may be tempting, especially for those who aren't particularly fond of reality or themselves, but it is too dangerous to surrender those things.

My definitive post on the topic has more information.

Though while I'm talking about altered personalities, I want to make something clear which I did not type about much in my Personality Play post...

Plurality

This is a topic on its own which could take on an entire post to itself. I may yet write it. If anyone has read our Madison and Belladonna stories they would know that they are written entirely based upon the life lessons Daja and I have been learning while I began therapy and was diagnosed with Dissociative Identity Disorder. Many of my lessons for how to safely play with plural systems are mixed in with the fiction.

When I say Plural I mean to refer to those who have multiple dissociated personalities, along with circumstances such as dissociative barriers.

There are as many displays of plurality as there are people who experience it. Every system is different. No two people are not on fire (awww).

So with that said, any play on either side of the watch is going to be lead with self-advocating. A hypnotic relationship involving a system (or more than one, even) will need a level of disclosure. Not just that a system exists but how that system manifests. What patterns are known regarding switches, what best works when an unexpected switch occurs, what levels of dissociative barriers exist between alters/parts, what terminology is preferred...

Wait, that's a lot to throw at once.

Our version of plurality is based upon Dissociative Identity Disorder. Which is to say that my system, originating via complex PTSD during childhood, used to have firm dissociative barriers between one another. This meant that, prior to diagnosis, you could have an emotionally charged conversation with me, Dawn, and then the next day Cammie will wake up and depending on the level of dissociation (typically but not always linked to stress or proximity to trauma triggers) will either not remember what happened during that conversation or will not carry the emotions that I had experienced. "Not remembering" can simply be "won't think about"

As I said, it's quite subjective. But the conceit is that with those on the DID spectrum will have a complete disconnect between parts/alters.

For those with less dissociation, but still experience plurality, they may not have amnesia or barriers between parts, allowing themselves to communicate with one another actively.

Within psychological communities there is eternal debate on all of these experiences and one of the more poignant debates is that the difference between DID and OSDD seems to just be a level of severity and that treatment and therapy tactics tend to move DID patients into the OSDD box and so they shouldn't be labeled as separate disorders.

These rules on amnesia, inner communication and emotional consistency between parts typically apply outside of disorders. I do not wish to engage in syscourse. But as above when I mentioned abreactions, those who practice with hypnosis know how capable a mind is to create hypnotically induced personalities. There are experiences outside of the DSM-V and that really shouldn't be a controversial statement.

A switch is when one part/alter trades out for another. The reasons are hyper specific to every system and cannot really be predicted without knowing their circumstances intimately. For instance the scent of lavender will draw me out without fail.

These can happen without warning and during hypnosis. Being cautious about body language, tone of voice and sudden changes in mood are the best you can do without guidance from the one with lived experience.

I'd also cautiously warn to end a scene and check in if there is an unexpected switch and there's no negotiated playbook on what to do in case of a switch.

The first Madison and Belladonna story tells the story of that very circumstance because that happened in my real life.

For safety it is best to try and communicate with the entire system over how to approach any aspect of hypnosis play. Exploring is a collaborative action and it can be a rewarding experience to find what works and what doesn't work. But it does take time.

For some basic "until I know better" rules, I'd say NEVER FORCE A SWITCH is a fairly basic rule, though. Also do not assume consent for a specific part/alter counts as consent for the whole system.

There is so much to say on this topic and I will likely revisit it at another point, but much of the safety tied up with DID and identity based dissociative disorders boils down to the fact that you are negotiating consent for a group and that you cannot always guarantee that the hypnotee at the start of a scene will always be present during the entire scene.

To that, I say treat switches like an abreaction, display acceptance and curiosity and don't get too hung up on the circumstances.

At the end of the day plural folx are just people too, just not person.

So... why did I write all this, anyway?

A lovely friend of mine recently joked that Charmed 2024 was the "Year of Plurality" and in a way they were right. I've been attending the event since 2020 and where my first had been a humble little class of 8 or so people on a Sunday afternoon ran by Vulpes Automata (Vulpes teaches the same class at Plural Positivity, albeit without the hypnosis content, a recording is hosted here) this year's event included many systems declaring themselves as such on their badge, both an in-person and online unconference that stretched beyond the time limits put in place and were feverishly well attended.

It has done my heart so good to see the safety and community growing and becoming more accepting.

