#poor dracula has to resist

[hecula-propaganda]

@alzenidkk's lovely art inspired me ❤️

Slightly NSFW, sorry (I'm not lol)

~

The warmth of a human was incomparable to the molten sweetness of their blood flowing down one's throat. That, every vampire could agree with - except for Dracula, who was no mere vampire, who only existed to drain humans of their life. Recently, he had come to find the taste of human blood revolting, as revolting as the pigs containing it: why would he feed on the creatures who took his Lisa from him?

No, he craved warmth. He craved heat, a solid body to hold, flesh to pierce and to caress, soft lips crashing on his own, the bliss of being worshipped and worship.

Dracula craved his Hector, sweeter than any blood.

The boy was singing in his ear, mad with pleasure as their bodies joined. His Adam's apple quivered with every scream, surrounded by bleeding marks that Dracula couldn't resist licking - ah, his blood was different, diluted by Dracula's magic flowing into him and the curse that fated him to his side. He didn't thrust, as he has no intention of harming his boy... He was doing a great job by himself, lifting his hips and slamming them against Dracula's in the most exquisite dance.

"My Lord! Please! I'm close!"

"Let go, precious," he purred to Hector's flushed ear, voice steady against his breathless one. "Soil me. I know you yearn it."

And he did. How Dracula adored him when he let himself go, when he bared his whole soul to him, only him; when his body tensed and trembled and clenched around Dracula, part of him, staining him with his most delectable sin. It was enough to make Dracula lose all reason: he marked the boy himself, by sinking his fangs inside his supple flesh and filling him. An exchange of heat and pleasure and adoration, as the two could not be torn apart.

Ah, but he was delicious, heady like the most prestigious wine. It was with great pain that Dracula had to remind himself to not drain the boy. He had no need: his life was already his, after all.

Hector, the poor boy, collapsed the moment Dracula let his throat go. He nestled himself in the crook of Dracula's neck, nose and mouth pressed where blood would flow in his veins were he alive.

"Hmph, you act like a vampire youngling, sometimes," Dracula mused, not strong enough to resist the temptation of carding his claws through Hector's damp hair. He relished in the small shiver of the boy at having his scalp scratched.

"What do you mean, my Lord?"

"It's as if you mean to bite me. Vampire children seek the blood of their sires."

"I want to bite you."

At that outrageous confession, Hector lifted his head, to meet Dracula's eyes - which, he could tell, went wide in surprise. His own, however, were lit by euphoria in the dark pits of lust. "But I know you wouldn't feel anything, my Lord. I wish I could show you..."

Oh, the boy was drunk with pleasure. He was speaking nonsense. No human could ever be allowed to bite a vampire; not only Dracula's skin was too tough for human teeth to mark, but the mere notion of being marked! Offering his very life!

"Hmm."

And yet.

Dracula allowed his boy to nuzzle against his cheek. Perhaps one day. One day, he will feed his precious his own blood, he will allow his teeth to clamp around his throat. And then, not even God would dare to put himself between them.

In the meantime, as Hector's lips left kisses more searing than any bite, enough to make the old vampire sigh in pleasure and love, perhaps the notion of being marked by his boy did not sound too unappealing...

[just-existing-as-you-do-blog]

Bro. Me when Gothic Literature writen by men vs Gorhic Literature written by women.

Like the lady charecters in Gothic Literature written by men all have the prevalent threat of Rape over their heads. (Excluding Dracula and Jekyll and Hyde though it can be argued that Dracula included some element of that metaphorically. Don't even get me started on the 1931 Jekyll and Hyde movie adaptation I'll start biting people.) And charecter is usually a generous word to describe them, caricatures might be more accurate. Gothic Literature has a focus on the taboo and horror but it feels fetishsizing the way these historical authors include it. This poor virginal girl (teenager usually) is going to be violated and corrupted by the big bad monster. Like oh that's very original did you get a papercut on your dick jerking off to this? Oh the man couldn't have possibly resisted the temptation and he threw himself at her in the throws of passion? Shut up. Men are not rabid dogs that throw themselves at every piece of meat. And I know historically women were believed to be too tempting to resist or whatever but that shouldn't stop me from pointing out ACEDEMICALLY the pattern. This theme of violation as a threat means that these male authors knew that it was the worst thing that could ever happen to these young girls. That it was violent and wrong and the men that do it are monsters, but they still treat it with the same sublime colored glasses that they treat the supernatural with. This is horrific, it is not beautiful in the way blood dripping onto snow is, it is not beautiful in the way a sword skewering someone and staining their pastel clothes red it, it's just horrific. There is no honor in violence, historically Gothic Literature as a genre has known that, but the theme of sexual violence is still present and it is present in a fetishsizing light. In this I am discussing The Castle of Otranto, Vathek, and volumes 1 and 2 of The Monk. Even if it was important to the themes of the story or even well written (Unreliable narrator Raymond in The Monk) I just have to ask academically; Why is it so prevalent? And I do invite people to genuinely answer me.

Because then there is Gothic Literature written by women, and their women ARE charecters. And Frankenstein for example is about death, and fatherhood, and playing God. It's main charecter is a sniveling coward and all of the women in it are brave in the face of danger. Elizabeth marries Victor because she is a good daughter who wants to honor their mother's final wish. She tells everyone about the injustice of the trial, that she is sure her friend did not kill Henry. Isn't that interesting? That Mary Shelly could explore those themes without dangling sexual assault over the who narrative or describing a woman's "soft, warm, breasts" in detail even once? Or Rebecca! Which I admit I haven't read all the way through, she could portray a marriage gone very wrong and the main charecter calmly helping her new husband cover up his wife's murder, without treating the main charecter as a delicate flower in over her head. She isn't pure, she isn't delicate, she may be insecure but she can certainly handle herself, especially by the end of the novel. And though it had themes centered around romance, reputation, and when a wrong is justified, there was never a threat of sexual assault. (Actually is Rebecca Gothic Literature? You decide I guess.) So there is horror, and beauty, and taboo to be explored without the threat that male authors have historically dangled over women's heads. The creature is beautiful, and new, and it doesn't know better, but he never even thought about sex. I don't know if he even knew what it entailed, he was 4 by the end of the book after all. (Though I would argue Frankenstein is more Dark Romantisism then Gothic, but they do have alot of overlap and my professor disagrees.)

Anyway my reading list for a class is getting me down on account of Shelly being the ONLY female author on it, which I wasn't too upset about until 3 of the four texts we read included what I discussed above. And for the Castle of Otranto my professor skipped over the very real threat Isabella was under, focusing instead on her loyalty to Hippolita. I like Castle of Ontario. I like the Monk. I think they are interesting, I get the themes, I get it.

Anyway Bram Stoker and Mary Shelly rescue me from the Hell I'm in.

[pb-dot]

Film Friday Spooksmas Special: Nosferatu

A local arthaus cinema had an early showing of Robert Eggers' Nosferatu. I have a mixed relationship with Eggers (more on that later) but I did think the trailer looked enticing and that the decision to really hold back on how much they showed of the (presumably) ugly bastard was a genuinely smart one. So, how did it go?

First of all, I want to start with what I've chosen to label the "This Isn't Dracula"-bucket. I'm a pretty severe fan of the original Brahm Stoker novel, and I do find myself sighing a little bit whenever an adaptation does a common but unforced error. This whole "Dracula has a particular red thread-esque reason to go for Mina in particular" business for example? Utter nonsense. Dracula is an evil, twisted little man, and he sets his sights on Mina in part because he, like us, thinks Mina is pretty neat, and in part to spite her husband whom he left for dead. Dracula is a bit of an asshole, you see, and he delights in the torment of young Jonathan in particular. Oh, and Jonathan, my dear, poor, sweet avenging angel wife guy potential vampire. Most frequently wasted literary character in western canon I have little doubt.

Now, as you may remember, this isn't a Dracula adaptation. Well, it is, per an intellectual property suit from the Stoker estate that almost saw the original 1922 film Nosferatu: eine Symponie des Grauens entirely destroyed. As such, it's set in Germany, the protagonists all have different names, and there's a much heavier emphasis on the disease bit of the vampire mythos, as well as introducing the idea of sunlight being outright lethal for the vampire, an idea that was not present in the original novel.

This is all a long-winded way for me to say that although some of the changes irk me a good bit, turning NotMina from a capable modern woman into a vaguely mystical waif, shrinking the NotLucy role into the miniscule, and so on, these feel like choices of adaptation perhaps from bygone eras. This is all to say that while I do sigh wearily over the Fated Vampire Romance business and all of that, I am prepared to let the movie stand on its own, at least as much as such a thing is possible.

Nosferatu is the story of Thomas Hutter, a young realtor clerk who finds himself entrapped by the nefarious Count Orlok, a vampire noble who seeks to buy land in Thomas' home town, as well as thoroughly cuck the man. Oh yes, Orlok has his eyes on the prize, and that prize is Thomas' wife, Ellen Hutter. Orlok shortly leaves the twink-flavored blood bag for dead to go get to, if you pardon the pun, necking.

