#slaughterhouse survivor

[lilostory]

Is she still alive? 🫣🫣

[iseeyouandwillfindyou]

Yo wassup everyone

My alts:@iseeyouandwillfindyou-alt and @bexmoonlight

Apart of the OSC

I like silly stuff :)

[medusaesque]

Kim Kitsuragi and the pale-

Kim has a unique relationship to the pale, I tried dissecting it and making sense of it. Reposting with more thoughts after some good conversations with @binomech.

Warning- it's insanely long.

1. After life, death

One of the first thing you can learn about Kim is that he would hurl himself in death's way to save you. From the very first moment, Kim is related to sacrifice and death, it follows him wherever he goes-

The slaughterhouse.

He lost his parents at two years old. He worked a year in Processing (here's good post about that by @renmorris and @spilledkaleidoscope). He lost his partner, Eyes. People have taken a bullet that was meant for his more than once. His survivor's guilt is insane. He's killed six people. He's afraid of killing recklessly, and has a deeply unhealthy relationship with his gun (made another embarrassingly long post about that).

Kim also hears pale 'ghosts' on the police radio all the time, talks about it like it's normal, and says he doesn't believe in ghosts.

If harry is with Noid during the Moralist dream quest (more on it later), Harry can even wonder if Kim himself is a ghost, prompting this beautiful exchange-

And he's not entirely wrong. When Harry gets shot, after Kim fulfills Espirit's promise and stands in death's way for him, you can ask as you fall into darkness what will happen to you-

It's the living who are ghosts. You can leave them behind and rest. Go into the wild pale yonder, along with everyone else Kim has ever cared about. Or at least you can try to.

When death is at the door, you have two options-

2. After death, life again

Kim might associate himself with death, but Harry associates him with life again and again- Death is darkness, Kim has a light bulb halo. Death is a sunset, Kim is a sunrise. Death is where you are when the game start, it's ready to take you, and then- a clarion call, the sound of a motor carriage, a detective arriving on the scene, and you open your eyes.

Of course Kim is no actual saint, no guardian angel, but it's really telling that even in harry's deification the symbols of Kim's holiness are worldly, almost mundane, the matters of every day life- a celling's fan lightbulb, the engine of a car..

Or the way @binomech said it when discussing Kim's portrait: this is the only thing keeping you from the full brunt of the world in your mind #but truly you are already in the world #and he is just a man #and that's just a car and that's just a ceiling fan

The game is very clear about Harry being a ceaseless agent of the world, but he's not the only one. Harry stands at death's door twice, and Kim is his way back to the world both times.

3. After the world, the pale

So what is Kim's relationship with the pale?

As casual as he might try to appear, Kim is clearly uncomfortable with the pale, afraid of it even. When Harry brings up the pale, he intervenes, genuinely worried for the fragile stability of his mind, trying to protect him-

It's no more terrifying than water or death or that we're stuck behind our eyes for all eternity?? Sounds pretty terrifying Kim...

I think the key is in the moralist vision quest, When Harry attempts to reach the Committee of Responsibility, and he hears the pale crosstalk coming through the radio, when suddenly-

"Pale is a shroud of memories and it doesn't really distinguish to whom those memories belong to. You could hear anything." You could hear anything, but you hear Kim. Soona even says that the odds of us hearing him, out of all the voices in the pale, are astronomically low.

We know the past has not been harmless to Kim, we know it's full of ghosts and cold winters, but that's not the thing that's eating at him-

Kim is afraid of forgetting. He's constantly writing, he thinks through his notebook, always recording, so he wouldn't lose anything. That's why the pale is so terrifying to him.

4. After the pale. the world again

The world is what it is. God is in his heaven. Everything is normal on Earth.

That leads me to the expeditions through the pale-

Volta do Mar is a skill unique to Kim, according to the stats of this pilot jackets, and it's a Physique skill.

It's driving me crazy to think how Kim wanted to be revolutionary pilot as a kid, and is walking around dressed like a pilot as an adult, to give himself the ability to navigate the pale. To return from the sea-

DISTANT ENEMY OF HIMSELF?? kim....

Seeing how Volta do Mar is strengthened by his jackets, and the items' descriptions point out that most of the people who used to wear this jacket are long gone (alongside what they represented) and considering that the only real advance in pale transit is the speed with which an aerostatic craft can pierce it, is seems fitting that returning from the 'sea' requires the kind of armor that ghosts wear- the ghost of who you wanted to be but never could, of a home that was never yours. Glory to them.

@binomech said it best in this conversation we had about Kim's skills: "your traitorous race. your traitorous job. your traitorous parents. your traitorous senses. distant enemy of yourself: seolite, communist, cripple, faggot. and you wear it as armor"

Kim is equipped for Volta do Mar, he armors himself for it every day, for the thing that makes it possible to return sane, and discover a new world-

This is one of the most touching Kim moments in the game to me- putting his hand in the rain, looking up to the sky, mouth open, welcoming the spring rain, even knowing it'll bring death and destruction with it. He is devoted to this world and the role he has to play in it, or at least the role he thinks he has to play-

But we know Kim has a bigger role to play, he's trying to do his part right there, getting Harry to stay-

His connection to Harry can keep him on this world once again- keeping the two of them together. Their real work is down here, him and Harry are Revachol's only hope. If they stick together they might be able to keep her on this earth.

UNITY AMONG THE RANKS IS PARAMOUNT.

I NEED YOU. YOU CAN KEEP ME ON THIS EARTH. BE VIGILANT.

I LOVE YOU.

[bits-and-babs]

𝐓𝐇𝐄 𝐃𝐎𝐆 𝐎𝐅 𝐖𝐀𝐑 || 𝐉𝐎𝐄𝐋 𝐌𝐈𝐋𝐋𝐄𝐑 𝐗 𝐑𝐄𝐀𝐃𝐄𝐑

summary: When Ellie is taken by David, Joel breaks open the part of him locked away since his hunter days. As the guilt eats him alive, you try to help him subdue the black dogs of mental warfare.

word count: 4.1k

warnings: Very 18+. It’s giving morally-grey Joel. Depiction of gore, violence, mentions of cannibalism, mentions of David that is a warning in itself. Very vague insinuation of SA as shown in the game. Discontent for Christianity (don’t like, don’t read my dude). Angst, guilt. Hurt-comfort. P in v sex, unprotected sex.

authors note: This got so dark it actually caught me off guard! I am so incredibly proud of this piece. I started it 5 whole weeks ago, and spent up until the night of posting (March 5th) editing and retouching. I hope it does Winter, my favourite part of the game, proud.

tease: “I jus’ need to be close to you.”

Continuous dripping sounds from the radiator, drip, drip, drip. Globs of blood seep down the grooves of the heater, falling when the droplets reach the edge and settling in a pool of coagulated gore. A headless body leans left, slumping against the metal the handcuffs chain it to. What’s left of its skull plasters the walls, the ceiling, and the steel pipe discarded in its lap.

Another lifeless body lays strewn sideways, the chair it’s tied to thrown haphazardly across the floor. Its neck is angled awkwardly; its eyes rolled back so only the whites show.

When you manage to tear your eyes away from the carnage, you can still hear the panicked shouts of the captives before Joel slaughtered them, rattling inside the cavern of your skull. Joel’s callous answer rings in your ears.

“Fuck you, man. He told you what you wanted. I ain't telling you shit!”

“That’s alright. I believe him.”

Snowflakes stick to the window of the home Joel had appropriated as a slaughterhouse, the wooden planks weathered and falling apart after years of neglect. The cold creeps in through the holes in the ceiling and the gaps in the wood, but you find yourself doubting the chill responsible for the goosebumps littering your arms.