It reminds me of the community's slow growth to accepting and embracing the transgender community in the mid-2010s.

Which is why I wish to be firm about trying to stop bad ideas from taking root in how we teach on these topics.

Some may remember that in the 2000s, respectable resources teaching hypnokink used to state firmly to "confirm biological sex" with any potential play partner. Said material has been revised. Times change and communities grow.

So when I see this teaching graphic saying that those who dissociate as part of a mental illness "Can't" be hypnotized, due to safety concerns? I get worried.

It was being used in a 101 class at the very same Charmed event that I am praising for having such good acceptance of plural experiences?

I lived this once as a closeted transgender woman. I don't want to live it again with our DID.

And I remember that "never play with anyone who has a mental illness" used to be taught in the same resources that once said to disclose one's "biological sex". People have taught this in classes and been approached by someone who had a mental illness and told how ignorant it was to teach that they could not be played with.

We, as a community, can do better.

I'd rather a 3 hour 101 become a 4 hour 101 and teach this material than to dismiss those who are the most vulnerable and susceptible and have them seek their trances from those who do not have reservations about safety and ethics.

Thank you for reading. I know this was a big soap box.

[legobiwan]

So I find it a little odd that Mario shakes his brother's hand like he's trying to win political office rather than having just been rescued (again) from one of King Boo's paintings at the end of Luigi's Mansion: Dark Moon.

But then I was thinking - this might be a kind of instinctual response.

From what we can gather over the three games, being stuck in a painting isn't a passive experience, but one that is disturbing, disorientating, and mostly likely tantamount to torture.

And given King Boo's abilities, who knows what kind of environment he has dropped his victims into with these settings. The landscapes, you might say. There's no definite background in any of the trapped paintings, ghost or otherwise, but it does beg the question of what can be felt, seen, heard, or otherwise perceived by someone who is trapped in a portrait. Does the hunter create the cage, enrichment area and all, or are the trappings beyond the frame (inside the frame) more akin to being trapped within one's mind and all the pitfalls that could emerge from that?

We see three iterations of Mario being freed from the painting in each game. The first being total confusion and possible injury; the second looking like some kind of hallucination, given Luigi's concerned expression; and the third being a form of decorporalization (not a real word, but whatever), as Mario seems shocked to learn he has a body again.

The first might be attributed to King Boo's insistence of straight-up physical torture combined with E. Gadd's more medieval equipment, which had likely been less-than-tested in extracting someone from a portrait. (And if the de-portraiting process was that bad, imagine what it was like for the ghosts going in. No wonder they held a grudge. I love E. Gadd, but oh boi, is he the pinnacle morally ambiguous mad scientist).

Anyway, in the third installment, Mario definitely shows signs of having been disconnected from his physical form, perhaps meaning that his time inside the portrait reduced him to a neutered, mental representation of himself, incapable of fighting back in the real world. But this being said, he seems to recognize Luigi on-site, rushing forward to give him an enthusiastic hug, which is the reaction you'd expect after being freed from a pair of diabolical ghosts, one of whom is trying to thirst-trap the other through psychological torture.

So what's the deal with Mario's reaction in Dark Moon?

My guess is that King Boo trapped Mario in a painting that was a distorted reality, or perhaps a distorted version of Mario's own insecurities. It would account for the disorientation and the fact Mario comes out of the painting gladhanding his own brother like a stranger. (Which would also account for Luigi's concerned reaction - what the hell is my brother doing?)

And you figure, Mario, at this point, is a kind of figurehead, an idol, a hero of the Mushroom Kingdom. It's become his identity, it's who he is, it's what he does and is known for. Of course, part of this role is going around and shaking hands, being present - at least physically - at press conferences and speeches and all the like. The people need a focal point, a representation of their hopes against the violent and numerous incursions upon their land they suffer from outside forces (although in complete transparency, my personal headcanon is that Bowser's kingdom used to be comprised of at least a part of the Mushroom Kingdom, and that that land and sovereignty was stolen through a series of bad treaties by his father and some of the more malicious factions of the Toad Council, thus leading to both the enmity between the kingdoms and some serious economic and trade repercussions in the Darklands, but that's a whole other post.)

Mario must be so used to blindly shaking hands and putting up that front, that character, so much so that he doesn't even think about it anymore, and it's my theory that this is the version of Mario that emerges from the portrait in Dark Moon, perhaps having been wrested from some situation where this almost desperate attempt at approval was manifesting from Mario's own subconscious.