What follows is a tense escalation of dread as Orlok brings plague to the town of Wisborg, and tragedy to the house of shipwright owner Friedrich Harding and his wife Anna who houses Ellen, in particular. The rough sequence of the UK-bound part of Dracula happens more or less, with the added snarl that Orlok does it mostly to break down Ellen's resistance to his dark proposal. Why exactly he chose to do this "thrice you shall deny me" business while he ostensibly has both the paperwork and the best possible ultimatum at his disposal already, Be his or he'll kill Thomas, I am sure I don't know. Well, I'm not one to doubt the sanity of an older-than-dirt corpse man employing obscure sorcery and dubious contract law, but it seems like this could've been an one night kind of deal Orlok old mate.

Much of this is justified by appeal to some sort of occultism, jumping on the "magic of the old ways vs the modern world" themes of the original novel a fair bit harder. This is fair enough, I suppose, but it is hard to take Prof. Ebenhart's "none shall know the day or the hour"-ass occultism takes seriously when the creature in question is one whose weaknesses are so common knowledge. Like, they could ask the Romani that apparently travel through Transylvania, ostensibly to make sure Orlok doesn't amass an army. They seem to have that shit figured out, and I wouldn't mind seeing more of them if I'm honest.

Continuing on this trend of honesty, I don't super love the way this movie ends. It does make sense, although it does have the problem of having characters insist "it's the only way" with such a fervor that I find myself going "Huh is it really?" Now there's not a plot hole here as such, it just... kinda feels like the writing got a touch sloppy, trying combine elements from the novel and the 1996 Francis Ford Coppola adaptation into this "waterproof" ending that just comes up short. Not because it's bad, as much as it makes me go "Ok. So what was all of this for, really?" Ellen does manage to outwit Orlok, or at least really really gamble that he'll be blood drunk enough to not notice that the sun's coming up. To be clear, she doesn't actually do much other than laying back and thinking of England Germany. She doesn't take some laudunum to make sure her blood's got a soporific effect. She doesn't pierce Orlok with an iron stake while he's distracted. She doesn't do some kind of daylight savings double bluff. She lies there and lets this monster/lover do his business until it kills them both. That's... disappointing, honestly.

Honestly, that it even works kind of annoys me still. Orlok has been scheming for this, he's been putting his vampire mojo on Thomas' boss, he's been researching ship lanes (I have to assume on account of the Demeter Hijack thing,) he's been learning English German, he's been concocting hellish contracts that somehow both relies on consent and also hold up even if the initial signatory couldn't even read it. All of this has taken patience, cunning, obsession in a way I suppose, but I suppose immortals can afford that kind of madness. This is all to say that I find it weird that this ancient being puts so much work into this plan to end up in a situation where he does an oopsie and fucking dies over it. It'd be neat if it was on purpose in some visible way, but it just kind of ends up making both the major movers and shakers less interesting if you ask me.

Overall, I'm pretty pleased with the visual portrayal of Orlok, with one major exception. Love the long knobbly grabby fingers. Love how he's tall in a real unnerving way. Love how he appears in shadow or as shadow. Love his general corpse vibe. My question? WHY WHY WHY WHY does he have a mustache? Upon first casting my eyes upon that despoiled soupcatcher, I thought it was a reference to Dracula wearing a fake beard for a bit, but no, the lip warmer is there to stay. I kind of get it, because there's nothing that would make drinking the blood of the innocent more viscerally disgusting than involving facial hair into the soup-y goo of it all. The finale does get into that business a little bit, but ultimately it does feel like one of those decisions that's worse for my brain than for my limbic system.

In general, I feel like Nosferatu has many of the same problems that many of Eggers' films has to me. They're gorgeous looking, bleak, and ambitious, and I just do not feel like they're saying anything. Oh there's stuff going on, the fanaticism in meeting the unknown in The VVitch, the harshness of violence in The Northman, the sheer homoerotic bugfuck stir crazy of The Lighthouse, and so on, but it feels like it isn't actually saying anything of note. It could be that I'm not as visually oriented as many other film buffs, but I spend a not inconsequential amount of time while watching this guy's movies while waiting for the purpose of this whole exercise to reveal itself. It's like a philosopher that spends much time proving how you can't prove anything, and then acts surprised when people ask him what the applications of this purported knowledge might be.

Now, I recognize that this might be a bit unfair. After all, I am a plot guy, and a lot of the time in Eggers' movies the plot isn't really the important part. That said, even if I don't find a plot satisfying, I can be quite content with it making me feel things. Unfortunately, Nosferatu doesn't quite stick that part either. Yes, it is grim to see Ellen dead, with the supernatural parasite that murdered her draped across her chest, but does it say anything? Does it express any ideas? Is all this tragedy in service of anything, or is it, much like the Contemporary Horror Clout Claim murder of ostensibly innocent children, done mostly for shock value? I won't claim to know, but it certainly feels like a shaggy dog story.

There are other complaints I could mention, the pacing of the stay at Castle Orlok in particular feels incredibly rushed, the dedication to keeping Orlok's face off screen or otherwise obscured goes on exactly one scene too long to not be conspicuous, and I could've done with both more Willem Dafoe and more 5k rats, although the latter was mostly because I found both of these contributors delightful.

[beevean]

I found a post with some pages of the MF manga in Japanese, so, well, I couldn't resist the temptation :P

Devil Forging. Originating from great magical power, it's a demonic technique to create a familiar (Innocent Devil) that is loyal only to you. It is said that there are only two people in this world who have mastered this hideous technique: a young man with red hair blazing like fire, Isaac, and a young man with silver hair like the shining moon, Hector. The place where they acquires their demonic skills, the castle...

The original translation translated Devil Forging as "Demonic alchemy", perhaps to connect it with the rest of the introduction. Fun fact, the Japanese term is actually "refining", as in purifying an impure metal.

"Loyal only to you" is "己にのみ忠実". 己 can either mean "I" or "oneself" in a humble way, or "you" in a derogatory way. I went with the latter.

"All right... My name is Hector. This is my cursed power."

Mostly 1:1. Interesting that Hector uses the formal wa ga rather than ore no.

"Death has vanished!"

"It was Belmont. The Belmont man has come. To think this hall has fallen so soon..."

"But of course. The person coming with Belmont... is the Count's son."

"Adrian... Not just Hector, but you as well... Foolish traitors..."

The official translation was more literal and translated shinigami as God of Death lmao

Worthy of note is that Dracula is calling Alucard kisama :) oh he's mad :)

"Wouldn't it be better to become a demon? Hey, let's do that! And then we'd have more friends!"

Admittedly I'm guessing with the last line, because I can't see the whole bubble. But it would make sense, more than child Hector wanting to "befriend" adult Hector. He was so lonely he thought he'd find companionship with devils, and he might as well have turned himself into one :)

"It's your fault, Hector. Ggh... If you hadn't betrayed us... I would never have left Lord Dracula's side! If you...! Hadn't run away... If you and I had been there! [...] N... no... That's not it... If I... If I had been at His side... at least... Why? Why, sir?"

"What's happening...?"

Yes, it's 1:1. I decided to include it for the pain :) also Isaac switching to polite language to make clear that he's speaking to Dracula in his mind shattered my heart :)

(too bad the picture cuts "Why can we not even die together?", which destroys me on the spot every single time. This poor man.)

Hector only says "様子が...". It means "state, situation, appearance, demeanor", so it's hard to translate. The general meaning is that Hector finds Isaac's behavior odd and concerning... although I still think it's not too strange, considering his beloved Lord just died, no wonder he's in shock and blaming himself.

«Just now...»

"Excuse me, what was all that fuss earlier?"

"[...] Well... You've come at a bad time. The town has been in an uproar since morning. Indeed... How didn't we realize until now? She's a witch. [...] Everyone who ate died."

«I'll go into town. Can I ask you to chop some firewood?»

"It looks like she was immediately captured and taken to the plaza. Truly terrible stuff... I heard that the witch had been living on the hill all this time."

«I'll be right back, Hector!»

Again 1:1. Nothing to note, admittedly. It's again for the pain :)

[syrupsyche]

Chapter 4 of "Even If There Are Monsters" Director's Commentary

I wrote a Les Mis x Dracula AU! Chapter 1, Chapter 2, and Chapter 3's director commentaries are here.

Now onto Chapter 4!!

Letter from Cosette Pontmercy to Lucien Enjolras, left unopened

Seeing Mina's letter left unopened broke my heart when I first read it </3; and it was immediately after Lucy's memorandum too! And so I wanted to replicate that heartbreak

I will return to this journal once we arrive back in Cette. I cannot bear to write any more; my head and heart hurts…oh poor Enjolras!

One thing I wanted to read more about in Dracula was seeing Mina properly react to Lucy's death 🥺 the poor girl was too busy trying to take care of Jonathan and sorting out everything, so I gave Cosette a bit more words (and a Courfeyrac) to express her grief.

“I– I cannot. Monsters like these are not possible. It goes against everything—”

“You have said once,” Jean Prouvaire argued, his blush now from frustration rather than embarrassment. “That you shall never deny anything, not even ghosts. Do not deny this now, please. It is a matter of life and death.”