Inhaling slowly, you will yourself to speak, but the words die in your throat before they even form on your lips, melting away on your tongue. Your pleas for reason would fall on deaf ears, and you know it—Joel’s far beyond reasoning with.

He’s pacing up and down the room, the floorboards creaking under the weight of his boots as he studies the map gripped between his imbrued knuckles. It’s unlike him, you note, to be so rattled. In the years you’ve known Joel, his steadfast resolution had been comforting, a certain. Not now. The men he’d butchered had mentioned details you could only describe as buzzwords that had Joel’s survivor alarm bells ringing.

David’s newest pet. The Town. Cannibals.

Heaving breaths he expels from his lungs vaporise in the air, still catching his breath from pummelling radiator-man’s brains out. If you couldn’t hear the wheezing in his chest from his laboured respiration, you could damn well see it.

Stepping forward, you wince when the floorboard beneath you creaks. “Joel—“

“They got Ellie, Darlin’,” your partner leaps into an eerily calm rundown of the dire situation despite you having been in the room for the entire interrogation. “They got Ellie, an’ they’re gonna kill her.”

Nodding slowly, you reach across the small distance between you to hold onto Joel’s bicep. Blood splatters the fabric of his brown winter coat, and you can feel his body heat radiating beneath the layers of cloth as his body fights infection. The gaping wounds in his back and stomach from the protruding rebar he was impaled on, thanks to a scuffle with a looter at the university, have stopped weeping puss. However, Joel was still largely incapacitated by the pain — despite the feral display of resilience against these two bandits.

“I know—” you try to ease him, but Joel’s buzzing with adrenaline.

“I gotta go get her; you can’t stop me doin’ this, Darlin’ I have’ta-“

“I know,” you speak firmly, and Joel stops dead in his tracks, clearly not having expected you to green-light his suicide mission, “I know I can’t stop you, which is why I insist upon going with you.”

You expect Joel to make a scene, to lose his temper and tell you that you weren't going anywhere, that it was far too dangerous and losing either of you would crush him. You know about Tess; Ellie told you everything when you joined them in Pittsburgh. She detailed Joel's heartache, despite his desperate attempts to appear indifferent. It's times like these that you can't blame him for being overprotective, knowing he had lost so much.

However, your expectations are not met. Joel looks at you, the whites of his eyes tinted red, and the skin beneath shadowed dark with exhaustion. He nods slowly, evidently realising he cannot compete with an army of cannibal bandits single-handedly with the state he’s in. He surrenders.

Wordlessly, Joel grabs your backpack and begins to sift through the items within. Apparently, he decides you don't have enough ammo, sacrificing his El Diablo pistol and offering it to you.

You accept it without fuss, knowing damn well that leaving with him is out of his comfort zone. Making a scene would make him change his mind.

It doesn't take long for Joel to spread out your limited supplies. Within five minutes, he's lifting his heavy backpack onto his shoulders with an agonised groan. You move out silently, Joel holding the door open for you as you step out into the blizzard.

You hear the frozen grass and layers of snow crunch beneath the rubber soles of Joel’s boots. You set your whole life to the pace of each of his steps, a monotonous metronome. Sometimes, on hot days in the summer, you can smell the rubber melting on the tarmac if you stand still for too long.

It’s bizarre, especially as he guides you into a death trap with an unknown sum of threats, but you find yourself thinking you’d be happy for him to lead you anywhere.

-✩-

Snowflakes cling to your eyelashes, eyes weeping from the cold and freezing the coarse hairs together. It's so cold that you’re convinced that the tears that develop as a result of the stinging cold freeze before they can drip down your cheeks.

Even without the natural eyelash glue, it's hard to see Joel ahead of you in the chaos of the bandit’s town. The blizzard has intensified, casting a light grey fuzzy haze over what you can see— or rather, what you can't. You're not even sure that the shadowy figure in front of you is Joel, but you're too afraid to ask in case a stranger turns around and shoots you in the stomach.

When you and Joel arrived, it was pandemonium already, armed bandits practically running into you as they attempted to reach their battle stations. The whistling of the wind muffles gunshots, and the bell from the church tower rings deafeningly loud across the snow plains in warning. What exactly had happened, you are unsure, but what you do know is that the cracking of the bronze bell will draw in runners from miles away.

You had to find Ellie. Quickly.

"You all right?" Joel calls out above the din, his Texan accent a welcome relief. It takes you a second to find your voice, the cold having momentarily stolen it.

"Yeah!" You shout back, trembling fingers grasping tightly to your gun.

There is a roaring sound on the wind, rising in volume as you continue to trudge blindly through the snow. The gunshots are more frequent now, yet still too far away to be a threat to you. You wonder if Ellie is raising hell or if the infected have already arrived. Neither scenario was good.

An orange glow peers through the blanket of falling snow that distorts your vision. You'd noticed the flaming barrels as you wandered through the town, but this was different. It was huge. The closer you got to it, the clearer the sound met your ears. It was crackling, wood-burning and billowing acrid black smoke.

Joel whistles, the pitchy sound catching your attention over the deafening thunder of the fire. You can't see his expression, but you can vaguely make out his silhouette pointing toward the building swallowed by flames. You were going in.

One step forward and the blaze is singeing your freezing skin, burning the peach fuzz on your face. You swear you can smell your eyebrows smoking, the flames so strong that you're almost scared to step into the building.

Despite your concerns for the integrity of the structure, Joel is quick to pursue the only lead he has to Ellie. He feels blindly all along the entrance, hissing as his palms come into contact with red-hot glass panes. It's a wooden door inset by small rectangular windows. The frame is deep brown and littered with orange, glowing embers embedded within the grain. You're scared, and open your mouth to dissuade Joel from doing anything rash. He doesn't give you the opportunity.

His shoulder slams into the weakened, charred door without hesitation, the windows falling from their frames and shattering on the wooden floor. The blazing heat inside the building wafts over you, causing sweat to bead at your brow.

Desperate, Joel pushes through and stumbles into the building, which you now discover is a diner. The smoke burns your lungs, and your eyes sting so much that you're almost blinded by the tears prickling your waterline. The dark grey clouds are so thick that you're suffocating, unable to take in any oxygen. Had it not been for the noises piercing through the terrifying roar of the fire, you would have aborted the entrance in fear of asphyxiation.

High-pitched grunts of exertion and the sound of metal slamming into wood catch Joel's attention. He looks up, alarmed by the noise and yet scrambles towards it despite the danger.

"Ellie!" Joel shouts out, running on adrenaline as he rushes forward. You let out a sob of relief, knowing that Joel has eyes on her, but the consolation doesn't last long.

When you catch sight of her, you find Ellie in a blind rage. Her bloodied hands hold onto a machete handle with a white-knuckled grip, raising the weapon above her head and bringing it down into the mess of the fractured skull and smashed brains of the body below her. Blood sprays across her face with the sheer force with which she plunges the blade into the meaty mess, tears of fury leaving tracks in the crimson on her cheeks.

"Stop! Stop," Joel wraps his forearms around Ellie’s chest, dragging her away from the mutilated body to a chorus of devastatingly broken ‘no's’. Ellie screams, fighting Joel’s grip and clawing at his arms in an attempt to free herself.

"Don't fucking touch me!" She sobs as Joel hushes her, wrapping his arms around her body and holding her to his chest in a desperate attempt to prove to Ellie that she is safe. He sets her in front of him, forcing the broken young girl to look at him and recognise him.

"It's me," he speaks firmly, trying to access the rational part of her brain as he holds her still, his palms settling on her bloodied cheeks and inevitably smearing the ruddy liquid across her skin. "Look, look. It’s me."

Her tearful gaze settles on Joel, still in a panic as she searches his face. It takes her a moment, but relief swallows her expression and she practically falls into Joel's embrace.

