#let’s talk horror!

[xdaddysprincessxx]

Congratulations on 800, prinny! I've loved getting to know you and seeing you become a writer. I also love your makeup skills, and it's so fun that we share a love of horror. .b. which brings me to my random question.

What horror movie moment is super hot for you?

Has there ever been a scene where you were like oh shit idk if that's supposed to be hot but I'm here for it?

sorry if I'm off topic

TOXIC!!! Thank you so so much bby!! I really love this question! And you, I love you! Also so on topic! I could talk horror for hours!!

Okay there are a lot of moments lmao but also not necessarily moments but just the characters themselves and seeing them on the screen and next thing you know my pussy has a heart beat Lmfaoo details under the cut

- Pyramid head from Silent Hill. Honestly just seeing him I was like 😳. I want him to throw me over his shoulder and just manhandle me and do ungodly things.

- Texas Chainsaw (2003 specifically) I was like in 3rd or 4th grade when I watched this 😅 probably shouldn’t have been, whatever. But damn does he do it for me. I really like em large and in charge 😋

-Predator. Yes Predator. Love all of the movies but Predator 4 (with Boyd Holbrook 😉) I fucking loved when they all thought he was this big creature and then the bigger one came out and the smaller one was fighting him and yea it got me going.

-House of Wax. Bo Sinclair. Enough said. I vividly remember he poured wax over the girls mouth and then kissed her 🥵 (my brain is making me second guess myself but I still see this scene in my head lol)

-okay this one is probably odd lol so Tim curry’s It terrifies me. I do not fuck with his IT. But Bill Skarsgards IT I wanna fuck. Bad. I am into that clown. I loved the scene where Beverly saw the flashback of him and it was his human face (I believe it was when she was at the old lady’s house) fucking loved it.

- My bloody Valentine (2009) good god I’d go into those mines for Tom (Jensen ackles) and the scene where he’s chasing them in the store and they try to hide in the back office whew.

- The Boy. When I first saw this I did not see the plot twist coming and great googly moogly I want to tear Brahms ass up. I want to dom tf out of him. He’s so subby and such a sweet creepy little stalker.

There’s def more but I’m blanking for whatever reason lmao I’m also realizing I watched a lot of these horror movies at a very young age 😅

[valtsv]

when birth is depicted as body horror, as an act of violence

[robocatfan]

I won’t be the only person in this hellsite who is obsessed over horror killer mermaid stories and then constantly die inside when not only there is a severe lack of that sub genre, but also when amongst those few these two mfs are one of the few ones that actually have good compelling stories, and I’ll make sure of that!

[knifearo]

this year my challenge for everyone is to unlearn the association between love and morality. love is not something that is inherently morally good, and the absence of love is not something that is inherently bad. sex without love isn't morally bankrupt, it's just an action. people without love aren't less kind or less good, they're just people. when we can get past this false (and often unnoticed) dichotomy of good love/evil lovelessness then i think we are going to be able to take leaps and bounds in sex positivity, aro advocacy, certain discussions of mental health...

[cordycepspog]

There’s something horrifyingly beautiful about Tess’s final moments. In the midst of the most dire chaos, as she waits for her death to come rushing past so she can blow it sky high and give cordyceps a big fuck you one last time, one of the infected stops. It looks at her, really looks. Her own mortality is personified in this infected. It’s death that’s looking at her, and it sees her. She looks her own death in the eye, and the suspense is so high as it approaches. But then, it doesn’t bite her throat out like we all expect it to.

It kisses her. What’s more, it kisses her gently. And I think it was a brilliant choice on the writers part, because it reminded me that the infected aren’t supposed to be evil. Sure, they’re scary as hell, but really, they’re just trying to survive. They’re connected to one another, they can feel each other from miles away. They seek out and want to be close to their own kind, just like the human survivors do. And when they do find each other, they kiss hello.

And after so long apart from a loved one, someone you know and trust with every instinct in your body, wouldn’t you want to kiss them too?

[poorly-drawn-mdzs]

hope you feel better soon!

I am riddled with ailments, but I stay silly!

[fungerisms]

this game is rlly funny to me at times.