And poor Luigi. You have to wonder if one of his latent fears is becoming another empty face in the adoring crowd surrounding his brother. The Mario that emerges is not 100% connected to the fact he is Luigi's brother, it seems, is just putting on airs and the right words and actions as he may have been trained to do by the Toad Council. (Who, incidentally, are one of my favorite scapegoats in the series). Talk about a nightmare come to life.

It fits, in a way. Mario's first abduction results in physical harm, his second in mental, his third in more of a depersonalization - perhaps a rushed spell enacted by King Boo as he was, by the time of the whole hotel debacle, was far more preoccupied with his idea of trapping Luigi than enacting harm on anyone else beyond imprisonment. Because by the time Luigi's Manion 3 rolls around, King Boo is almost deranged in his obsession with Luigi, and I wouldn't be shocked if his non-existent heart wasn't into the nastier sides of portrait capture when it came to Luigi's friends and family. But oh boi, if he had captured Luigi in one of those paintings - good night, nurse.

[howtofightwrite]

Since adrenaline makes it easier to ignore pain, I’m wondering how severe an injury can be before adrenaline isn’t enough to allow a person to keep fighting

Fatal.

The scary thing about adrenaline is that you can suffer a mortal wound and not realize it until you drop dead. If you've ever seen the, “humans are space orcs,” meme, adrenaline is a big part of that. If you don't finish someone off, they are still a potential threat until they are clinically dead.

While it may seem slightly comical, the image of someone literally checking themselves for holes after being shot at is a real practice with genuine purpose. If they had an adrenaline rush, they might not be able to tell that they've been hit, and will need to physically examine themselves to ensure they're not bleeding to death without realizing it. (And, yes, that can absolutely happen.)

As a general rule, anything that will immediately kill someone, such as decapitation or catastrophic head trauma, will stop someone through an adrenaline rush. Destruction of the skeletal structure, (which is to say, destroying joints), might not completely stop them, but it's an injury they won't be able to power through (even if they aren't immediately aware of it.)

It's a little worse than I'm making it sound, too, because you can suffer non-fatal injuries during an adrenaline rush, and then aggravate the wound to the point that it becomes life threatening (or life-altering.) An adrenaline rush can, potentially, persist for over an hour.

In most cases, the adrenaline rush will drop off within a few minutes of the threat passing, though the state of threat is assessed by your brain, so your psychological state heavily affects that. Meaning, if you feel threatened, even if the actual danger has passed, the rush could continue (though it will usually drop off after, roughly, an hour.)

The “good” news is that an adrenaline rush will not prevent you from bleeding to death. So, if someone has been shot multiple times and is bleeding out, they'll still lose consciousness. You just need to make sure that they're actually incapacitated. Not that it matters, but as a minor up-side, adrenaline is delivered via the circulatory system, meaning if you start seriously bleeding, that's your adrenaline rush going with it, so the rush is likely to drop off prematurely in the event of fatal blood loss.

I'm not completely sure what the subjective experience is there. Catastrophic blood loss during an adrenaline rush is not something I have personal experience with, and my experiences with bleeding while dealing with an adrenaline rush is more just that bleeding is an extremely annoying inconvenience, when you don't need to consider what's happening. (To be clear, that's not just a glib dismissal, being aware of bleed was actually annoying. It might sound hilarious to be pissed off at your own blood leaking down the side of your face, but that was my experience. Also, for the record, I did not feel the gash that I was bleeding from, and angrily rubbed it a few times before realizing I'd been injured.)

The short answer to your question, “how much severely do you need to injure someone through an adrenaline rush?” You need to kill them.

That said, killing them is absolutely not your only option. Less than lethal devices, such as tasers or chemical sprays, can absolutely incapacitate someone under an adrenaline rush, without severely harming them. Similarly, restraints, and other submission techniques can be used to hold them down. In the case of restraints and submission holds, there is a danger of the individual injuring themselves, while they try to work their way out of the hold, but that risk is still vastly preferable to killing them on the spot.

Adrenaline is a very potent survival tool, in your physiology, and if you try to simply overpower that tool through direct force, it will lead to catastrophic consequences. However, alternative methods (in particular, shorting out someone's nervous system with a direct electrical charge, or simply interfering with the mechanical structure of their joints, can be just as effective at stopping them with far less dire consequences.