This part is a mix from Prouvaire's and Combeferre’s 3.4.1 description! Prouvaire's tendency to blush easily, and Combeferre, who "affirmed nothing, not even miracles; denied nothing, not even ghosts". Also sprinkled in a bit of Seward's skepticism in there, but since Prouvaire is equals with Combeferre, there isn't that awkward respect that Seward has for Van Helsing.

Marius was on my arm, and M. Courfeyrac was on his other side, chattering in his ear like he was wont to do. If I had closed my eyes then, it would have seemed like we were all back in Paris, back during the days of our courtship, when we were all still gay and healthy.

If one were to put on their shipping goggles, Courf/Marius/Cosette could very well be canon after the end of this fic :p. However, they're facing too many Horrors to figure out they're polyamorous yet.

“Ah, a fool till the end! Here I was, crying over what I had thought to be nonsense, when he had written all sorts of words for us. I should have not doubted him; how could I have ever doubted him? Will you read it to me, my friend? To hear Enjolras from your voice would be more than I can hope for.”

I know Feathraly had Combeferre/Enjolras/Grantaire as a possible ship too, so I included this plausible Ferre/R scene :'3. Writing this made me sad...maybe in another life they'll all have a chance <3

“Blootiful,” I echoed, and I felt my body run cold. “Those children who were attacked: all were too young to speak intelligibly. They speak not of a Bloofer man, but a beautiful one.”

If I recall correctly, the original Dracula never actually explains that the kids meant "beautiful lady" when they said Bloofer Lady? So I was confused for a while, and thus provided my own explanation here. Also I couldn't resist letting Enjolras bite Grantaire. Just a lil treat for him 🧛‍♂️

Distantly I heard howling and, remembering Marius’ journal, began shivering. The night was cold, and my neck was aching badly. Before I could get up, Marius barrelled into the garden.

I wanted to punch the daylights out of myself trying to figure out the timeline of how and when Dracula begins drinking from Cosette. Take it that he begins drinking here ^ in the garden but idk man 😭.

Grantaire placed the stake over Enjolras’ heart. It seemed as though Enjolras’ steadfastness had transferred over to Grantaire, his eyes flashing with a strong resolve I had only ever seen within Enjolras.

[...]

“Rest well,” he murmured, and I was close enough to hear. “I shall see you soon.”

I had briefly entertained having Grantaire refuse to strike Enjolras here, thus failing his task (like in the Barrier du Maine), before finally succeeding during the battle with Dracula at the end when he sacrifices himself for Marius. But idk; I feel like the effect wouldn't be the same? Grantaire dying for Marius then would feel like he's just making up for failing Enjolras at the start, which wouldn't be as impactful (IMO) as him dying for Marius because he also cares for him and Cosette (as well as him just. not wanting to live without Enjolras anymore). So I had Grantaire strike Enjolras here, and made it as obvious as possible that from here on out, Grantaire is already a dead man walking.

I understood his words. I pray that Grantaire will never read this record, for I bent over and pressed my lips to that cold forehead. A kiss for my friend whom I had loved…we sealed the coffin once more, and locked the tomb behind us.

One more one-sided Combeferre/Enjolras moment for good measure 💔 poor Combeferre 😔

And that's all for tonight!! 🤩🤩 Check in tomorrow for the last few chapters

[omgkalyppso]

Your OTP as GIFs

from an old game, but I'm not doing it exactly the same way as before because search engines have greatly deteriorated since then.

Tagging @umbralstars, @boghermit, @lucius-the-sinful, @lovely-english-rose, @jackalopedread and YOU.

Étoile x Astarion

Originally posted by nancykali

I wanted to find a gift related to the keyword Trust but had to give that up after like an hour of fruitless search. So instead we have the moment from Bram Stoker's Dracula where after attempting to refuse Mina his blood because he was feeling guilty about corrupting her, Mina says to her monster, "Take me away from all this death." And. Well.

Étoile x Halsin

No idea what this gif is from, but I couldn't resist. While ultimately I do think it was part of the writer's insensitivity to polyamory to have Halsin be relationship averse, and then turn his epilogue content into fan service — I really like aromantic Halsin expressing love in his own way and not wanting "a relationship" or labels.

Étoile x Zevlor

I don't remember what's being said in this scene, but the romance in the movie Snow Cake is a Very Small part of the movie, but Alan Rickman's character does have a complicated relationship with Carrie-Ann Moss's character — a win for "fucking that old man." The main character of the film is dealing with life after having assaulted (and accidentally killed) the drunk driver who hit and killed his child. He is also present / indirectly responsible (but feels greatly responsible) for the death of a hitchhiker, which brings him to Wawa, Ontario where he meets the hitchhiker's mother, a disabled (autistic?) woman played by Sigourney Weaver. It's a really heavy movie that I only saw once but the layers of it and the fleeting comforts and difficult intimacy of it made this a good gif for what's going on with Étoile and poor Zevlor.

Étoile x Komira x Locke

Another Sense8 gif. The woman in the middle, Kala, had a lot of anxiety about being in love with the man on the left Wolfgang, while living a life that was leading her to be with her betrothed, the man on the right, Rajan. This is also an extremely small sideplot of this show that was hastily wrapped up in the movie / final "episode." It was kind of silly but tbh I enjoyed this particular "unrealistic" resolution where Rajan was willing to explore what love would look like (even initially in an extremely sexual sense) with Wolfgang if it meant Kala's happiness / not losing her heart. A fair, if inaccurate, comparison to be made for how in my primary canon-compliant state for Étoile, I'd ship them with werewolf!Komira but leave Locke to his fate in the House of Healing; though I'd imagine the three of them would have very enthusiastic joy and supportive love in other au's.

Étoile x He Who Was

I wanted to find a gif of love of someone/thing that was not completely human for He Who Was. I first thought of Meet Joe Black, and the few surreal moments, and the moment when his love interest asks him to stay, but I couldn't find a gif of the exact moment I wanted. I'd only seen The Time Traveller's Wife movie once and it was straighter than I remembered, the dialogue in the gifs I found was all wrong for Étoile and He Who Was' dynamic. I just wanted reference to the waiting, to the loss, to the not knowing if your supernatural love would return. Oh well. Instead I was looking up characters described as masochists (intended for He Who Was, but I guess observations can be made about Étoile which would be ... entirely correct), and found Marko from The Lost Boys, like the rest of them. In the scene I chose, they're initiating a (the?) protagonist into their vampire gang, jumped from a bridge and hanging to the beams while a train rushes overhead, scaring their initiate and having the time of their lives. I think He Who Was has a manic excitable laugh in his euphoria and that he enjoys the presence of danger, negotiated and known not to be a sincere threat against him and his holy missions. He and Étoile have a lot of fun in the limitations of a relationship across planes.

[keeper-of-books]

G'day, welcome, hello, you have found me

• what you can call me: Kaden/Kade, Evan, keeper, faggot, whatever you want (except girl/woman etc.), hot

• he/him + they/them + it

• I was born in march 2005, if you wanna find out how old I am, do the math (or just look at the little info box at the top of this blog)

• 175cm is this relevant?!

• english is not my first language, like you might have already guessed, so please excuse mistakes/errors, or maybe correct me !nicely! since:

• I am not good with confrontation and will cry myself to sleep when yelled at, which most likely (hopefully) won't happen here

• shows:

Death Note, Assassination classroom, Big Mouth, Human Resources, Disenchantment, Aggretsuko, Vox Machina, Castlevania, Arcane, Q Force, The Imperfects, The Dark Crystal Age of Resistance, Orange is the new black, AJ and the Queen, Matrjoschka, Dr House, Sandman, Hilda

• movies:

The Dark Crystal, Coraline, Nimona, Suicide Squad, Deadpool, Chicken Run, Howl's moving castle, Charlie and the chocolate factory

• books:

Have read: Hell followed with us, Frankenstein, The meet cute diary, Aristotle and Dante, The midnight library, The cat who saved books, Coraline, The Graveyard Book, Cleopatra and Frankenstein, Punk 57, Skulduggery pleasant, If we were villains, Under the whispering door, Arthur and Teddy are coming out, Pan's Labyrinth, If cat's disappeared from the world, Dracula, The picture of Dorian Gray, Gwen & Art are not in love, Near the Bones, Paul takes the form of a mortal girl, I wish you all the best, The marriage portrait, Carmilla, Der frühe Tod, Gay bored werewolf, the Scottish boy

Reading: All the light we cannot see

Going to read: Anatomy, Immortality, The Spirit Bares it's teeth, Wolfsong

• games (Just games I like, doesn't mean I played them. I mainly watched the let's plays):

Sally Face, Little Misfortune, Little nightmares, Fran Bow, L.A. Noire, Beyond two souls

• music/artists:

Mika, Tx2, TJ beastboy, Eminem, Doja cat, Ashnikko, Noahfinnce, K.Flay, Delilah Bon, Lin Manuel Miranda, ÉASY, Gorillaz, mother mother, Imagine Dragons, poor man's poison, Harry Styles, Jhope, Pink, Shuba, and several who I only know about one song from, (K-pop groups/bands I know because of my friend: NCT, Straykids, Ateez, Xdinary heroes)

I'm still figuring out the whole Tumblr thing so if anyone has some tips, I greatly appreciate it.