[ananxiousgenz]

noel: *starts talking about the horrifying, manipulative ruler of the dreamlands, the Great Old One Who Will Drive You Mad*

arthur, john, and the entire audience:

[eggtomatosoup]

IT IS FINALLY DONE!!! my 5 minute* oc animatic about a robotgirl** with meat in it!

Please check it out! (+some frames I like under the cut)

and of course,

*(it's 4 minutes and 51 seconds)

**(she's working on it)

[triglycercule]

HORRORTALE BOOK TWO GUYS HORRORTALE BOOK TWO JUST IN TIME FOR THE HOLIDAYS THIS IS A CHRISTMAS MIRACLE

[equill]

Another Otsutsuki?!

we’re messing up the timeline for this one. (I lost this crack idea but then it came back… the abyss stare back and I jumped in.)

anyways, now some kids meeting the new kid

Panel 1: There’s something wrong here.

Comic 1: Attention.

they’re both in the same boat

Comic 2: Day Off (with confusion.)

he just a little insecure,, (kakashi still told him to get it together)

back to the future now

Comic 3: What. (huh?)

Panel 2: very tiny.

[erineas]

Excuse me but... can I say I'm obsessed with how you draw Horror 🥲

Like... he's big and thick boned but... he also looks smooth(??) Like the way you draw his brows and the shape of his eyesockets and eyelight (and the color) like 😳😳😳

The way he grins!! Jus everything uwaaa/// he's so handsome o(-(

(sorry for this ask dhdjdhfj)

HHHHHHH YESSS HIM HIM

I'm so delusional about him, he comes out that way!

I know, I know he's supposed to be scrawny and sharp and all roughed up but- I can't help but dream of him looking... healthy? Nice? All soft and smiles cuz that's what he deserves in my head.

Imagine how he'd look in a world where he found happiness. He knows he's safe and overcame most of his issues so he regained some of his old confidence and- and has nothing to worry about except reminding himself to tell you how much he loves you cuz he's worried he forgets to tell you when he wakes up but he does tell you and show you every day with everything he does, with his face when he looks at you, with the care he holds you, with his voice when he says your name-

HHHHHHHHHHH you can see I'm not normal.

[ciphmoomew]

cross and horror !!!

they care so much for each other—i know cause they told me

BIGGEST HC IS THAT SKELETONS CAN PURR BTW !!! ITS SO FUXKING CUTE AND MAKES ME HAPPY GAHGH

[the-jamless-one]

WHERE MY IB ENJOYERS AT‼️‼️‼️

[mask131]

I am re-reading the Silmarillion, and something strikes me. The women of Tolkien's world have been talked about TO DEATH especially with all the recurring debates surrounding the Rings of Power series.

As we all know, Tolkien was not a "feminist" in the modern sense of the word. He had a very male-centric point of view and appreciation of the world, he had male-driven and male-centered stories, and actual women characters were sparse and rare. There are only five really big female characters in "The Lord of the Rings" - the quintet of Galadriel, Eowyn, Goldberry, Lobelia and Shelob. [No, don't talk to me about Arwen, she only really was a character in the movies, in the book she's just there in the appendix and she was literaly an afterthought of Tolkien to act as Eowyn's romantic double...]

Consider this. Galadriel, Eowyn, Goldberry, Lobelia and Shelob. This tells you everything you need to know about Tolkien's women, in good and bad.

The Silmarillion has the same motif of having a lot of female characters, only for most of them to be just footnotes, secondary characters with no lines, under-developped one-liners... with in a contrast a handful of super-cool, super-badass, complex and developed heroines at the center of the plot.

Aka, on the bad side, when listing the Valar, while Tolkien gives an interesting personality, great domains and cool attributes to all the male ones, half of the female ones are just... there. And do one stuff. And never appear again. I mean come on... Vana and Nessa? Estë and Vairë were done dirty... That's the actual type of "non-feminism" Tolkien has. It isn't about him hating women or trying to be offensive in his depictions - it is about him just, not putting as much thought, effort and care into his female characters as his male ones, a bit the same way he creates the vast expanses of the East and South of Middle-Earth and then never bothers actually developing more of it or seeking to tell tales of it - but that's for another discussion about Tolkien's "racism". Here we talk about women.