��Oh,” she sobs out, eyes falling to the blood-streaked floor as the shock kicks in, “He tried to-“

“Oh, Baby Girl…” He murmurs brokenly, clinging to her as though he feared the world would snatch her from him again if he didn’t hold her in a vice-like grip. “It’s okay. It’s okay….”

“Joel…” Ellie sobs, burying her face into his chest and soaking his already bloodied clothes with yet more gore and tears. Joel presses his head to hers, repeatedly murmuring that it was okay, that he had her.

As Joel speaks to Ellie, you allow them this delicate moment of solitude. Of course, you were part of this family, but the bond Ellie and Joel shared far outweighed anything you could offer. A found father-daughter relationship that filled the holes in each other's hearts. It wasn’t your place to intrude.

Casting your teary eyes to the ceiling, you catch sight of a rudimentary hanging sign made from a white mattress topper. Scrawled upon it in mostly black paint, the lettering bulky, and only one word is written in scarlet.

“WHEN WE ARE IN NEED, HE SHALL PROVIDE!”

Bile rises in your throat as you take in the quote reminiscent of bible scripture. It turns your stomach, knowing what this man would have done, what the town no doubt did do to others, all while justifying it with thinly veiled Jesus worship.

It was an odd realisation, one that left you feeling quite numb as Joel helped Ellie from her knees. The comprehension that for the past 20 years, humanity had been coming together to fight the Cordyceps virus in the hope of removing the scourge and returning to normal life. Instead, the happenings in the diner, in this town, proved that the Cordyceps virus had little impact on the real plight.

That humans, people, are the true sickness.

-✩-

You are fearful at first that Ellie wouldn't be able to sleep after the trauma of her ordeal. She had, at first, been delicate on the journey back to the cabin that Joel had been recuperating in since his accident. Exhibiting signs of shellshock, she refused to elaborate on anything she had seen or heard during her captivity, and both you and Joel decided it best to leave her to unpick her thoughts in her own time.

The brass bells in the cannibal town had drawn the attention of a ginormous pack of runners, and you were scared that Ellie would be unable to find it in her to fight for her life.

However, as Ellie often did, she proved you wrong. Perhaps that is why she retreated to a dream world the moment her head touched the pillow. The sound of her steady breathing is the only noise permeating the silence that had settled in the cabin basement.

Joel retreats into the shadows when Ellie finds sleep. Leaning his back against the rough brick wall, he groans in agony as he sinks into a half-comfortable position. You watch him settle, eyebrows pinching together as you witness him fall back into the blackest corners of his mind.

You hesitate. You've only ever seen Joel like this once, distraught by the deaths of Henry and Sam after barely reaching freedom beyond the Pittsburgh Bridge. He had withdrawn into himself for weeks, the guilt eating him alive despite not belonging to any of you.

The black dog of mental warfare was a friend you knew Joel had come to know well. Before Sam and Henry, there was Tess, his hunter days, and of course, Sarah. Each time, the darkness would require him to carry a heavy burden of culpability despite his lack of fault.

"I'm glad," Joel's gruff voice cuts through the silence. He sounds broken, battling an insidious infection that you can't see. Similar to the Cordyceps virus, it encroaches on his mind, turning it against him. “I'm glad she killed him."

Again, you withhold your innermost thoughts as Joel battles to admit his feelings. He looks up at you, resting against the opposite wall. His expression is cold, but his eyes reflect a tragic pain within him.

“I’m relieved she killed him. Because I dunno what I would’a done.”

The black dog has returned, settled at Joel’s feet, and with it the guilt lands in his lap.

"Joel," you whisper, rising to your feet and approaching your crestfallen partner with delicate steps, "It’s not your fault."

Shaking his head Joel refuses to acknowledge your exoneration, beginning to launch into a tirade of self-hatred. "No. No, if I'd‘ve-"

You interrupt him, a firmness quite unlike you seeping into each syllable. "It's not your fault."

This time it appears to strike home, Joel slowly nodding his head in acceptance as you sink to the floor with him, resting your head on his shoulder as you settle beside him for warmth. The following silence isn't as emotionally charged. Joel appears to find comfort in your embrace. The black dog slinks out of the room through the crack in the open door.

You gently press kisses to the soft expanse of skin peeking from underneath Joel’s collar. It's a comfort, one that you regularly award Joel before sleep. He tilts his head in the opposite direction, offering you further access to the skin layering his jugular.

Without question, you continue to pepper his skin with endearment. He wasn't one to regularly ask for it, so you took this as a sign that Joel required some tenderness right now.

"’m sorry," he mumbles, embarrassed by his needy behaviour, “'m just-“

"You don't have to explain anything," you whisper, the curve of your lips dragging against his pulse point as you speak to him. He hums deep and low, eyes slipping shut as you continue your ministrations.

Achingly slowly, you drag lips across his jugular, pressing kisses to spots on his neck that you know are reactive. The soft valley behind his ear, the curve of his jaw, the junction between his neck and his shoulder. They all receive your affection, and you begin to hear Joel's breathing labour ever so slightly.

Joel’s infectious fever bleeds into something akin to fervour, his ribcage rising and falling with heavier, unsteadier breaths. His eyelids flutter closed, the searing, sour pain blending with the pleasure that sparks in him when your lips brush over his pulse point.

“Darlin’-“ He whispers, and it’s utterly broken. Pitchy and cracking in his throat when your fingertips work at his shirt buttons to expose more of his clavicle. His hands are settling on your hips as you swing your thigh over his lap slowly, thumb pads sweeping over your hip bones in delicate patterns.

“What is it you need from me, Joel?” You murmur softly, nose nudging at the bottom of his throat, at the v where his collar bones meet.

“F-Fuck,” he chokes, eyes cast skyward as he attempts to piece the broken pieces of his mind back together and find an answer. “I jus’ need to be close to you.”

He thought he’d lost Ellie. Thought he’d find her strung up with pieces of her flesh scattered about an unsanitary butcher's room. No doubt his mind was spinning with all the possibilities. What if you’d been shot trying to get her back?

Joel needed to be confident you were alive. Needed to feel your pulse thrumming against his palm.

“I can do that,” you promise him gently. You never pledged anything to Joel; nothing was certain. However, right now, you could offer your word. Could swear to ease his trepidation.

“I’m here.” Your words are spoken with conviction, his head nodding slightly as you take his wrist in your hand. “You can feel it. Come here.”

Delicately, you lay his bloodied, trembling hand across your chest. He lets out a quivering breath through his nose when he feels the thump of your heart against the lifeline of his palm.

Your free hand settles on the brass button holding his jeans together, popping it open and exposing the trail of dark, greying hairs that trail down his naval. His eyes flicker to your own, chapped lips parting slightly as you pinch the zipper and drag it down with a quiet ‘zzzp’.

The thud against his palm picks up the momentum as you feel him harden beneath the denim of your jeans, and you catch his lips pull up. A short, single scoff of disbelief- relief- as you gently work the jeans down and over his hips.

“Does this old man really do it for you that much?” He whispers, his fingerprints teasing the stitches of your collar. Your flannel is worn, threadbare and velvet soft, and your skin is burning hot beneath. “Even greyin’ and broken like I am?”

“Joel,” you whisper, pressing a delicate, lengthy kiss to his forehead, between his eyebrows. Fumbling with your cargo pants, you have them over your ass in no time, dragging your panties along with them. “You are the only man alive that makes me feel this way.” Your lips brush against the creases on his brow; frown lines etched deep into his skin after years of misery.

“Mhm,” his rich, oak eyes drag down your form as he watches you undress and expose your soaked cunt, thighs glistening wet in the low lighting. “That ain’t hard when most of the population died out.”

“Joel,” you repeat with a less-tempered tone, nose nudging at his hairline as you wrap your fingers around his length. He grunts quietly, careful to smother any loud noises to avoid drawing Ellie’s attention. “There wasn’t anyone before outbreak day, either.”