-Starke

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[naomijoestar]

HELLO 😍I absolutely love the clown stand post! Can you do the same for Bucciarati gang as well?

Masterlist here <3

I’M SO GLAD YOU LOVED IT! Thank you @stretch-time for the idea <3 Also I sincerely apologize for the extremely late reply, I have been so busy! Requests are currently turned off until I complete the other asks I have in my inbox <3

(Stand side notes: it’s small in size but not as small as the sex pistols, stand abilities: cartoon physics type of stuff, you’ll understand what I mean when you read)

Bucci gang with a goth reader who has a cute clown stand

(La Squadra version here)

Giorno Giovanna

Giorno’s calm, serious demeanor doesn’t waver when he sees your clown stand for the first time. He’s trained himself not to judge a stand by appearances, but even he is taken aback by the sight of a bright, cheerful clown at your side. Giorno quickly assesses the potential of your stand, wondering what abilities could possibly match such a strange look.

He tests it by sending Golden Experience to strike. However, your clown pulls out a massive mirror, reflecting the punch back toward Golden Experience. Giorno’s eyes widen, and he steps back, reassessing his approach. The clown smirks, pulls out an oversized bucket, and dumps a seemingly endless stream of banana peels onto the ground, causing Golden Experience to slip and stumble.

Every time Giorno tries to counter, the clown anticipates it, pulling out ridiculous objects that disrupt his strategy: an anvil to block his punches, a giant mallet to deflect attacks, and even a cartoon bomb that sends Golden Experience flying back when it goes off. Giorno begins to respect your stand’s unique power, realizing that while it looks innocent, it’s a master of psychological warfare—each item it pulls out makes him question what absurd attack might come next. With a small, impressed smile, he finally says, “I underestimated you.”

Bruno Bucciarati

Bucciarati remains polite, even respectful, when he meets you. But his brows raise when he sees your cheerful, colorful clown stand. It doesn’t align at all with your goth aesthetic, which only makes him more curious. “Interesting choice,” he says, in a tone that’s equal parts admiration and confusion.

During your sparring session, Bucciarati sends Sticky Fingers in with a zipper punch, expecting a quick victory. However, your clown smirks, pulling out a giant hand mirror, which Sticky Fingers punches instead, causing the zipper to close around Bruno’s own fist. He watches, surprised, as your clown quickly sets up an obstacle course of oversized props: a giant spinning top that Sticky Fingers has to dodge, a pie that ends up splatting on Bucciarati’s face, and even a door that leads him in circles.

Despite this, Bruno begins to chuckle, realizing your stand’s playful nature is a surprisingly effective strategy. At one point, he zips through the air to get the upper hand, but your clown pulls out a huge net like a cartoon hunter, snaring him mid-zip and dropping him to the ground. Bucciarati finally laughs, wiping pie from his face. “You know, I expected a serious fight, but this is a refreshing change.”

Narancia Ghirga

Narancia takes one look at your clown stand and bursts out laughing, doubling over as he tries to catch his breath. “What is that? It’s adorable!” he snickers, clearly underestimating the threat. But his laughter quickly turns to surprise when your clown pulls out a toy slingshot and launches a rubber chicken at his face. The slap from the chicken’s beak leaves him blinking in shock as he wipes his nose, muttering, “Did that thing just hit me?”

Enraged, he summons Aerosmith, sending it diving toward the clown. But your stand pulls out an enormous balloon, which Aerosmith crashes into, its tiny propeller spinning uselessly against the inflated surface. Narancia’s jaw drops as the clown cheerfully waves at him before producing an enormous spray bottle labeled “Bug Repellent” and dousing Aerosmith with it, sending the miniature plane spiraling out of control.

Frustrated, Narancia shouts, “Alright, now you’ve done it!” But every move he makes is thwarted by the clown, who starts producing absurd obstacles for Aerosmith to dodge: fake trees, tunnels, even cartoonishly large bubbles that trap his stand inside for a few seconds. By the end, Narancia is out of breath and flustered, but even he has to admit, “Okay, that was kinda cool…but you better not tell anyone I said that!”

Leone Abbacchio

Abbacchio’s first reaction to your clown stand is a deadpan stare. He’s entirely unimpressed. “You’re kidding me, right?” he mutters, crossing his arms as he sizes up both you and your stand. He half-heartedly summons Moody Blues, not expecting much from a cutesy clown stand.