But here's the thing, aka the good side... When Tolkien does find the time and care to develop and flesh out a female character, by Iluvatar he goes all out! Again, we are back on what I said earlier: the women of Lord of the Rings can be counted on one hand... but these fingers are Galadriel, Eowyn and Shelob, so you can't claim he isnt writing powerful, important or uninterestng female characters. Which leads me to my original remark - as usual I get driven away in digressions of all sorts and kinds.

Have you ever noticed that Melkor's greatest enemies, the ones he fears the most, and his most effective foes... are women? Tolkien might not like to put them front and center of his tales, and he might have been a man of the early 20th century England in culture and mind, but boy does he has something to say about how women are actually the first enemies of the literal embodiment of evil and destruction! I mean think about it. Varda of the Stars, and Yavanna of the trees. Nienna has her ambiguous relationship to him - her tears work against him, and yet without her plea for him he likely would not have been released from the dungeons of Mandos. You have Melian with her Girdle, and Luthien with her Hound. And of course most of all Arien, guardian of the Sun, not only one of the rare fire spirits that Melkor couldn't corrupt (despite him basically ruling over all fire), but that frightens him so much he keeps hiding away and doesn't even dare to attack her... [I also reblogged some times ago a post praising the brilliance of Tolkien keeping the old European sun-moon motifs but switching the genders. The weaker, inconsistant, lustful, whimsical, disorderly, untrustworthy Moon is now a male principle, while the steady, dangerous, strong, powerful and beautiful Sun is a woman.]

It is actually REALLY easy to do a feminist retelling of Tolkien's work. Melkor doesn't fear Manwë as much as Varda. Aulë's works and servants get corrupted by Melkor, while Yavanna's do not. Melian and Luthien actively works against him. He friggin' pisses himself when the Woman of the Sun shows up. Sure, there are some evil female characters that serve him down the line and are relegated to the "obscure footnotes and undescribed secondary characters" zone - Thuringwethil the vampire or queen Beruthiel. I coul also dropped deleted characters from early drafts, like the ogress Fluithuin. But among them stands Ungoliant... THE only true female big bad on the dark side of Arda. THE badass, nightmarish, creepy eldritch abomination. And who ends up double-crossing Melkor, almost KILLING him, and again making him basically shit in his pants - as Varda and Arien do.

The first enemies of Morgoth are not the Valar, or the Maiar, or the Elves... It's women.

[essektheylyss]

One thing that I feel is really interesting and often forgotten about Essek is that fundamentally, his characterization has been from the start based upon his desperation for external perspectives and connection, which, along with much of his narrative and mechanical positioning, means that he actually has an extraordinary and almost (but not actually, as I'll show) counterintuitive capacity for both growth and trust.

(Buckle in. This is a long one.)

In particular, I would argue, knowing now that many places where the plot touches Ludinus have long been marked for connecting back into the current plot, that he was quite possibly built as a prime candidate for radicalization by the Ruby Vanguard. He felt isolated from his culture, he was desperate for other connection, and he was certainly of the type to believe he was too smart to be drawn into such a thing, given his initial belief that he could control the situation and the fallout. If things had gone any other way, he easily could've been on the other side by now.

As such, he has been hallmarked by being fairly open to suggestion, perhaps for this reason, but the thing about that kind of trait is that it is both how people are radicalized and deradicalized. This is certainly true of Essek, who experienced genuine kindness and quite frankly strangeness from the Nein and was able to move from the isolation the Assembly had engendered to meaningful and genuine connection, largely propelled by his own internal reflection. By the time Nein are aware of his crimes, he's already begun to express regret to an extent and, furthermore, doubt in the Assembly, including explicitly drawing a line against Ludinus, even in a position where he was on his own and probably quite vulnerable.

Similarly, when the Nein reach the Vurmas Outpost some weeks later, he has moved from regret for the position he's ended up carrying a heavy remorse. This makes sense! He's fairly introspective, seems used to spending a lot of time in his own head, and was left with plenty to mull over. It's not some kind of retcon for him to have progressed well past where the Nein left him; it just means he's an active participant in the world who has done his own work in the meantime.