[flowerish-cherry-blue]

book review: the sorrows of satan by marie corelli | 1895

summary:

the setting is london, 1895, and the devil is on the loose. he is searching for someone morally strong enough to resist temptation, but there seems little chance he will succeed. britain is all but totally corrupt. the aristocracy is financially and spiritually bankrupt; church leaders no longer believe in god; victorian idealism has been banished from literature and life; and sexual morality is being undermined by the pernicious doctrines of the "new woman." everything and everyone is up for sale, and it takes a special kind of moral courage to resist the devil's seductions.

my opinion:

well… it wasn't easy, honestly. i confess that the first 10 chapters i thought i would die of boredom, although the most boring novel i've read so far was dracula, in terms of writing style, i mean. i really struggled to get through the intro where all geoffrey does is talk about how poor he is, don't get me wrong, i think it was important to make it clear what kind of character he is, but i think it could have been done in a more interesting way.

after i got over the opening of the book, i will say right away that it was all clear and obvious to me who was who. that is, from the first only mention of lucio i understood that he is satan, when lady sybil appeared i understood that geoffrey would decide to marry her, but there would be no happy ending for them and that mavis clare is the author's alter ego, and in fact the real love interest of the character. there weren't any interesting plot twists in the book, maybe a couple literally when they were sailing on a ship from england and perhaps the first death of that poor man from the gambling club.

overall, if you close your eyes on the predictability and boring writing style, i liked the book just for its moral and message that those who have everything may not appreciate the little things and be spoiled, like geoffrey, to whom money overshadowed the view of the real world, and that those who lack something in life learn to appreciate what they have, like mavis clare. this is what i appreciated in the book, and there were also some very beautiful moments, for example the discussion of balance in art, the scene where lucio sang while playing the piano and of course his monologue when geoffrey realized that he was satan.

of the whole book perhaps the following can be highlighted, as every book has pros and cons:

• despite the rather boring beginning, the book becomes interesting in the aftermath, even when you're just watching geoffrey try to find love or lucio pulling the strings like a puppeteer.

• although i said the plot is pretty predictable, a couple of moments still pleased me because i wasn't expecting them.

• i was invariably pleased with the morals and message of this book and i think this is a major plus, it was probably the best way to teach everyone a lesson with an example like this.

• in places the book reminded me of something in the style of edgar poe, and this appealed to me because there was some kind of dark vibe.

• the development of the character of geoffrey made me happy, he went from poverty to riches to a kind of stability, i think he is a good example for people today of how in one moment you can gain and lose everything.

perhaps this book is recommended to read for a reason, for the millionth time, i will say its meaning is what people today should remember - appreciate what you have and don't forget, that's why i liked it, so i would advise you to read it.

my rating:

3.9/5

sleep, my beloved, sleep!

be patient! － we shall keep

our secret closely hid

beneath the coffin-lid, －

there is no other place in earth or air,

for such a love as ours, or such despair!

and nether hell nor heaven shall care to win

our loathed souls, rejoicing in their sin!

sleep! － for my hand is sure, －

the cold steel bright and pure

strikes through thy heart and mine

shedding our blood like wine; －

Sin's sweetness is too sweet, and if the shame

of love must be our curse, we hurl the blame

back on the gods who gave us love with breath

and tortured us from passion into death!

[juliedowling]

The demonisation of my Badimaya First Nation matrilineal & matriarchal woman elders & me;

Who are the Badimaya First Nation?;

My people.

When, why and how were the Badimaya First Nation invaded by waves of colonials?;

1st wave: 1846 by Gerald de Courcy Lefroy & Alfred Hillman.

Was there French sexual colonialism in my country?

I recon there was because there was some guy with a French sounding name ( Gerald de Courcy Lefroy) who first went around lake Moore as they called it later in 1846.

I think he and his mate Hillman would have found resistance to that invasion by women warriors? Yes 100%.

Badimaya country is known for its flowers too but we aren’t evil lesbian flower demons, Estries, Sirens, Alukah, Shedim, Vampires, or Amazon’s.

We are an ancient matriarchy where women are seperate but equal to men.

When an our menfolk find a spouse he leaves our country to go to his woman’s country and yes, he does return for trade.

We aren’t like Dante assumes while talking to Ulysses in hell that you “you can never go home”.

https://www.byarcadia.org/post/ulysses-shipwreck-in-the-divine-comedy

So all other cultures are in hell on earth outside the church unless convert and never go home?

That’s genocide.

The Divine comedy is used by colonials to commit genocide by stealing children later with chief protector A.O Neville.

2nd Wave of invasion; John Forrest first premier of Western Australia 1876 (with traditional assistance from Tommy Windich)

Both would die young under mysterious circumstances and blamed on witchcraft sinned at Badimaya First Nation women.

John Forrest described Badimaya cannibals which has no scientific or social evidence.

On the Natives of Central and Western Australia’ by John Forrest

https://www.jstor.org/stable/2840893

3rd Wave of invasion The witch Hunt and demonisation begins towards assimilation and genocide.

Authors begin to target Badimaya country because its women’s country with pure forms of sexual colonialism and misogynoir.

Authors led by Bram Stoker, possibly Walt Whitman, Mark Twain, Oscar Wilde, Charles Baudelaire and many other artists linked in codified racist terms to Badimaya country after massive poisoning techniques used by German colonials throughout The continent of Africa.

Kalgoorlie, Wongi First Nation country was targeted because many First Nations went there for refuge in the gold rush mayhem. It was also a proofing ground for white colonial manhood from England and other places to prove they weren’t gay or it became a secret refuge for them.

Many Badimaya First Nations women and girls were targeted & murdered on sight and poisoned in witch and demon hunts. Human sport. The last colonised places on the planet after Terra Nullius began in 1788.

I also wonder about the reason why invaders (‘explorers’) thought it was some kind of proof of manhood to do invasion?

Was there a singular manhood proofing ground in ‘exploration and surveying during colonization? Yes.

Is that why Percy, Oscar Wilde’s lover was sent to Kalgoorlie to get conversion ‘therapy’ in the goldfields by his Dad the Marquess of Queensberry?

Were they worried they were possibly unmanly and gay? Yes

Homosexuality meant imprisonment.

Rape was a hanging offence but not of black or Asian women.

Bram Stoker looks like Sir John Forrest.

Dracula was written in 1876 the same year John Forrest invaded Badimaya country and the same year his Noongar guide Widatchi may have been poisoned.

https://www.jstor.org/stable/1346114

“Racialization, Capitalism, and Aesthetics

in Stoker's Dracula

PATRICIA MCKEE Henry Mayhew introduces his survey of London Labour and the London Poor (1851) by identifying throughout the world "two distinct and broadly marked races, viz., the wanderers and the settlers." This division also distinguishes, as races, outsider and insider, "the vagabond and the citizen." When he compares the poor in England to "Bushmen," "Lappes," and "Arabian Bedouins," Mayhew effectively locates these "wandering tribes" in imaginary spaces outside the bounds of national life. Mayhew further depicts this vagabond class "preying upon" the nation's citizens, whose movements-as tourists and imperialists, for example-he ignores (1). In Dracula, published in 1897, Bram Stoker complicates Mayhew's social order when he suggests that at the end of the century the mod- ern citizen claimed no settled identity, but a mobility even more extensive than that of Mayhew's "wandering races." The vampire Dracula, who in the novel is identified as primitive and alien and who certainly preys upon citizens, is a wanderer, according to the peculiar logic of the "undead." But those in the novel

who eventually defeat Dracula are characterized by unsettled behavior as well. Not quite insiders, they comprise a group of Western citizens who belong within no single nation or social class and who are experienced travellers. What endows the movements of these characters with cultural privilege is their power to capi- talize upon mobility, to convert changes of place into opportunities for invest-

ment. Dracula has been understood to respond to the fears of late Victorians, due in part to Darwinian thought, that degeneration threatened both the British "race" and the British empire. Stephen Arata points out that, insofar as Stoker's "vam- pires are generated by racial enervation and the decline of empire," they exploit fears of the genetic and social deterioration that many of Stoker's readers "per- ceived as characterizing late-Victorian Britain" (115). But the characters who op- pose Dracula also learn new means by which to regenerate racial dominance. In an effort to explain this regeneration, my focus here is on the alliance in the novel of a construction of modernized whiteness with the productivity of late capital-

ism and on how that alliance allows whiteness to claim regenerative powers.”

4th Wave : oblivion, child removal by A.O Neville a warning on man made Armageddon?

Gurgurdung ‘Everlasting daisies’ on Badimaya country.

I and my twin are some of the last direct matrimonial line of the Warida Badimaya First Nation. We are facing genocide if we can’t carry on our cultural bloodline to the next generation of girls.

[hecula-propaganda]

Every interaction between Hector and Dracula

or the two's feelings for each other :)

Prelude to Revenge

A place to cling to...

The ability to rebel and blaspheme against the Divine Providence Is accepted without blame A place where we are allowed to exist.

[We] respectfully obeyed, to cling to.

Why yes, I am perfectly normal about Hector and Isaac clinging onto Dracula because he's the only thing they have in this world :')

I'm not sure if Hector is speaking also on Isaac's behalf or only for himself, but I choose to believe it's the former because it makes sense.