“Not even that actor-… What was his name, George Cloo-oh fuck,” his stupid joke dies on the tip of his tongue when you slowly sink down onto the head of his cock, walls fluttering around the stretch of him. His voice is hoarse, whisper breaking into silence as he slowly pushes the crown of his head into the terracotta brick walls.

“No,” you chuckle softly, watching him struggle for logical thought as you take more of him, and slip him further in. “No, not even him.”

Joel grunts, digging his teeth into his lower lip as you take him to the hilt. He nudges your cervix in this position, the sensation almost like a mild bruise, but you love it. Love that it will match the hickeys he leaves on your shoulders- marking you inside and out. Claiming you as his, Death and His black dog be damned.

“Oh C-Christ,” he lilts, and it sounds like a whimper as you squeeze around him, “I can feel it. Can feel your pulse-“

“See? I told you I’m alive,” You muse, wrapping your fingers around his wrist as you slowly begin to grind your hips forward in a circle. Joel just nods dumbly, his previously pale cheeks flushed slightly.

No bouncing, no thrusts. Joel is too fragile, his immune system fighting a nuclear war inside of him as his white blood cells try to secure the perimeter of the wound in his abdomen. You focus on rolling your hips instead, slowly inching off his cock and sinking back down onto his velvety length.

“Hoh- uhng, fuck-“ his illegible groans make your heart batter his meta-carpel bones, compelling him to acknowledge your vital signs and their optimal function.

He’s twitching inside you, the slow rise and fall of your hips forcing him to feel you stretch around each ridge and pulsing vein of his cock. Joel looks like he could break down, the sensation of his building orgasm such an overwhelming sensation in his already exhausted body.

Pushing your fingers through his soft curls, you clasp the back of his skull and lean forward to hold his face to your chest. He can hear it loud and clear now, the shell of his ear cupping the cavity of your chest where your heart batters against his cheekbone. His arms wrap around your waist, squeezing you as tight as his septic-fatigued muscles can hold you.

It doesn’t take much for you to work yourself into your own fever. Joel’s cock always manages to find that spark inside you, nudging it and coaxing your orgasm to bloom between your thighs.

“M’gonna cum,” he rasps against your chest, his hot breath fanning across your skin. Joel’s pressing sloppy, clumsy kisses there, exhaling heavily with each roll of your hips.

“Mhmm-“ you muffle your cry by biting your knuckles, focusing on the clench of your walls and the buzz of your orgasm surging up through you. It’s like a whirlpool, pulling you under and drowning you in the wave of bliss that overtakes you.

Joel’s follows almost immediately after, his whole body tending despite the pain as it pulses through him, his cum painting your insides. His hips stutter, burying deep within you and letting out a ragged breath of relief that edges into a moan of your name.

Passing carbon dioxide between you, your foreheads press together as your breath fans over each other's faces. His eyelashes flutter with exhaustion, and you can feel them tickle the peak of your cheekbones. It’s so tender, so unlike Joel.

“I won’t let him take you.” His voice is so quiet the words almost don’t form, just barely leaving his throat in a sigh. His hand, not having left its rooted spot above your left breast, slowly inches towards your throat. You feel his index finger prod at your pulse, sealing his conviction that you are safe.

In honesty, you’re unsure who he means. Death, probably. David is long gone, but Joel’s fever is tipping him closer to delirium than reality.

One thing was for certain; you had managed to stave off the Black Dog for now. It lay at the doorway, stuck beyond the threshold it was forbidden to pass over, waiting until Joel allowed it back inside.

END

@hoeneey @howaboutcastiel @welcometostayingawake @syrma-sensei @ethanhoewke @foxilayde @bookfrog242 @wh0reforbucknasty @zakizigekwe @ahookedheroespureheart @buckys-other-punk @anxious-sappho @alexloveskili @captainrexstan @knights-power @southcrnbelle @niallsbunny @hold-our-destiny @vermillionwinter @stormkobra-5 @erenbissexual @alwritey-aphrodite @maggotzombie @deadpige0n @bakerstreethound @whatthehekko @cottagebunny9 @bit-dodgy-innit @peachyproserpina @pedrosprincess @inklore

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[radfemsiren]

We need updated terminology on prostitution and the epidemic of female sexual slavery. The fact we don’t shows how female oppression and gendered exploitation aren’t taken seriously in the public conversation… it’s ridiculous the terms we have to use to talk about the different roles and players in this sick game, and I’m not just talking about the dreaded term “sex work.”

“Madame” “John” “Pimp” … it’s all slang and outdated slang too… We need an updated academic lexicon to properly articulate these horrors and how they operate.

It reminds me of when I read about interviews with Korean “comfort women.” These were women and girls that were kidnapped to be raped by Japanese soldiers, and the government allowed this mass rape because it functioned as a “comfort” to the soldiers in their war effort, thus the name. When survivors were interviewed, they said this name for them was absolutely ridiculous: nothing was comfortable for them in those brothels, where girls as young as 14 were violently raped 50 times a day… they said a more accurate term for those places were “slaughterhouses for women.”

[hells-plaid-angel]

Dean Winchester: Reading Recommendations

Because I headcannon Dean as a reader, here is a list of books that I think he would like. Some are directly referenced in the show, others are odes to America and a life on the road complete with horror, satire or complicated family issues. And, of course, some books manage to meet at the twist of the mobius strip where toxic masculinity and homoeroticism collide.

Books of Blood - Clive Barker 

Imajica - Clive Barker 

The Complete Poems - Hart Crane 

Hard Rain Falling - Don Carpenter 

Our Share of Night - Mariana Enriquez 

Catch-22 - Joseph Heller 

Iliad - Homer 

Jesus’ Son - Denis Johnson 

East of Eden - John Steinbeck

My Heart Is a Chainsaw - Stephen Graham Jones 

On the Road - Jack Kerouac 

Christine - Stephen King 

The Road - Cormac McCarthy

The Heart Is a Lonely Hunter - Carson McCullers

Survivor - Chuck Palahniuk 

The Moviegoer - Walker Percy

The Devil All the Time - Donald Ray Pollock

A Season in Hell - Arthur Rimbaud

Crush - Richard Siken

Fear and Loathing in Las Vegas - Hunter S. Thompson

Cat’s Cradle - Kurt Vonnegut 

Slaughterhouse Five - Kurt Vonnegut

Time is a Mother - Ocean Vuong

Leaves of Grass - Walt Whitman 

Butcher’s Crossing - John Williams 

[redrum-alice]

[OC stuff] I like to ramble about my OCs, so ignore this

Thinking about that trope where the villain tries to convince the protag that "humanity isnt worth saving, so why do you have to sacrifice yourself for them?" (+ spoilers i guess?) + this is corny, so really...ignore this--

!!Some potentially triggering stuff about s*icide and ab*se of power, so CW!!

So like CJ isnt very lucky in life and in the beginning of whatever tf i wrote, its implied she wanted to "end" herself by overworking once she repaid her foster family (they loved her unconditionally, but she sees herself as a burden bc they never asked to care for a child) + she had a survivors guilt over the fact that "she couldnt save whats left of her friends" when she was around 8 years old, stuck in a facility (slaughterhouse).