But the clown immediately bounces into action, producing a giant pair of glasses and plopping them onto Moody Blues’s face, temporarily blocking its vision. Abbacchio tries to remove them, but the clown has already pulled out an enormous pair of handcuffs and snapped them onto Moody Blues’s wrists, binding it in place. His eyes narrow, annoyed that his stand has been bested by something so ridiculous.

Growing more irritated, Abbacchio commands Moody Blues to break free, but the clown whips out a bucket of quick-drying cement, dumping it over the cuffs. Abbacchio watches, slack-jawed, as Moody Blues struggles, the cement hardening around its wrists, temporarily immobilizing it. When he finally frees his stand, he mutters a string of curses under his breath, annoyed but impressed by your clown’s effectiveness. “I’m not saying I respect it, but…fine. You win this round.”

Guido Mista

Mista laughs heartily the moment he sees your clown stand, nudging his Sex Pistols to join in. “A clown? That’s hilarious!” he says, grinning. But as soon as he gives the order to attack, the clown whips out a toy gun, pointing it at Mista with a mischievous glint in its eye. The Sex Pistols cheer, thinking it’s a joke, until the clown fires rubber bullets at them, each one sending a Pistol ricocheting off in surprise.

Annoyed, Mista sends more bullets your way, only for the clown to deflect each one with oversized comedy props: an umbrella that spins bullets back, a massive rubber glove that bats them away, and even a mirror that sends them flying back toward Mista. “Hey! That’s cheating!” he shouts, but the clown merely shrugs, honking its nose in response.

Frustrated, Mista tries to outsmart the clown, but each time he tries a new strategy, your stand counters with something even more absurd. Finally, the clown pulls out a comically large magnet, attracting all of Mista’s bullets and forcing him to back down. He’s left scratching his head, baffled. “Alright, I admit it. You got me. But that thing is still creepy in a weird way…”

Pannacotta Fugo

Fugo’s analytical mind is immediately confused by your clown stand. “A clown? Is this some kind of joke?” he sneers, his impatience clear as he activates Purple Haze. He expects the battle to be quick, underestimating your stand entirely. But before Purple Haze can make its move, your clown snaps its fingers and produces an oversized gas mask, strapping it onto its face with a smug grin.

Purple Haze’s virus-filled fists swing toward the clown, only to be deflected by an enormous rubber mallet that sends it staggering back. Enraged, Fugo watches as the clown starts hurling ridiculous items at Purple Haze: pies filled with an anti-viral cream, a giant magnifying glass that shrinks Purple Haze’s hand momentarily, and even a huge eraser that somehow removes patches of Purple Haze’s virus fog temporarily.

Fugo’s patience wears thin as he tries to keep up with your clown’s unpredictable tactics. Each time he thinks he’s cornered it, the clown produces another cartoonish item to counter his moves. By the end, Fugo is seething, his face red with frustration. “I don’t understand how that thing works!” he snaps. You simply smirk, watching him struggle to make sense of your clown’s absurd yet effective abilities.

There it is! I hope the long wait was worth it, if you’d like anything specific added or anything changed you can always message me and I’ll fix it!

If you have anything specific you’d like me to write for any jjba character/squad parts 1-7 you can request it if my requests are open!

[lady-raziel]

alright. i've made my acknowledgement of this situation being bad-- and it is. i think understanding that the narrative presented by today's events is the most important thing to recognize for what's coming next.

there is a concept called "priming" which plays heavily into the psychological process of why certain political narratives work. essentially, by building a conceptual association between certain ideas over time, and drip-feeding specific narratives slowly and repeatedly, it means that when a trigger event related to the ideological narrative occurs all those concepts get "activated." It can be thought of as a little like word-association: saying "cat" and having someone think "dog," or "sky" and "blue" for example. Priming is the process of creating mental pathways between ideas even for things that were not originally connected so that the same sort of thing happens-- making people think of another concept or a whole basket of concepts upon getting the mental trigger.

the most concrete reason why an attempt on donald trump's life creates a very bad situation is that all this time republicans have been priming their supporters with very specific narratives, regardless of the actual truth or evidence for such narratives. they have long been casting those on the left as violent, have blamed the left for social unrest, have blamed the left for attacking an "innocent" trump with criminal convictions, have said that trump is a victim just like jesus. the people who are saying that the right-wing was already making all the accusations they are going to make in masse in the next few days are right-- that is WHY THIS IS IMPORTANT.

it is because these are not new accusations and have been PRIMED into people's brains over and over that this is dangerous.