But what's important here is that they are in the same position. It's easy to imagine Isaac, irrationally loyal and perpetually insecure, latching onto Dracula. But even Hector, in his icy pride, did the same :) he cared. Just not to the point of self-nullification.

And also look at that. Dracula gave a piece of his power to Hector. In the game itself, Zead says that the Devil Forgemasters are "suffused" in his magic (or "Devil Forgemasters are always with my Master's power" in Japanese). Part of Dracula is literally in them.

“What did he wish from me, that he even rebelled…? Unforgiveness is my nature. The more precious things are, the more they resist and are lost…”

I've spent enough words talking about that one word, 惜しい :)

Of course, this happens right after this lovely scene:

“Please, I beg of you I am human too!”

“My nourishment is human life and mistakes. I will disappear when humans perish…”

There’s no need for me to be chased away The disposal of my body Can’t even happen here... Anywhere...

So, hm. First you gravely injure your rebellious general without even listening to his concerns, then you wonder why your precious thing doesn't love you anymore. I don't think Kojima intended for him to look like a stereotypical abuser, but that's the vibes I get. it doesn't help that this is more or less his attitude with Alucard...

It is said that my former master was destroyed by the wielder of the holy whip. However, the devastation of the human world will not end...

Nothing major, just for completion's sake. This is the only time, as far as we know, that Hector calls Dracula his "master".

Media Factory manga

Unlike with the PtR manga, I need to talk about Isaac here, because he can't be separated from either Hector or Dracula.

i swear that the mf manga is a long long draactor propaganda, the love triangle here is insane

Isaac is the one who warned Dracula of Trevor, and the one who begged him to be sent to kill the Belmont. And yet...

Hector was sent instead. Hector was the one deemed worthy of facing such a big threat. Look at Isaac's eyes. He's so not happy about this blow to his fragile sense of self-esteem.

And Dracula once again puts Hector over Isaac, by ignoring his concerns, ordering him to go find the lost General and leaving himself unprotected well technically there's death but no one mentions him here. Even Isaac's own underlings aren't so convinced by the Lord's actions, and they chalk it up to sheer favoritism, which triggers poor Isaac. Everyone knows that Hector is Dracula's specialest boy :)

Of course, this line matters much more in Japanese:

In case you're wondering, there exist other words that imply unfair favoritism and nothing more, such as 依怙贔屓.

Now, unlike with 惜しい, it's a third party that uses 可愛がる. But then this means that Isaac's underlings were sitting there, joking that Dracula loves his Hector so very much... within Isaac's earshot. Bro. No wonder he found the first excuse to kill them off 😂

I said enough about this nightmare in this post. It's hard to judge where memories end and inner feelings begin, but I do believe this has actually happened, and I chose to interpret this scene as Dracula leaving Hector behind, a display of both humiliation and favoritism.

(I also choose to believe that this episode happened some time before Dracula ordered Hector to kill Trevor. Ah, if only Isaac knew...)

Kinda interesting that Hector's last thought as he's about to die isn't for Isaac, but for Dracula :) could it be the power of the Curse seeping inside him? oh don't worry honey, this is far from the last parallel you two have...

Nothing major, but once again confirmation that Hector "got closer to Dracula" than Isaac did. Whatever that means, beyond the acts of favoritism we have seen...

When he's sealing away his dark powers, made strong by Rosaly's love (the proof of which he's holding in hand), his mind goes to Dracula again. I'm still emotional over this. He felt joy at serving Dracula, at being "recognized and needed" :')

Curse of Darkness

Hector, who has spent the entire game calling all the men kisama (except for Zead, whom Hector trusted and so called omae), refers to Dracula as anata, a neutral-polite pronoun. Zead and Julia call Hector anata, and Isaac uses it for Dracula in PtR, which speaks of the amount of respect it can convey.

It is not your (あなた) place to judge the worth of humans.

However, his lack of any kind of honorific and body language convey disrespect. While he's not being aggressively antagonistic, he is not even remotely intimidated by him anymore. It's been three years since they've last seen each other, and Hector has changed immensely since then. Plus, at this point he's just too tired to give a single shit lol.

(in English, Hector calls him "Lord Dracula". Actually, Trevor is the only character who simply says "Dracula", but of the other characters, two are devoted to Dracula, and two might simply respect the Count's power. What is Hector's reason? Does he still respect his former master, to a point?)

I also love the way Hector humiliates Dracula as a last kick in the teeth. He uses his own Devil Forging powers to transform the curse. Look at the first pictures I posted here: that power was given to him by Dracula. Hector was the best student of the two. He is using Dracula's own power and teachings to free the world of his influence. He's not the only protagonist who defeats Dracula with his own powers, Shanoa did the same and it is poignant in its own way, but with Hector it simply is more personal.

(and, you know, you can steal his throne under his nose :P)

Dracula, of course, can humiliate Hector as well if the player isn't careful :)

yeah you know this was coming. Just sayin' that of all Belmonts and affiliates, Hector is the only one that he attacks like this. Bet that curse tastes good.

[sophiamcdougall]

Together they would be largely unstoppable. With one caveat: Jeeves might inadvertently nerf some of Bertie's advantages in this situation. He would not be in favour of the crucifix, or accepting a supernatural explanation too early on, so there's a chance he influences Bertie to stop trusting his genre-savvy instincts. But on the whole I think they'd be OK: Bertie usually defies Jeeves in the first round of any conflict about accessories,, so he'll probably stick to his guns long enough for Jeeves to catch up, which indeed wouldn't take long. Meanwhile, Bertie's mere presence protects Jeeves immensely. Just by virtue of his class and general Dracula-baitiness, he keeps Dracula's focus off Jeeves almost entirely. Even when he remembers Jeeves exists, Dracula would likely resist the temptation to drain him early -- because a dead valet would ruin the game he's playing with Bertie. Once Jeeves is on board with the supernatural, Bertie can switch to deliberately distracting Dracula so that Jeeves can operate and explore. Between them, the team now has all of Jonathan's skills, plus some potential extras. Jeeves may have been slower to believe, but might actually know more of the content of the locals' 'superstitions' than Jonathan did. There's a reasonable chance that he knows German given his intellect and range of interests: he's read Nietzsche (though it may have been in translation) and they've travelled in Europe together before. I bet Jeeves would also have tried to learn some basic Romanian in advance of the trip to make sure he can look after Bertie effectively. Being a genius with more spare time than Jonathan, he's probably more proficient when he gets out there. This should be helpful. While Dracula alone may be hard to manipulate, I do think there's a potential weak point as well as an area of danger in the relationship with the brides. And if Jeeves is able to communicate with the Szgany without having to rely solely on sign language, he might be able to find an angle that results in them actually helping, or at least, he might be better able to avoid the trap. He'll also be able to think, research and plan while taking far less psychic damage than Jonathan does, because he's not Dracula's main focus. While that means poor Bertie is soaking most of those hits for him, the fact that he's not alone and has his person with him will keep him from cracking altogether. Bertie remains the team climber -- it's not just the drainpipes: let us not forget that he had no trouble swinging himself over the Drones' swimming pool except for Tuppy's treachery. This is a pity in many ways, because honestly I think Jeeves just wouldn't succumb to basilisk looks or brain fever, and if he ever took it into his head to kill you, then vampire or not, you'd be dead.

However, I think Bertie would be able to get the key and let Jeeves out. This is because thanks to his greater access to information, time to contemplate the problem relatively undisturbed by Dracula, and wealth of experience in observing upper class weirdos' secret hiding places, Jeeves would have worked out where it was.

Hot take maybe but I think Bertie would be FAR more likely to survive the first two months of Dracula than Jeeves would be. Bertie has a healthy sense of self-preservation. Jeeves consistently underestimates how dangerous a situation might get (Steeple Bumpleigh, the club book) because he’s overconfident about his level of control over any given situation. He'd handle Dracula masterfully if they faced off in England, but on Dracula's home turf? Much more doubtful.

I realize this might be a tough sell, so I will explain further (or it's not a tough sell, and I'm going to explain further because I want to). (criteria taken from @canyourfavesurvivecastledracula) Without further ado.

Would Jeeves and Wooster survive Castle Dracula?

Jeeves

Jeeves' survival will depend on how long Dracula finds him more entertaining than irritating. On that basis, I don't think he's long for this world. On the one hand, he has a huge wealth of knowledge about English society and culture that he can recite perfectly from memory. That should buy him at least a little time with noted teaboo Dracula.

On the other hand, he would be absolutely no fun as a vampire plaything. Jeeves cannot be got. Sneaking up on him while he's shaving will yield zero reaction (though that's at least good for his short-term survival--given that, although he DID take the crucifix from the old woman out of politeness, he certainly isn't going to wear it. The rules of fashion don't go out the window just because you're in a spooky castle). Then, although managing the whims of rich jerks is not an insignificant part of a valet's job, Jeeves usually does this by bending his employers to his will. Dracula is not the sort of employer this will work on. It'll just add insult to injury when on top of being impossible to scare, NOW Jeeves is telling Dracula that his favorite cloak is several centuries out of fashion and he's not allowed to wear it anymore.