So when she escaped and was given another chance (in her teens, shes trying to adjust, angst ensues etc.) and met Arthur the ghost who convinces her "its not so bad to have some people in your life", so she does. She ends up having a few friends, but shes skeptical. Basically Arthur was there trying to support her to go out and have a life (because he wanted her to have a good life- something he unfortunately could not have since he died when he was 14 yrs old in the 1930s-40s)

Bonus: Arthur helped her find a job from another dimension where she delivers letters/memoirs to spirits who have stayed too long and wandering about in limbo that never got closure. She is responsible for preventing them in turning to demons that spread despair (along with other postmen/mailmen)

Yes...she and arthur made a deal that if he got her a job, shell help him reunite with his family (but he doesnt remember them bc he was wandering too much)

In comes Poppy, a lonely girl who was well off- and heiress. While she may not flaunt her wealth, she has that intimidating aura that alarms CJ despite Poppy wanting to have friends. Weirdly enough, she has a deep fascination with CJ, all because she sensed that she has the ability to see ghosts, something that Poppy was jealous of. Poppy practiced dark magic all her life, and was aware of what her father does- running the facility for harvest eyes from people.

CJ couldnt figure out what was bothering her about Poppy, because she have sworn the blonde girl was familiar somewhere. It turns out Poppy was that one girl she saw at the facility who was walking with her father right after he ordered the staff to put them in the operating table to sedate them and harvest their eyes. CJ, at that time, looked drastically different from what she looks today, even down to her legal name which was now stripped from her and was turned into numbers.

Poppy was brainwashed into thinking that her life's purpose is to complete her father's work, and in order to do so, she has to collect any potential candidates for the cult's experiment to complete the giant homunculous resting beneath the earth for thousands of years (she still has no idea what they would use the giant for, since she herself doesnt have the gift of sight or "eye shard" like CJ does).

Poppy also knew what she and CJ were made of- they were made from that same material and genes as those of synthetic flesh of homunculi only that they were conceived, but without a soul or memory once theyre done with their work.

Homunculi don't have adequate expressions, and it was why it was hard for them to relate or react in certain situations.

She knew that once her time is up, she'll be discarded, so shes working hard to help the cult.

CJ discovered her origins later on-- that she wasnt her mother's daughter, but a clone of her brother to store the eye shard, since it favors female hosts. After uncovering everything, she felt devastated because all of the memories she had made with her found family and friends are all worthless since she herself isnt a human. Not an ounce of humanity is present within her, so why does she have to commit?

Poppy adds that theres really nothing in store for her sibce the world and its time will end at one point. CJ wont be remembered or reincarnated just like Poppy bc they were never and will never a spirit- a negative sentiment that eats Poppy's heart and making her unable to have meaningful connections unless it was with a condition.

Arthur rebuts this and says that shes more human that she could ever be. If he were alive and living in the same timeline and dimension, they wouldve been great friends. He was willing to stay so she would be happy, even though it would result with him turning into a demon.

In short: Looking back, her life wasnt meaningless at all. Her desire to end it all was a cry for help, and Arthur helped her through it. He gave her a reason to love people, even though it was hard at first.

Ending: Im not sure how this personal project ends since there are more characters i have to work on and polish.

Lmao, the story is a mix of Madoka Magica, Silent Hill, and Gumball. Make that of what you will 💀🔫

[pinkeoni]

Will Byers: The Final Girl

Looking more at Will through Carol J. Clover's Men, Women, and Chain Saws

After making this post about Will's gender expression in which I referenced and was inspired by Carol J. Clover's book Men, Women, and Chain Saws, a book which was mentioned in this article, an article which brought to my attention my Mori motherthroat, I have since made it through the books introduction and have gotten all the way to the end... of the first chapter. Like I said, I'm a slow reader.

But it's within this first chapter that Clover actually talks about the Final Girl trope, something that I, and others, have suggested that Will falls into.

And to be honest, I didn't quite get the Final Girl labelling of Will until I started reading Clover's book and made my analysis. But now, it all makes sense. So I wanted to do a deeper dive into Will as the Final Girl of the show, how he embodies this trope, and how he subverts it.

Defining Will as a "Final Girl"

The idea of Will being the Final Girl is a way to allow Will to have the masculine hero role that the creators seem to be teasing for him, without sacrificing his more feminine role of victim. The term victim-hero that I used in my original post is one that I got from Clover herself, which she uses in reference to final girls. Final girls spend the majority of their film suffering at the hands of the killer (victim) before eventually turning the tables and getting revenge (hero) or is saved by an outside force, typically (but not always) a male one.

The Final Girl idea for Will doesn't come out of nowhere either, as the show itself plays with slasher tropes. Season one opens with a culling from the killer with the initial lab sequence, and dialogue from Brenner suggests that there were other victims, with only Will being left as the lone survivor. Season four feels more slasher-y, with the kills being on screen and the killer actually given a name and a face (making Max somewhat effectively the Final Girl for that season) and the season ends with the idea that the killer is still on the loose, with emphasis given to his connection with Will.

Carol J. Clover describes Final Girls as follows:

“The Final Girl is boyish, in a word. Just as the killer is not fully masculine, she is not fully feminine—not, in any case, feminine in the ways of her friends. Her smartness, gravity, competence in mechanical and other practical matters, and sexual reluctance set her apart from the other girls and ally her, ironically, with the very boys she fears or rejects, not to speak of the killer himself.”

Where Final Girls are often boyish girls, Will is a girlish boy. So it's not just the narrative that aligns him with other Final Girls, it's his characterization as well. His non-conformity to gender norms, as well as his romantic reluctancy, is part of the trope.

This is most notably exemplified in season three, when Will is unable to relate to the heterosexual-romance drama that his other male friends seem to be intertwined with. Even Dustin, who doesn't share much time with the main crew this season, had a girlfriend, something that allied him to Mike and Lucas and set Will apart.

In season one Will feels more Sally at the end of Texas Chainsaw Massacre, after being tortured for the last chunk of the film by the slaughterhouse family, Sally makes her escape on the back of a pickup truck. Will spends most of the season evading the killer (who we later learn to be Vecna) until he is rescued by Hopper and Joyce. Will and Sally never turn a weapon against the killer, but they endure, out last, and survive long enough to be rescued.

But Sally's case is just one way that the Final Girl story can end, and you're more likely to find a different kind of ending— with the Final Girl turning the tables on the killer and getting back at him. Sometimes, but not always, by brandishing the killers own type of weapon against him.

So now we're in a post-vol. 2 world where the killer is still at large, Will has been confirmed several times now to be the center of the final season, it's said to be Will's "coming-of-age" story and the killer's reign can't last forever.

Clover talks about "phallicization" when describing the journey of the Final Girl.

"The tale is no less one of maleness. If the experience of childhood can be—is perhaps ideally—enacted in female form, the breaking away requires the assumption of a phallus. The helpless child is gendered feminine; the autonomous adult of subject is gendered masculine; the passage from childhood to adulthood entails a shift from feminine to masculine."

But is that really the answer? For Will to wield a weapon against Vecna and brutally kill him? For Will's femininity to be framed as something that needs to be overcome?

To go in the opposite direction (castration) hardly seems like a solution either, especially considering that the phallus belongs to gay man. To castrate would be to suggest that the phallus— sexuality— is one that is dangerous and needs to be removed.

So how do we find a middle ground, one that maintains the phallus without eliminating Will's feminine character traits? And is there a solution suggested in the text?

Oh rod motif, you never get old

In episode one the phallus is represented as something destructive, the rifle, which Will puts down and arguably because so, was afforded more time than if he had used it.

As the series marches on, the phallus never goes away— it just transforms.

The phallus has gone from something of fear and destruction to a representation of love and creation. But Will has yet to self actualize because the above scene is also an act of castration because Will doesn't claim proper ownership over the painting. The phallus is a beautiful display of love, but only if it belongs to someone else.

The show may have (unsubtly) foreshadowed this self actualization as it relates to the phallus and the defeat of Vecna.

And I don't really think that people at this point want to spend the rest of the post reading about Will with powers theoretics so I'll just leave the suggestion there for now and allow you to come to your own conclusions.

Final (Girl) Thoughts

The idea that heroism is male and victimization is female is an idea that is as old as and older than Odysseus, but that isn't to necessarily say that heroism and self-actualization is a purely male idea, something that may have been contended by the existence of Final Girl herself.