The right wing has been primed to see Trump= victim of untrustworthy political opponents prone to violence= Biden/democrats/left-wing responsible.

And because that association is already there, it is very, very hard to untangle regardless of any facts. Priming is very powerful at any point in the political process. But it can be weaponized very easily during campaigns, particularly against those who don't pay close attention to the political process.

Those people are the people at stake here. Those people are the ones vulnerable to picking up on democratic doubt about Biden and primed narratives about the supposed danger of the left-wing.

So here is my honest call to action for you, online person who may be very upset and scared about the state of things. I am too. It is important to understand that things are bad and sit with that for a little bit. But here is what I'd like you to try to do.

When you meet people out there in the world who might be susceptible to these malicious primed narratives, just talk to them. The greatest way to counteract priming is to give people personal experience of someone presenting other information. If you have a relative on Facebook who shares posts without considering the source, this is a good example. Just actively be the contrary evidence to the weaponized narratives and help them understand the larger picture.

Personal experiences can overtake primed information--so the best thing to do right now to help these people understand the reality and the stakes is to do the most grassroots form of activism and have the conversation with them that counteracts the priming. When they receive personal experience with an alternative viewpoint, it can start to at the very least cast doubt on the instant mental connections they might have made otherwise.

Here are three ideas of what to say:

Fact-check misinformation. If they're repeating something false, provide the truth as specifically as you can.

Highlight the policy aims of a second Trump administration-- and why these are the greatest threat.

Personal anecdotes that highlight how the narrative being told is false-- share with examples why the things the right-wing is saying isn't true based on your own experiences or those you know, as well as how a second Trump term might hurt you or those you know.

You already know to vote. I don't need to tell you that. But I think convincing other people you might know who could fall victim to the narratives of the larger situation and don't know what's really going on of the importance of using THEIR votes wisely is perhaps the truly important action right now.

[12thbiologist]

Introduction by N. K. Jemisin, from 10th anniversary Authority reprint

"To my own shame, I've become a jaded reader in recent years. By this, I mean that my enthusiasm and curiosity, my drive to experience new worlds, have all been damaged by a persistent disjunct between reality and the speculative fiction I most enjoy.

"Is it any wonder? Given the horrors of Trump's first regime, the looming threat of another, a global plague allowed to run rampant, and a billionaire backed culture war on the rest of us. I'm more jaded about everything now. Escapism at this juncture feels like a way to temporarily pretend that everything is fine. And while there's value in taking a break from Hell, it also feels dangerous. Like drinking to drown my sorrows. Nothing wrong with alcohol now and again, but nobody needs a steady diet of oblivion.

"What I've found myself seeking instead are philosophies of entropy and survival. That is, fiction that addresses multifaceted decay and the psychology needed to survive it. At this point, to mangle Audre Lorde, the master has handed his tools out freely after designing them to break at first usage, buying out the only shop that could fix them and the only newspaper that tried to report on the scam, and charging all customers a subscription fee. And these days, it's no longer just us marginalized folks who need our media to acknowledge the slow motion apocalypse we're all trapped in.

"Enter, The Southern Reach books. When I first read Annihilation during the run-up to the 2016 election, it was a welcome breath of fungal, fetid air. Other fiction of the time seemed determined to suggest there was no need for alarm. Things couldn't be so bad. Anything broken could be fixed.

"Could it though? As I watched my country embrace a stupid, incompetent, and blatantly criminal fascist while insisting his spiteful, privileged sycophants somehow had a point—Well, when you're already queasy, sweet smells make the feeling worse. It helped to read instead about the smells and sights and horrors and haunting beauty of Area X. It helped me to imagine that creeping transformative infection warping body and mind and environment and institution. Because that was the world I was living in. It helped to meet the 12th expedition's nameless women who were simultaneously individuals, with selfish motivations, and archetypes, trapped in their roles. The biologist, driven by the loss of her mate and the need to integrate into a new ecosystem. The psychologist, a human subjects ethics violation in human flesh. We are dropped into danger with these women, immediately forced to confront an existential threat with courage and perseverance. And this? This was what I needed from my fiction.

"The second book, Authority, was even more what I needed. As we watch Control slowly realize he's never been in control, and that things are a lot worse than his complacency allowed him to see—it just resonated so powerfully. His over reliance on procedure and the assumed wisdom of his predecessor. His dogged refusal to see the undying plant in his office as a sign of something wrong. There was nothing of 2014's politics overtly visible in the book. And yet, they were all over it like mold.