Jeeves will 100% go exploring in the areas he was told not to go-- though to be fair, he MIGHT actually get away with this, what with his superpower of appearing in rooms without being seen or heard. Said superpower might save him from the brides as well (though this is by no means guaranteed). Since I find it doubtful that Dracula would come to rescue his annoying ass, not being noticed is his best defense.

There are a couple other things working in Jeeves's favor; the question is just whether they'll be enough to save him.

He DOES know shorthand, and could try to send coded letters. He might even have the foresight to squirrel away some extra stationary where Dracula can't find it. But could he get them posted? Would it even do him any good?

He certainly has enough cultural literacy to figure out what his new boss is pretty quickly. If he didn't chuck the crucifix out the carriage window, he might start carrying it around in his pocket.

Psychology of the individual, sure, but the individual in question is a 400-year-old vampire who lives in an isolated castle in a foreign country and is regarded as a terrifying mythological figure in the surrounding villages. Jeeves has never come up against anything this alien before, he's cut off from his normal resources, and opportunities to play people against each other are limited.

He probably has enough upper body strength from all that shrimping and fishing to climb the wall, so he COULD escape if he wanted to, if he survived long enough. It's just, again, that overconfidence, and also Dracula has a vast library full of rare old books that are entirely at his disposal. He's keeping his eyes and ears alert for potential escape strategies, of course, but I don't see him being as desperate to get out as Jonathan was.

There are just a lot of "depends on"s here, and I'm not convinced that luck would shake out in Jeeves's favor, all things considered.

Bertie

Bertie is so perfect for the job of Castle Dracula Prisoner it's like it was made for him. Think about it. Being held against his will in big manor houses comes more naturally to him than breathing. He's afraid of things that are scary. A lifetime of dealing with Aunt Agatha has made him the world's preeminent expert in "curl[ing] up in a ball in the hope that a meek subservience [will] enable [him] to get off lightly." He will NEVER go exploring in places he's been warned away from if nobody is forcing him to (Rev. Aubrey Upjohn's office notwithstanding. There were biscuits in there). He's both fun to talk to and easy to toy with (and extremely English). A+ prisoner. Dracula adores him.

In my opinion, Bertie is at Castle Dracula either because Aunt Agatha got some wires seriously crossed and thinks he’s going to meet an eligible potential bride (I mean, there are certainly brides there), or because Dracula has something Aunt Dahlia wants him to steal (far less likely, given that one of Dracula’s THINGS is famously not owning anything silver). Either way, he's shown himself entirely willing and able to escape down drainpipes if a sitch gets too scaly.

He DOES take the crucifix, and DOES wear it (which is what will save him during the shaving scene, because you KNOW he's going to jump a foot and cut himself like the dickens). He's read enough supernatural goosefleshers to be genre savvy about terrified old women cryptically pushing crucifixes into one's hands. I also think his sunny disposish endeared him to the villagers, and they were particularly vehement about urging him not to go. He doesn't speak German or Romanian, but he's empathetic enough to recognize Pure Terror. So by the time he actually gets to the castle, his imagination is already running wild and he's plenty aware that he is in imminent danger.

I think the biggest risk to Bertie will be the brides; whether or not he's susceptible to trances, if he thinks they're trying to marry him, it's against the code of the Woosters to turn them down. But that only becomes an issue if he comes face to face with them, which, luckily, I think is unlikely on account of the aforementioned "won't go exploring" (and if he did, Dracula would definitely rescue him).

I'm inclined to say due to his drainpipe-escape habits that he WOULD be able to climb the wall and MAY attempt to sneak into Dracula's room to look for the keys if his desperation grows to outweigh his fear. Whether he does or not, though, he does NOT have the stomach to attempt shovel murder, and therefore won't get magic brain fever, and may very well simply walk out the front doors when the people come to take the boxes away. OR he climbs his way out like Jonathan did. Either way.

When Bertie tells this story at the Drones later, Tuppy will say that no doubt it's been greatly exaggerated and all that probably happened was that he spent a couple months in an oldish house entertaining a weird loner.

[alma37]

A[h]arrowing evening - chapter 2

I kind of promised another chapter if I reached 100 hits on AO3. I am a little behind schedule, but a promise is a promise.

So, here is the chapter 2.

Fandom : Dracula TV 2020

Relationship : Agatha x Dracula

Rating : this one tends to M but not quite

I still have not counted the words.

@hopipollahorror​ @lady-of-the-wolves​ @thebeautyofdisorder​ @festering-queen​ @feralstare​

[let me know if you don’t want to be tagged]

@vampyrsbride​ @khyruma​ no idea if you even read fanfiction

Anyone else who didn’t ask to be tagged but still read my shit,

everyone, I hope you’ll enjoy!

As Dracula was settling comfortably for the night, a knock resounded on his door. Curious, he went to open and was startled to find a swaying Agatha in front of him.

- Agatha! To what do I owe the pleasure? Or is it displeasure tonight?

The young vampire waved her hand and slurred :

- I came to aplo... to aloo... ap.., to say I'm sorry.

The older vampire frowned :

- Are you all right?!

- Nether bedder!" She was leaning dangerously sideways until she was supported by the doorframe.

- Did you take something?" Dracula asked, incredulous.

- Noooo!... " But after a short pause, she admitted : "I just drank a drunk!" And she sniggered. Agatha never sniggered.

- Oh my! Are you drunk?!

- Mabee a little bit. But he tasted sooo good!" Agatha mumbled, ecstatic.

- What did I tell you about drinking drunk people?!

- Pff!" The younger vampire scoffed. "I drrink whoeve' I want, Mr 'now-it-all.

Now she was listing dangerously towards Dracula who held her upright by the shoulders.

- Do you understand how much alcohol is needed to affect us?! How much blood did he have left in his alcohol stream?!" He asked drily.

The former nun, leaning on his chest now, snorted.

- Did you just make a joke?

- Perhaps.

- You shooould not do that.

- Why not?

- Because... it makesss you likeable. And I am not sh-supposed to like you. I am sh-supposed to.. to kill you! See? I still have my little arrow with me, just in case.

Agatha brandished in all directions the wooden weapon she got used to carry since Dracula turned her. Weary, the older vampire got hold of it before his younger kin could do some damage to either of them.

- Yes, I can see that. I'll keep it for now, if you don't mind.

Agatha made a gesture, that could either mean she didn't mind or its exact opposite. When she didn't try to take back her weapon, the Count concluded it was the former and returned to their previous conversation :

- Did you just said you liked me?

- Ov course not! Why would I do that?! You mush... must get deaf in your old age.

- I assure you my hearing is quite good. You just said you liked me." He persisted.

- Nooooooooo. No, no, nononono. No..." Another short silence, before :" Maybe. A little. But I am rrrreally d-drunk at the moment, so you'll have to ashk... aks... hashk me again tomorrow. When I sh-slept it off.

- When you slept it off, you are going to wish me to the devil. So...

- Zat's not... jat's... that... Yeah!... Maybe we should sleep it ohf togejer, zen.

- I beg your pardon?!

- Zat way, no dish... no dims... no w... no sc-scoffing at.

- I won't sleep with you when you are drunk, Agatha.

- Why not?! I am vewy ri... very vi... willing at the moment. When will you 'ave anozer chance, do you think?

- God, give me strength!

- Did you..." Agatha sniggered for the second time in the evening. " Did you just take God's name in vain?!" before she dissolved in laughter, at the utter dismay of her older kin, while actually slouching against him.

- That's exactly why." The only thing keeping her up was his arm around her waist. When she finally calmed down, he tried to lead her towards the bedchamber :

- Come now. I am putting you to bed.

But Agatha resisted his pull. Even drunk, she was still a vampire.

- Only if you're coming with me into it.

Dracula towered above her.

- Agatha, don't push me. You know I want you. But not like that.

Far from being cowed, the younger vampire slid along his chest until she was an air breath from his mouth before flashing him a brilliant smile :

- Draaackeyyyy... me loveyyyy. Don't be so meaneyyyyy.

The older vampire snapped :

- That's it. That's enough! I am putting you to bed now.

Lifting her like she was a bag of feather, he threw her on his shoulder. Sober Agatha would have been scandalised. Drunk Agatha, however, sniggered for the third time and purred :

- Ooooh! Me very own cave man!... Cave vampire!" Then, even upside down, she set about removing his shirt from his trousers. Dracula couldn't believe what was happening : a few weeks ago, she almost killed him and now, it appeared that she was intent on undressing him.

- Agatha, stop that!" He admonished her, to no avail.

The younger vampire, apparently, was determined to see him naked before they could reach the bedroom. She was really trying his self-control.

- Agatha, if you don't stop, I am going to do something I have wanted to for a long time and you will be left with only regret and self-loathing in the morning. Is it really what you want?

At last, this made her stop. Dracula couldn't help but release a relieved sigh.

Once they reached the bedroom, Dracula slid her down to the bed. He put a knee on the floor to remove her shoes. Agatha, surprisingly silent, was watching him. When he straightened up to help her lie down, she unexpectedly put her hand under his shirt flat against his abdomen. Dracula fought to keep what was left of his restraint.