"At the moment that the Final Girl becomes her own savior, she becomes a hero; and the moment that she becomes a hero is the moment that the male viewer gives up the last pretense of male identification. Abject terror may still be gendered feminine, but the willingness of one immensely popular current genre to re-represent the hero as an anatomical female would seem to suggest that at least one of the traditional marks of heroism, triumphant self-rescue, is no longer strictly gendered masculine."

[no-light-left-on]

Let's talk about the Chaos System in Dishonored

“Your actions affect the city. A high number of deaths results in more rats, more weepers, different reactions from your allies and darker final outcome.”

The most important thing to note is that we need to distinguish between chaos and morality. A lot of people interpret Low Chaos as Good and High Chaos as Bad which is… not inherently correct. At the same time, it is important to acknowledge that while non-lethal takedowns of key targets result in lower chaos, they are not the only thing that contributes to the chaos rating of a mission. I highly recommend reading these two posts [1] [2] by the lovely @kirtlandswarbler who looked into the science behind the chaos system.

It is perhaps easiest to imagine as the DnD alignment of Lawful to Chaotic. Low Chaos aligns with Lawful, the player character going after their targets and not dragging bystanders into their mess. All the takedowns are tactical, some might even say deserved – the Lord Regent hanged for his crimes, Campbell branded as a heretic that he was, Hypatia cured of her madness caused by the serum, Delilah locked in a painted world she desired so. The achievement for completing the game with non-lethal ways is even called Poetic Justice in DH and In Good Conscience in DH2. If the game is completed in a self-serving, bloodthirsty, anger satiating way, the chaos ends up being high – or plain chaotic on the alignment chart. But that is what the chaos means for the playstyle.

Chaos within the world is, in short, the way the world reacts to the player’s actions. The good and the bad, but every move the player makes in the world is a choice, and the world responds accordingly.

Let us set the scene, first, in general terms. In both games, the Empire is at a point of heightened anxiety. In DH it’s the plague, in DH2 the Crown Killer. Both games deal with brutality citizens face from the City Watch/Grand Guard, religious anxieties and terror from the Overseers, gang activity and a tyrannical regime from the Regent or the Duke respectively.

This is the world we walk into as Corvo, Daud or Emily. Everyone is uneasy and somewhat distrustful, and the player character then descends into the streets with a blade in hand, carving their way through a crumbling city to reach their goal. Loved ones go missing. Fathers don’t come back from work, cousins stop responding to letters. Even the elite in their palaces aren’t spared, slaughtered in cold blood with their loyal guard lying close by, staining the expensive hardwood floors. This is the world the player creates in high chaos – a world where no one is safe, and the few survivors live in terror, afraid that every breath they take might be the last. They see no reason to trust their neighbours, become more selfish, angrier- even your allies become more cynical, watching you slaughter your way back to the top, and why are they helping you again? To replace one tyrant with another?

In low chaos, however, the people remain safe. The civilians are allowed to continue going through their day to day life, however harsh it might be. The guards and overseers are spared, for the most part, and the nobles and rich that might go missing? That is their problem. They never cared for the smaller people. Both games open with a large shift in the political landscape – the assassination of an empress, a coup that seats a witch on the throne. And yet people still die of the plague or to the bloodflies. If a couple more members of the parliament die, that is, at the end of it all, just politics. It is among those who meddle with political issues, and not the business of the rest of the world.

The chaos is calculated by the absolute body count, along with a few special actions that the player can take. Most of them make sense. The chaos is higher if Daud blows up a slaughterhouse, killing many in the process, harming an industry, terrifying people who only hear of the event. Saving a young woman and her brother as they are harassed by the overseers over witch crimes they never committed lowers your chaos, because Corvo helped people in need. It’s a balance of the good and the bad you do, in total, rather than the simple distinction between killing and not killing the key targets. The overall chaos remains low even when all the key targets are taken down lethally. However, even if they are all spared, if the player killed every guard in sight just to reach these targets, the chaos will be high.

Something that I see (wrongly) be brought up is that killing key targets grants you a High Chaos ending, while the non-lethal takedowns result in Low Chaos ending. As mentioned above, that’s not true – they do count towards your total body count, but their deaths do not have a greater weight towards High Chaos. The non-lethal neutralization thus helps maintain lower chaos, but it does not necessarily mean that these choices are the right ones to make. The best example of this is probably Lady Boyle, which is oftentimes brought up as “oh but the morality of this game!!” critique. Death vs. poetic justice has little to do with morality in these games. After all, the protagonist (not counting DLCs) is out for revenge, to an extent, on people who have wronged them and caused them to fall on hard times. Just because a character lives does not mean there are not fates worse than death – like handing a woman to her stalker under the threat of death.

Morality and lethality in Dishonored are two things that don’t necessarily overlap. Lobotomizing Jindosh is, most definitely, a horrible thing and Jindosh ends up begging the MC to rather take his life than let him live without his intellect. There is no doubt that he is a horrible person, and many people tell you so during the game, but is this really the right way to go about things? Is an existence without the one thing you truly value about yourself worth it? On a similar yet completely opposite side of things, when you overhear one of the guards talk about how they have fun killing people who break curfew, is it truly a bad thing to kill them? One or two more deaths won’t affect your chaos all that much. It gets even more worth considering with the special actions that decrease your chaos which involve saving people from getting murdered by overseers or the guard. These actions are often difficult or impossible to perform without killing the attackers (like the guard harassing the girl that worked for Bunting).

These actions then reflect on your surroundings – the more corpses litter the streets, the more weepers and rats there will be, the nastier the bloodfly infestation. With a killer on the loose, there have to be more guards around. Mind you, the special actions that cause your chaos to grow are not enough to tip you over into high chaos alone. And as you, and Corvo/Daud/Emily by extension, grow more cruel, your allies grow more cynical. The Loyalists see Corvo butcher the city, and, well, it’s working. So why shouldn’t they get more cruel to achieve their goals, too? Emily is the most impacted, in Low Chaos growing to be Emily the Wise, the beloved empress of the Isles, asking Corvo innocent questions, while in the high chaos she talks about executions, asks how many people he's killed. Some grow to despise you, like Samuel, seeing the growing corruption and wishing for the quest to be done because they now see that the person they were helping was as much of a monster as the ones they are opposing. If you are cruel, the world will be cruel back, and the world involves those you might hold closest, like your daughter or your second in command.

The world, then, behaves in the way you mold it. Chaos reflects it, the destruction or kindness that you leave in your wake. Of course the murder of a noblewoman on a party she hosted, guarded by tallboys, will cause people to worry. Of course panic will spread when civilians are murdered in the streets. The general population of Dunwall will worry when the medicine that was meant to cure the plague suddenly turns everyone into weepers. But just the same, if people are shown kindness by a stranger without having to ask, they will be soothed. A cruel political leader being executed for the crimes he committed will make people excited, hopeful even. When Emily switches the Duke for his body double, the common people won’t notice. There is no need for fear, with the non-lethal takedowns. Not for those who are not directly involved.

Chaos, at the end of it all, dictates how the world evolves from the brink of collapse. The Outsider says it best, in one of his many speeches. “I have to wonder whether you're going to give if that final nudge, or pull it back from the edge.“ You have the power to tip the scales with your actions. Your choices matter, the big and the small, each life you save and each life you take, because at the end of the game, you are the one that has shaped the world that you will rule.