"I've read and written reviews of these books and it seems to me that there's a common misreading that applies. Namely, that they are "climate fiction," or "cli-fi." This clunky label fits superficially, in that climate change occurs during the course of the book.

"However, Area X, with it's inexplicable reality warping power, is a poor metaphor for human caused destruction. Or even for the surreality of climate denial- talk about reality warping. I think a better analytic is to view the books as postcolonial fiction. Per Caribbean Canadian writer Nalo Hopkinson, postcolonial stories take the adventurous repertoire of science fiction—such as traveling to a distant realm and taming the exotic flora, fauna, and people who live there—and from the experience of the colonizee, critique it, pervert it, fuck with it. The characters of The Southern Reach books are only obliquely marginalized. Their races, ethnicities, class distinctions, and other markers of identity are deliberately downplayed, down to the lack of personal names. But they are all women, which is atypical of pretty much any US government agency. Two of them, the Asian biologist and the half-Indigenous psychologist, are racialized. Biology and psychology and anthropology are often dismissed as "soft sciences," in large part because too many women thrive in them. Or because they've done too good a job of reconsidering racial/cultural/ethnic equity and updating practices and personnel to suit.

"As the 12th expedition proceeds into Area X, on the surface it seems they are reenacting a thousand science fiction novels: going forth as intrepid strangers into a strange land. But for any reader who's familiar with those classic narratives, Annihilation's version feels like a setup. Our marginalized protagonists lacking the privileges and power of stalwart square-jawed white men seem doomed from pretty much the moment they enter Area X.

"So, they are the colonizees in this situation and Area X is definitely fucking with them. But as the story proceeds, it becomes clear that they are themselves fucking with that classic adventure dynamic. The psychologist has wholly focused her skills on taming her fellow adventurers, and perhaps herself. The biologist is trying to solve a mystery of identity: something unquantifiable and scientifically immeasurable, more felt than known, and deeply personal. The anthropologist has no one to study, save her fellow expedition members, and only the surveyor seems wholly focused on Area X at all. Perhaps this is why she later tries to kill the biologist. We see the irony of this setup most clearly with Control in Authority. He is the stalwart square jawed man that traditional science fiction has primed us to expect, even hope for, because he'll have the power to solve the situation, right? But Control becomes the proof that no colonizee can ever tame Area X. At best, they might manage to tame themselves.

"By the end of book one, the 12th expedition becomes the first successful one by a colonizer's rubric, in that they manage to share new understandings of Area X with those outside it and in that at least one member of the team survives with her mind and form somewhat intact. The beginning of book two seems to confirm this, as the story shifts to explore the Kafkaesque bureaucracy of the Southern Reach itself. But the expedition members' choices have become the choices of the colonized. Survive or not? Internalize or not? Assimilate or not? They bring these choices to Control, who adds his own familiar, horrifying existential questions. When change seems inevitable and irreversible, can it be controlled to some degree? Can the self remain intact after the mind and body have been "Ship of Theseus"-ed into something unrecognizable?

"This is not to say that climate focused readings are irrelevant to The Southern Reach series. I mean that climate issues are also colonization issues. In that, the worst effects of climate change fall hardest upon the most marginalized. We observe the breakdown of the 12th expedition, an invasive species to this new biome, even as we observe the breakdown of recognizable life within Area X. New configurations of life emerge from this collapse of old structures. Hybridizations, commensalisms, wholesale assimilations. Even our bureaucracies, as evidenced in Authority, form a kind of natural order that can be deconstructed and readapated. Control fails to contain Area X because of another key understanding that the colonized eventually develop: you cannot fight that with which you have become complicit. The best you can do is realize what's happening and hope its not too late by the time you do. Never fear, Area X reassures. Colonization and its associated harms, terrifying and painful as they might be, are not the end—however much traditional science fiction stories might suggest otherwise. Survival is possible if one is lucky, brave, and clever, but it might require a transformation far more nuanced and complex than mere death. And this is a reassurance. Speculative fiction has historically framed colonization as a contest with winners and losers, but its never been that simple. Human beings are syncretic, some element of who and what we were will always remain in what we become. Entropy cannot be stopped but new energy can be added to the system. And those who are caught up in the transformation can claim a degree of that power for themselves. And, ultimately, syncretism means that we are carried forwards regardless, if only in part. Still better than nothing.