-Show me your scar.

- It's gone. You know we don't scar." The older vampire answered while removing gently her hand from his skin. She was warm from the blood, which wasn't helping with his growing lust. Luckily, she didn't resist. But she looked disappointed :

- I wanted to kiss it better, as you asked me. As an apology.

- You did, don't you remember?

- Hum! Yes. But I wanted to do it more... Can I kiss you better somewhere else, then?

- Agatha..." But before truly realising it, he was leaning forward. His restraint was flying through the window.

The kiss started sweetly, a mere brush of the lips, but drunk Agatha was demanding and Dracula, unable to resist, gave her what she asked. Soon they were tangled with each other, the older vampire not sure anymore how many limbs his younger kin had, as she seemed to touch him everywhere at the same time. He finally stopped her hands from their roaming and threaded their fingers, while exploring her mouth with avidity. In all their 123 years of fighting, she had never let down her guard and never allowed him this close. Until tonight. She was exquisite, as always. Warm and soft and... softer?

Dracula raised his head to note, with a mix of dismay and amusement, that his nemesis had fallen asleep in his bed. Well, at least, she finally was where he wanted her. The vampire shook his head and laughed softly at the irony. As it was, she wouldn't be able to stake him come morning. Small mercies.

*************

A few hours later, Agatha emerged slowly from her slumber. For a few instants, she couldn't remember but when memories flooded back, she put a pillow on her face and groaned. How could she do that?

- Oh! I see you are awake. Hum! And not suffering ill effects from your over-indulgence.

- Sweet Jesus! It really did happen, then?! I still hoped it was a nightmare.

- I am afraid not, Angel.

- I can't believe I did that. This is so embarrassing!

- Well, it could have been worse. I could have given in.

At those words, Agatha removed the pillow from her face - She couldn't smother herself anyway - and looked at her supposedly oldest enemy. He was watching her with a mix of fondness, resignation and longing. Or so it seemed to her guilty mind.

- I am so sorry, Vlad. I... Well, thank you for resisting. At least one of us didn't embarrass themselves last night.

- My pleasure, Angel. And don't thank me, I wasn't able to totally resist, if you remember well. If you hadn't fallen asleep, honestly..." He trailed before falling silent.

Agatha dropped her gaze on the sheets, a new wave of mortification washing over her.

- Yes, well, I provoked you. So, for once, I don't blame you. You actually showed remarkable restraint.

-  Did I hear you well? Did you just pay me a compliment?! You may suffer ill effects after all." Dracula teased her.

- Nevermind." Agatha mumbled, going out of bed. Dracula presented a helping hand, which, after only a slight hesitation, she took. Once upright, though, she had to grip it more tightly as she swayed on her feet.

- Hum. Not totally unscathed, then." The older vampire remarked, without mirth.

- I'm fine." She defended herself."I just feel a little numb.

- Yes, of course. My mistake." He answered, with a knowing smile this time.

- Oh do shut up, Dracula!" The younger vampire growled, as she tried to remove her hand from his. But Dracula didn't let her.

- Maybe you should stay the day. Sleep it off.

- Dracula...

- I promise you : no mischief, no ulterior motive. If I may say so, you don't look so good. You could rest here, I won't bother you.

- I don't think..." She hesitated.

- I can bring you some clean blood to clear your head and you can lie here as long as you want." Dracula added when he sensed her wavering.

Agatha was thinking about accepting his offer as she felt exhausted, but still she pondered.

- Where will you rest? It's daytime.

- Don't worry about me. My sofa is quite comfortable.

The former nun snorted :

- Your sofa is as comfortable as a marble coffin and at least a foot shorter than you!

Dracula shrugged.

- Well, I still have to put a bed in the guest bedroom, so it will have to make do.

Agatha looked at her nemesis' bed : it had been made for him, so it was probably a foot longer than her and at least, large enough to house a small village. She gulped then took a deep breath :

- Your bed is big enough for the both of us. And since, you were the gentleman and offered me its exclusive use, I would be a very sore guest if I'd let you sleep on this terrible furniture you dare call a sofa.

Despite his surprise at her unexpected proposition, Dracula chuckled :

- Well, if you get into the habit of coming to see me while drunk, I may need to invest into a second bed. Or...

Agatha raised a warning finger :

- Don't even think about finishing this sentence, Count.

The older vampire grinned but stopped talking. After an awkward silence, Agatha added :

- You should think about replacing that sofa, too.

- I will." At his tone, she looked at him. He was watching her back with that same expression again.

- Are you sure you don't mind?" Dracula broke the spell. "I must admit I got quite fond of my bed, since I don't need my coffin to sleep in.

- No. I mean : I don't mind." But she insisted, to be sure : "You promise me no mischief.

- You offered me to sleep with you." He countered, teasing her.

Agatha didn't catch the joke, if her scandalised look was any indication :

- I was drunk!

Dracula laughed at her outraged tone.

- I'm joking, Agatha. Relax.

he sat on one side of the bed and patted the place next to him.

- Come on. You look dead on you feet. I promised you no mischief. I'll keep my word.

Agatha sat carefully on the bed then lay down next to her old enemy. They didn't say anything for some time. Dracula rearranged his limbs then put his hands behind his head, settling in.

Agatha was lying next to him rigidly, debating with herself, until finally she sighed :

- Oh Hell!" And throwing caution to the wind, she rolled on her side to nestle against him. It was quite nice, actually.

The older vampire stayed still for a moment, unsure what to do. Then, slowly, he put down one arm to place it around her shoulders and bring her a little closer to him.

- No mischief." She mumbled into his shirt.

- No mischief." He confirmed with a smile in his voice. "Even if you make it hard for me to keep my promise."

- Not without a partner." His younger kin replied softly, already on the verge of sleep.

Dracula resisted laughing at her tart answer, so as not to disturb her. She was relaxing against him and very soon, he could sense she was fast asleep. No partner indeed.

He couldn't hold it any longer and laughed, barely disturbing his exhausted partner. She muttered in her sleep, then settled against him once more after throwing an arm across his chest.

Perhaps, she would heed his advice next time. But Dracula hoped she wouldn't. Drunk Agatha was almost as fun as angry Agatha and far more agreeable.

The older vampire looked down at the woman in his arms. Maybe he was the one high, in this instance : he still couldn't believe his nemesis was actually sleeping, sober and peaceful, in his embrace. If God had decided to be done with him and Agatha was His sword arm, Dracula decided then and there that it was a small price to pay for a few hours with her in his arms. And with that satisfying thought, he slipped in a comfortable slumber.

[vickyvicarious]

It kind of sounds like the major difference the garlic makes is not totally stopping Dracula, but more stopping him from influencing Lucy's mind.

Since, however, Dr. Van Helsing has been with me, all this bad dreaming seems to have passed away; the noises that used to frighten me out of my wits—the flapping against the windows, the distant voices which seemed so close to me, the harsh sounds that came from I know not where and commanded me to do I know not what—have all ceased.

That was with the garlic and a watchful protector. Now, with garlic alone:

I was waked by the flapping at the window, which had begun after that sleep-walking on the cliff at Whitby when Mina saved me, and which now I know so well.

+

I went to the window and looked out, but could see nothing, except a big bat, which had evidently been buffeting its wings against the window. So I went back to bed again, but determined not to go to sleep.

Dracula is right outside the window, apparently rapidly shifting between bat and wolf in order to howl and batter at the window. Lucy goes and looks right at him but her mind is not affected. She speaks openly about the repeated banging at her windows since Whitby in this entry too, not only in her memorandum but also in her diary. There seemed to be some kind of compulsion to keep her hiding her bite marks, and I wonder if it extended even to her own diary.

It kind of seems like maybe Dracula didn't want to come in and deal with someone else alert and on guard for him, but certainly the garlic all around the room is not stopping him now.

Amongst other things, she clutched the wreath of flowers that Dr. Van Helsing insisted on my wearing round my neck, and tore it away from me. For a second or two she sat up, pointing at the wolf, and there was a strange and horrible gurgling in her throat; then she fell over—as if struck with lightning, and her head hit my forehead and made me dizzy for a moment or two. The room and all round seemed to spin round. I kept my eyes fixed on the window, but the wolf drew his head back, and a whole myriad of little specks seemed to come blowing in through the broken window, and wheeling and circling round like the pillar of dust that travellers describe when there is a simoon in the desert. I tried to stir, but there was some spell upon me, and dear mother's poor body, which seemed to grow cold already—for her dear heart had ceased to beat—weighed me down; and I remembered no more for a while.

You can't convince me that Dracula doesn't know Lucy's mother is weak in this moment. He never showed himself so blatantly before, and no matter how angry he was at Lucy denying him the first time she's alone in four days, I think he also definitely was trying to shock her mother. Either he's been eavsdropping or he just heard the unhealthy beat of her heart or something but he definitely tried to at least make her swoon if not kill her here.

As soon as the garlic is removed from Lucy's neck (not everywhere else in the room), Dracula comes in. Lucy also is abruptly dizzy and the room is spinning round and round. Which, yes, her mom just gave her a dying headbutt, but I think the timing is notable there.