[archon-maenad]

I have an entire personal subgenre of "bet citizens reincarnated into a thriving japan and losing their shit over it" ideas. I have multiple monologues written about how fucking lucky the character's new world is and how infuriating it makes them to see it taken for granted. I have like four different emotional breakdowns for different characters crying when discovering they live on kyuushu.

and this is a subgenre. "earth bet citizens are reincarnated into normal societies and losing their shit over it" covers thousands of words I've written. I create oc survivors of slaughterhouse runs or gold morning refugees just so I can drop them into other media and watch them be genuinely incapable of being scared of that world's villains. for some reason I am obsessed with the collective trauma that permeates earth bet culture and it's gotten wildly out of control.

[haveyoureadthispoll]

Billy Pilgrim – hapless barber's assistant, successful optometrist, alien abductee, senile widower and soldier – has become unstuck in time. Hiding in the basement of a slaughterhouse in Dresden, with the city and its inhabitants burning above him, he finds himself a survivor of one of the most deadly and destructive battles of the Second World War. But when, exactly? How did he get here? And how does he get out? Travel through time and space on the shoulders of Vonnegut himself. This is a book about war. Listen to what he has to say: it is of the utmost urgency.

[medusaesque]

Lt. Kim Kitsuragi and the pale-

Warning- it's insanely long.

1. After life, death

One of the first thing you can learn about Kim is that he would hurl himself in death's way to save you. From the very first moment, Kim is related to sacrifice and death, it follows him wherever he goes-

The slaughterhouse.

He lost his parents at two years old. He worked a year in Processing (here's good post about that by @renmorris and @spilledkaleidoscope). He lost his partner, Eyes. People have taken a bullet that was meant for his more than once. His survivor's guilt is insane. He's killed six people. He's afraid of killing recklessly, and has a deeply unhealthy relationship with his gun (made another embarrassingly long post about that).

Kim also hears pale 'ghosts' on the police radio all the time, and talks about it like it's normal, and says he doesn't believe in ghosts.

If harry is with Noid during the Moralist dream quest (more on it later), Harry can even wonder if Kim is a ghost, prompting this beautiful exchange-

And he's not entirely wrong. When Harry gets shot, after Kim fulfills Espirit's promise he'll stand in death's way for him, you can ask as you fall into darkness what will happen to you-

It's the living who are ghosts. You can leave them behind and rest. Go into the wild pale yonder, along with everyone else Kim has ever cared about. Or at least you can try to.

When death is at the door, you have two options-

2. After death, life again

Kim might associate himself with death, but Harry associates him with life again and again- Death is darkness, Kim has a light bulb halo. Death is a sunset, Kim is a sunrise. Death is where you are when the game start, it's ready to take you, and then- a clarion call, the sound of a motor carriage, a detective arriving on the scene, and you open your eyes.

The game is very clear about Harry being a ceaseless agent of the world (here's a good compilation by @junawer) but he's not the only one. Harry stands at death's door twice, and Kim is his way back to the world both times.

3. After the world, the pale

So what is Kim's relationship with the pale?

As casual as he might try to appear, Kim is clearly uncomfortable with the pale, attempting to protect Harry from it. When Harry brings up the pale, he intervenes, genuinely worried for the fragile stability of his mind.

It's no more terrifying than water or death or that we're stuck behind our eyes for all eternity?? Sounds pretty terrifying Kim...

The key is in the moralist vision quest, When Harry attempts to each the Committee of Responsibility, and he hears the pale crosstalk coming through the radio, when suddenly-

"Pale is a shroud of memories and it doesn't really distinguish to whom those memories belong to. You could hear anything." You could hear anything, but you hear Kim. If he isn't with you, Soona even says that the odds of us hearing him, out of all the voices in the pale, are astronomically low.

We know the past has not been harmless to Kim, we know it's full of ghosts and cold winters, but that's not the thing that's eating at him-

Kim is afraid of forgetting. He's constantly writing, he thinks through his notebook, always recording, so he wouldn't lose anything. That's why the pale is so terrifying.

4. After the pale. the world again

The world is what it is. God is in his heaven. Everything is normal on Earth.

Volta do mar is a skill unique to Kim, according to the stats of this pilot jackets-

It makes sense, seeing how the only real advance in pale transit is the speed with which an aerostatic craft can pierce it.

His Black jacket is a bit more complicated-

DISTANT ENEMY OF HIMSELF?? kim.... The connections to Seol is intriguing here, considering how Kim tries to distant himself from it. I'm also not sure what 'sitting down for volta' would mean in this context, would love to hear some of you guys' thoughts.

It's driving me crazy to think how Kim wanted to be pilot as a kid, and is walking around dressed like a pilot as an adult, to give himself the ability to navigate the pale. To return from the sea and fulfill the role he has to play in the world, the thing Harry thought about a million times-

But we know Kim has a bigger role to play, he's trying to do his part right now, convincing Harry to stay-

His connection to Harry can keep him on this world once again. Keeping the two of them together. Your real work is down here, both of you-

Kim was right, each of them has a role to play in the world, but it's not a minor one. Him and Harry are Revachol's only hope. If they stick together they could keep her on this earth, stop the end of the world.

UNITY AMONG THE RANKS IS PARAMOUNT.

I NEED YOU. YOU CAN KEEP ME ON THIS EARTH. BE VIGILANT.

I LOVE YOU.

[dalekofchaos]

Fixing The Texas Chainsaw Massacre sequels

Lets be honest. The franchise is a mess and it's never going to reach the heights of the original or even the remake. The 3D timeline is an abomination and 2022 is just awful. I love TCM 2, and 3 has some great bits. But god is 4 embarrassing. So let's try to fix them.

So I looked up Hooper and Henkel's original concept for TCM 2.

It was going to be named 'Beyond The Valley of The Texas Chainsaw Massacre' and originally involved an entire town full of cannibals, not just the Sawyer family. And the Hitchhiker survived and was supposedly tied to a tree by the family due to his injuries. And Sally was slated to return as well.

In my opinion they could've done this for the third and fourth movies.

It would be an easy explanation to have the town of Newt be cannibals and instead of Leatherface suddenly having new family members, he goes to known associates of the family, "neighbors" if you will.

Leatherface somehow survived and is taken in by the Slaughter Family's "Neighbors" the Sawyers.

Chop-Top is the family member who's taken alive.

Those neighbors would be Tex, Alfredo and Tinker.

Leatherface would have severe burns from the grenade and a hole in his stomache.

And instead of Sally, it's Stretch, cause Sally is institutionalized.

Stretch and Benny would work together to save Michelle

In the Next Generation. An easy fix is that.

Leatherface is in the Grandpa role. Gunnar Hansen would return to play him.

The whole "Illuminati" conspiracy is just the town conspiracy of the town cannibals.

There would be a side plot of Stretch meeting Sally. She fills her in on everything that happened. Lefty's death and the cannibal town of Newt.

The new Leatherface is the daughter from TCM3 and instead of being cringey and awful, she is completely and utterly unhinged and enjoys it more than Bubba ever did. The best part? She's takes her doll's name, Sally. The final mockery of the one who got away.

Vilmer and W.E are the other members of this new family with the Mayor of Newt as the matriarch and she bares the conspiracy for all to hear. Claims that "cannibalism is the trade and life stock of this town. Always has been. The Slaughter Family was the backbone, they inspired the rest of us."

And then a returning Chop-Top as the guest of honor.

An aged Bubba makes happy cannibal noises at his brother's arrival.

"Far out Bubba, you're the new Grandpa!"

Chop-Top tells Bubba and the new Leatherface "it's time to kill the fucking bitch"

Stretch comes to the rescue and blasts the family, killing W.E, Vilmer and head cannibal Mayor.

While the new Leatherface chases after Jenny and Chop-Top proclaims he's gonna finish what he started all those years ago.

…and Bubba finally finds the strength to get up. He even puts on the old Pretty woman mask and takes his old chainsaw. They won't get away, not this time. "dog will hunt" as his brother always said. This is for Nubbins. For Drayton and for Grandpa.