"As I write these words, multiple genocides are in progress. I feel no certainty for the future. Half my nation is so enthralled to it's own bigoted fantasies that I neither expect nor particularly want the United States to survive. I do not fear the singularity, sentient AI, or any technological boogeyman. I fear the confluence of greed and shortsightedness and spite that human rights and human consciouses cannot survive intact.

"But new systems emerge, inevitably. After a climate extinction or a natural disaster, ecologies adapt, new entities eventually fill old empty niches, power changes hands, and stories can be deconstructed. Even when the situation is most terrifying, least stable, there will always be those who embrace the change, and perhaps gain new strength from it. It's a bittersweet understanding, but the change is upon us. We're all in Area X, now. If we are lucky, clever, and courageous, we might still recognize ourselves when its all said and done."

-N. K. Jemisin, Authority

[give-some-lemons]

Watching/playing in horror genre with Sylus

~first of all he’s a busy man and despite the fact that he likes horror genre, usually he just don’t have enough time for watching movies giving more preference to books. He’s favorite would definitely be Stephen King for that atmosphere in his artworks.

~he’s a kind of person that will chuckle or at least smile at characters deaths, especially if it’s a stupid one like stepped on “the most obvious trap he’s ever saw” and he’s more than glad if you’re same, discussing how dumb heroes are for coming up with those decisions.

~he secretly waits for scary moments cause he loves when you cling to him all tensed seeking for his protection and comfort when monster’s face appears on the screen with a loud scream. But if you’re a tough one, that cannot be affected so easily don’t worry, after some time you’ll find yourself in his arms pressed against strong chest anyway.

~he would be glad to watch all the screen adaptations of Stephen King’s novels, even if he doesn’t like any of it, telling how much better it was on the book pages, but he has favorites like “Carrie” and “It”.

~movies about serial killers is his top of most enjoyable ones, sympathizing Myers and Ghost Face and considering how society itself made a monsters out of them. And that is the reason why you often need to put it on pause for you two to meet in a debate battles on that topic.

~if we’re talking about games he’s not much of a player but of course he will do that with you cause obviously that’s what you’d like. It takes some time for you to explain him how to play but since he’s a “talented student” he’s very fast at learning.

~for the reason that not so much horror games are a multiplayer ones, you play in turns, even if at first he prefers watching you, taking his turn only in case if some moments are too scary for you but after not so long mostly you will be the one to just sit, often giving him advice.

~I feel like this man would like “Resident evil 7” and first parts of this franchise, cause the atmosphere in some places there would keep him all in tense, plus he seems to really like the idea of Umbrella, an evil company with their terrible experiments on human body and you already were regretting of giving him ideas for his next business.

~even though he loves to control everything he seems to enjoy games with an unpredictable jump-scares like “Layers of Fear” or “Mortuary Assistant” that can throw him off course for a couple of seconds. And it’s funny for you to watch how carefully and slowly he’s trying to turn back not to be taken by surprise after the last jump-scare.

~”Phasmophobia” is next on your list, a game that was terrifying for you first times you played it. But despite your expectations you almost always were the one to die first while your man just sat there holding a laugh, hidden in the closet like he never even entered the haunted house. Newcomers are lucky not to go out on the ghosts, I guess.

~not a secret that he adores the feeling when somebody’s life fully depends of his choice, no matter if that’s a real life or a game, that’s why he enjoys “Until Dawn” along with “Dark Anthology Pictures”. That thrill of power and control that he has over these virtual humans make you feel very sorry for them. And don’t even doubt, if he doesn’t like the character they will not make it until the end, at least alive.

~he likes horror games/movies with a deep meaning, you know the ones after which you usually sat on one place for some time reflecting on what you’ve just seen or played. At that point you and your partner are talking sharing your thoughts and considering all the ways how differently it could be if characters did this instead of that.

~he would love as well physiological thrillers like “The Shining” and “The Babadook”, movies where the story is told through the thoughts of psychologically stressed characters, revealing their distorted mental perception of the world and how what seemed like a nice, not remarkable at any point person goes all the way straight to insanity.

~not a big fan of a body horror, as he thinks that it’s the easiest way to impress people with just an image of blood and organs everywhere on the screen. As was said before, he appreciates people’s emotions and the atmosphere, that puts viewers or players in a primary terror.