This is another interesting aspect to him. I've talked about this a bit before but I cannot find the post so I'll recap here: antagonists in D&D have significantly more agency than allied NPCs. Antagonists are active forces, against which the party is meant to struggle; allies are meant to support the PCs, which means they tend to be more passive in both their actions and their character growth. Essek was both built as an antagonist, in a position that gives him significant agency, and also was then given significant opportunity to grow specifically to act as a narrative mirror for Caleb's arc. Even when he becomes a more traditional D&D ally, he still retains much of that, though he occupies a supporting role.

I believe that this is especially true because of the nature of Caleb's arc, which I've already written on; the tl;dr of this post is that Caleb is both convinced that he is permanently ruined and also desperate to prove that change is possible. Essek is that proof, because he is simply the character in a position to do so. But this also means that his propensity for introspection and openness is accentuated! He has to do the legwork on his own, for the most part, because that's where he is in the meantime.

But he still ends the campaign necessarily constricted; he is under significant scrutiny, he's at risk from the Assembly, and he goes on the run fairly soon after the story ends. He spends most of the final arc anxious and paranoid, which is valid given the crushing reality of his situation. It would be very easy to extrapolate that seven years into this reality, he would be insular, closed off, and suspicious of strangers, even in spite of the lessons he's learned from the Nein and their long term exposure.

So seeing his openness and lightness now is surprising, but at the same time, given this combination of factors in his position in the narrative over time and his defining traits, it's not by any means unreasonable.

But one thing that I found so delightful is how much trust he exhibits, which is obviously a wild thing to say about Essek in particular, given much of what he learns is both earning and offering trust, which was something he says explicitly in 2x124 that he's never really experienced: "I've never really been trusted and so I did not trust." It makes up much of the progression of his relationship with Caleb, and the trust that he is offered by the Nein in walking off the ship is the impetus he needs to grow.

But I think it's easy to talk about trust when it comes to people who have proven themselves to you or to whom you've ingratiated yourself, and that's really the most we can say about Essek by the time he leaves the Blooming Grove. There is this sense in a lot of discussion of trust (not solely in this fandom) that it is only related to either naivete or love, but there's far more to it. Trust at its best is deliberate—cultivating an openness to the world at large is a great way to combat cynicism and beget connection instead. It allows a person to maintain curiosity and be open to experience, but it can be incredibly difficult to hold onto.

It is clear that the Essek we meet now is a very pointedly and intentionally trusting individual. He trusts Caleb and by extension Caleb's trust in Keyleth, as he shows up and picks up a group of strangers from a foreign military encampment and walks in without issue. He trusts the Hells to follow his lead moving through Zadash and to exhibit enough discretion so as to avoid bringing suspicion upon all of them. He trusts that Astrid will respond well to his entrance, but he also trusts himself and the Hells enough to execute a back-up plan in the case that she doesn't. In the end, he even trusts them enough to give them his name and identity.

He doesn't scan as someone who has spent half a dozen years living like a prey animal, afraid of any shadow he runs across in an alley, withdrawn into himself and an insular family, which would've been an easy route for him to take. He scans as someone who has learned the kind of trust borne of learned confidence and a trained eye for good will and kindness, which are crucial weapons one would need for staving off cynicism in his circumstances—as if he has survived thanks more to connection and kindness than paranoia and isolation. (If we want to be saccharine about it, he scans quite poignantly as a member of the Mighty Nein.)

So it is easy to imagine this trust and openness as a natural progression of his initial search for perspectives external to his own cultural knowledge. Though he makes those first connections with the Assembly to try to vindicate his personal hypotheses, he finds in them exposure to the deepest corruption among Exandrian mortals, which could've—and did, for a time—turned him further down that same dark path.

But it's also this same openness to exposure from the wider world that allows the Nein to influence him for the better, and in spite of the challenges he's certainly faced simply surviving over the past seven years, he seems to have held onto this openness enough to move through the world with self-assurance and a willingness to extend the kinds of trust and good will that he has been shown.

(I would be remiss not to mention that I was reminded about my thoughts on this by this lovely post from sky-scribbles and their use in the tags of 'light' to describe Essek's demeanor this episode, which is really such an apt word for it.)