I kind of wonder if the garlic round her neck stopping him from influencing her mind was the reason he couldn't come in? Like, if she had previously invited him while in a trance, but it doesn't work when she's mentally more resistant? However, this moment of extreme shock/grief paired with losing the garlic is enough for him to reestablish their connection, so to speak.

[bleeding-star-heart]

I hope that this is not in poor taste, but we’ve come to the part where all the peasants start insisting “please no, please Mr. Harker don’t go to Dracula’s castle”.  Which begs the question? They all know, or suspect, that the Count is a vampire-which is bad in this setting. And yet none of them have attempted to kill him.  Did they try to kill him before, only to fail? Have they simply resigned themselves to their fate, a la learned helplessness, but are reluctant to let an innocent outsider be killed? What is the reason for their lack of doing anything about Dracula?  Why do these peasants allow a monster that terrorizes them so to exist among them? And why don’t they take more drastic measures to stop Mr. Harker from something he could die from? Does Dracula have a sort of secret police or something that prevents active resistance?  Seriously, why has no one tried to, say, torch the castle? Or, maybe stab Dracula during the daytime? They might not have the money to pay someone to kill him, and the church/authorities might not believe them- Well, actually, the church bit raises a whole different thing, but that’s besides the point. 

[kiame-sama]

Hellsing Head Cannons for y'all! Come get y'all's juice!

Warnings; yandere relationship, yandere tendencies, yandere behavior, yandere, NSFW just for subject of content, AU-ish vibes, tw mercy kill,

~~~~~~~~

Some draculas and draculinas become a different kind of vampire, Succubi and Incubi. Typically exclusively and fiercely loyal to the first vampire they feed from via intercourse (almost always it is the vampire that turned them in the first place) but some resist the temptation at first and appear as normal vampires at first (the only way a Succubus/Incubus does not immediately bond with the one who turned them).

They don't feed off of blood like normal vampires do, they feed off of their partner's energy while fucking them. Often kills humans from over exertion alone which is why they tend to exclusively bond to other vampires that have more stamina and can more readily 'feed' the Succubi/Incubi in question.

Succubi and Incubi can control all ghouls, regardless of who turned them and can even turn the ghouls against their master. However, Succubi and Incubi do not have the ability to turn humans into Ghouls or Vampires, and surviving being attacked by one has few consequences other than exhaustion based off of how much energy the Succubi/Incubi drained from them.

Removing the head of a Succubi/Incubi will not kill them as it does other vampires, but their heart is 100% their weak spot since they are a more corrupt version of love and devotion.

They cannot feed themselves through masturbation. Though it does alleviate the hunger for just a little bit, it actually only makes them hungrier once that temporary relief wears off.

Once that hunger turns to pain it is agonizing to the afflicted, and should they continue to "starve" their pain becomes mind-numbing to the point it drives the afflicted completely feral until they completely satisfy their hunger (which can take up to 100 completely drained humans just to fully satisfy a starving Succubus/Incubus).

I can see a Dracula/Draculina (y/n) just giving up once you discover you've been turned (and feel no thirst for blood but instead a confusing pain) and go straight to Hellsing to request they perform a mercy kill on you. Yandere Alucard probably knows the moment you enter Hellsing grounds that you are one of these unique variation vampires and advises Sir Integra to let him keep the the poor and pitiful creature you are and turn this oddity into a positive for Hellsing. Since your hunger took a while to surface you did not stay with your sire. You are still "unbound" and Alucard is quite happy to fill that role as his cute little darling's master and keep you under control.

[1-800iamhispanic]

CHAPTER ONE 3 Months Later

"You know, you really shouldn't be doing that." Trevor Belmont leans forward taking a crate filled with thick leathered books away from Sypha. She sighs, clearly she's annoyed, but doesn't bother to resist taking back the crate from Trevor.

"I didn't say anything when you insisted I shouldn't help with the construction of the town-"

Trevor raises an eyebrow and gives her one of those looks that indicates he's about to contradict her "You did." Sypha pushes past him showing him where she was taking the books, ignoring his comment and stare.

"Then, you forbade me from going out with you on hunts, when you know perfectly well I could kill more creatures of hell than you." She points at an unoccupied table in the library, her eyes closed and a smirk of content as he passes by her, doing as she commands.

"I suggested!" Trevor sets down the crate.

He looks at her just now processing what she had said. "You do kill more hell creatures and yet there is always a bigger mess to clean-"

She begins taking the books out of the crate and slamming them onto the table. "Now you tell me I can't help with the school. I'm pregnant, not disabled Trevor Belmont!"

Trevor smiles at her. He's been happier than ever watching her take charge of the town, helping with everything she can, and for keeping their child safe. She's just about four months pregnant by now, or no perhaps closer to five he thought. God, she'd be well into her fifth month and nearing sixth soon. The small bump was becoming more noticeable, but she seemed more swollen than she was last week. And it was definitely not hard to notice how she was swelling in all the right places. He watched her carefully, taking his time to admire her at this exact moment.

"I said you shouldn't, and I meant, shouldn't be carrying heavy things. You know this town needs you just as much as Junior there does." He bobs his head towards her growing womb, and she places an instinctive hand caressing the curve of her bump.

"Surely that poor child deserves a better name than Junior," a soothing voice speaks from a distant slowly creeping closer as Alucard strolls in. He steps between the two, greeting Sypha.

"Aa-ha! Alucard agrees with me, Junior is a terrible name."

Trevor scoffs and rolls his eyes at Alucard. "And he agrees with me that Treffor is a hideous name."

Sypha glares at Alucard and scoffs at the betrayal. Alucard looks innocently from Trevor to Sypha, "I think this is between the two of you."

Sypha hands the books to a woman who has approached the table. "You mean between the three of us, clearly my child likes it when I call him Treffor," Sypha places a hand on her womb again, feeling her child wiggle about at the name and smiles.

Trevor crosses his arms across his chest and inclines himself towards Alucard. "Oh, so now it's her child. But when she's hurling her guts out in the mornings it's my child."

Sypha glares at Trevor, handing another book to the woman who approached them.

She's been helping with educating the children of the town and had requested new books. Sypha waves her hands about, getting the attention back towards her. "All I'm saying is I need to keep occupied. I refuse to become nothing but a wife who bares children."

Alucard and Trevor exchange awkward glances. Alucard composes himself as Trevor keeps his brows raised obviously very aware of her mention of children.

The woman clears her throat, obviously embarrassed to interrupt their conversation. "If it is work you seek, my Lady, we can always use your expertise in arrangements of the town. No hard labor involved, simply planning and such. I heard that outhouses shouldn't be so near the wells."

Sypha picks the last of the books up herself and nods contently. "You most certainly do not want to place outhouses anywhere near where people drink water, eat or sleep."

Alucard gives her a soft smile. "This is your calling Sypha, this town does need your expertise, for now."

Sypha sighs as the woman carries her stack of books out the door. "Oh, perfect! I get to decide where this town will be shitting for the foreseeable future of Belmont," she adds sarcastically.

Holding her stack of books, she follows the woman out the library.

Trevor holds his smile until he sees the last of Sypha. It isn't until he's certain she's out of reach that he turns to Alucard. "Was there another attack?"

Alucard's feathery blond eyebrows remain still, his features serious and grim. "10 miles west of here. It was only two but that's still two more than I would have hoped to encounter." His voice flowed like silk. Trevor turned heading back into the depths of the castle. He could feel his own face turning old with the seriousness of the topic. Even more so that he had begun to keep this information from Sypha.

"We knew this would happen."

"And yet we hoped it wouldn't," Alucard pauses. He turns in the direction they came from, at the now vanished image of Sypha and turns back to Trevor.

"She should know, you know?"

Trevor turns his head, surprised and confused by Alucard's sudden opinion.

"And she will." He opens the door to an unoccupied room of the castle.

It had been decided amongst the three that this would be a room where they could train, talk and keep for themselves. After vanquishing Death and the events of the Dracula-and-Lisa's-almost vessel, Trevor and Alucard had decided it best to always be prepared. Sypha still had the adrenaline of a win, and for now was content with how things were. She was no fool and knew that there were still monsters to vanquish but for now, she should enjoy the win. Trevor grabs a few daggers large enough for damage and small enough to hide along his body.

"Sypha thought we were finished. She truly believes we won, who am I to take that away from her?"

Alucard watches him. He stays at the entrance of the room, quietly observing. He could see the hurt in Trevor's eyes if not for Sypha's lost dream then for an uncertain future of the child and or children he may bring into the world.

"Trevor, you can't keep lying. And you certainly can't go disappearing more and more often. She has noticed. It won't be long until she starts suspecting and then she'll be the one hunting you."

Trevor laughs moving past Alucard, heading back out of the castle. Alucard unexpectedly takes hold of Trevor's shoulder, keeping him back. "How long until you tire of bloodshed? Stay with the people, with your family. I can deal with the rest."

Trevor yanks his arm free, shaking his head softly as he stares at the floor. "I'm doing this for them, until my last breath. I need you here, to protect home." He heads out the castle, leaving Alucard standing alone.

"Home..." Alucard repeats softly, enjoying the sound of it.

—————————————————

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