They chase Stretch, Jenny and Michelle throughout the town. The slaughterhouse, the old Slaughter farmhouse and the mental hospital where Sally is waiting for them.

It ends with Jenny and Michelle double teaming killing the younger Leatherface, Sally shoots Bubba in the chest with a shotgun and Sally saws his fucking head off and finally, Stretch kills Chop-Top

"Any last words?"

"The saw is fami-" Stretch shoots him in the head.

Stretch, Michelle, Jenny and Sally all leave from a safe distance. Stretch gets a call on her walkie talkie from Benny

"Are you safe? over"

"Yes, I got Michelle and the latest survivor and even Sally. We're all at a safe distance to watch the fireworks over"

"Good, over"

and Benny presses the button and suddenly the entire town of Newt blows the fuck up. A result of Benny planting C4 all around the town of Newt and finally ending the Cannibal town.

End of franchise

This is a neat way to end the series, or at least the original timeline Cause

the original timeline never declines in quality.

Leatherface stays consistent in the first three movies, passes down the saw to his adoptive daughter and returns for one final massacre

All the survivors return for one final confrontation with the town

Chance for All-American Massacre to happen

One big family reunion

And a proper conclusion to the franchise...that will never be fucked up by shitty sequels

[wormbloggign]

taylor stop lifting techniques and tactics from others challenge (impossible)

yeah.. you're a cloud of various insects, people arent looking to get in your way

taylor its not innate cmon you need to notice the swarm covering you isnt a comforting prescence for anyone but you

(also, if someone fights grue and wins, his darkness would dissipate. if they fight skitter and win, they have to deal with the many insects who are VERY pissed, and VERY unpredictable. it's simply a more extreme implicit threat than what grue has)

is she.. emulating coils convo tactics?

(TAYLOR STOP LIFTING OTHERS TECHNIQUES AND TACTICS CHALLENGE (IMPOSSIBLE))

to taylor the bugs are just her little guys, doing their best with what they got

to everyone else the bugs are spiders, flies, and wasps; vectors for poison, infection, and pain all organised by their thousands under a single cunning mind

its a very funny bit of dramatic irony (not the right term)

honestly surprised it took her this long to tell that to the PRT, taylors favourite pasttime is outing bad actors in their system

the funniest way to get immediately excecuted, ballsy move taylor

notably in those records she was telling the truth consistently, miss military seems to buy a little too much into armsmustards narratives

BY SUPPLYING RELEVANT CONTEXT TO THE SITUATION, DO YOU THINK STARVING PEOPLE WHO STEAL BREAD DESERVE JAILTIME FOR THEFT?????

(miss minutia seems very dogmatic in her beliefs of justice and criminality, kinda cringe ngl)

skitter im sorry to say but im pretty sure theyve known for a while now

they havent gone after your civillian identity yet because you havent really been findable as taylor herbert and in the rare cases you've gone out as taylor, they've had much bigger fish to fry

oh

that mustve taken a lot miss militia, i can respect that

2 ways to take this, either tattletales doing some mind games with how skitter is perceived or she wanted to get a better look at taylors butt

knowing lisa, probably both

oh yeah that too maybe

the bug pass over she does on people is very funny bc people almost definitely read it as a weapons check or an intimidation tactic but no, she just wants to know what the person she's talking to looks like

her face and eyes were covered in blood no wonder were more tense than normal "ooh why are people so unnerved around me" you look like a monster from a horror movie, you're walking around like you dont even need sight to know everything around you (she couldnt see regardless but they didnt know that)

oh theres no way they don't know her identity now

it takes one person with probably low to medium security access to hear that and go "gee, let me run a check to see if anyone with Skitters brown hair and skin colour (they wouldve seen at least that on the skitter clones, even outside how disfigured they were) matches with anyone who is blind or has been recently blinded" and then bam you find taylor with her school's recorded connection with Sophia/Shadow Stalker, her locker incident (possibly a trigger event?) her absences from school which start a couple days after skitters first appearance, line up with skitters activity AND escalate to 0% attendance once Skitter starts doing things like participating in the Endbringer event and soon after claims territory (a full time occupation seemingly), if you keep digging it seems she has moved out of her dad's house around the same time to an undisclosed house on the edge of town (no actual address given, possibly a misdirection), her father and all of his work friends survived (with minimal injuries) the Shatterbird announcement at the begining of the Slaughterhouse 9's occupation and they stayed alive for its entirety, And as a cherry on top, Taylors last 2 documented interactions with the public is Asssaulting a minor which was handled and doccumented by Shadow Stalker and COILS BOMBING where she was one of the survivors but was BLINDED, shortly after MYSTERIOUSLY DISSAPEARED with no release or transfer papers signed (or if they were, it'd be signed by Lisa W or an unknown third party)

OR

they could just ask dragon

...

that was kind of long sorry

back to the livebloggign!

(insert funny masking joke here)

sometimes i wonder if taylor has a death wish (hint: yes)

i sincerely doubt that. our girls tolerance for abuse is ridiculously high by now

the writer is fucking with me. the day we get a proper breakdown of anyones costume is the day hell freezes over

are we just gonna pretend that isnt deeply disturbing and violating?

eh, alright

taylor may know the kind of thing he saw but its very clear from how he's behaving, whatever he experienced has a lot harsher of a grasp on his psyche, probably because his trigger event and the context around it happened at such a vulnerable and young age

anyway hows that search for a villains therapist going? i really think they should invest in one

TATTLETALE YOURE GOING TO GET THE SECRET ASSASSIN SQUAD AFTER YOU PLEASE

lisa either never fucks around or never stops fucking around and i cant tell anymore

[babiebom]

Dead by Daylight killer ideas

A/N: this is like if they could add new killers and survivors to the game without worrying about copyright and stuff <3 keep in mind I’m not a person that comes up with game ideas I am trying my best

Tw: murder, cursing, blood. Typical dbd things

Genre: headcanons

Dbd Masterlist

The Other Mother and Coraline

Obviously Coraline would have to be aged up but like this is the idea that popped into my head at 3 am and what inspired me to make this post.

The other mother could have similar powers/perks to the others.

Like she could have a hand that detaches like in the movie that she can use to attack players like Charlotte and Victor.

Or like the dredge she can change the world(make it all white and empty instead of dark like in the movie)

If there is something that could make her slower or something it could be closing well openings and stuff so she can’t teleport or something.

I like this idea bc you can curb stomp the hand like you can stomp victor.

Her mori can be sewing buttons into the eyes of the survivors <3

The map could be the pink house and the outside like where the well is? The garden and everything. A very cute map tbh it’s the other worlds version of the house and garden though, like the flowers all glowy and stuff. The circus upstairs and stuff.

I only remember the beginning song and the other father song and the music from the twin old ladies doing their musical circus bit. So one of those instrumental

William Afton and Micheal Afton

Added trauma because they’re father and son :)

William will be in his suit and not just a man

His perks could be like the missing children haunt the survivor and cause like exposed or hindered or something

Hitting him with a pallet doesn’t work as well as it does for other killers

When he gets hit he says some dumb shit like “I always come back” or whatever other lines he has.

But also survivors can cause his springlocks to go off by doing very specific things. Like getting bucket of water, or convincing the ghost kids or something

His mori could be summoning the purple Bonny suit (bc I’m pretty sure his is yellow/golden?) and stuffing the survivor in it after stabbing them a bunch.

The map could be the fnaf 1 building? Like the building that’s in the movie? I think it would be cute to run around the Chuck E. Cheese like place.

Chase music is Join us for a Bite instrumental

Peaches and Cupcakke

This one is more of a JOKE because I thought it was funny

Obviously Peaches would be the killer

Idk what her powers would be (maybe killing you with her coochie or something idk)

She would be the worst killer because she would have no strength or anything it’s literally just her.

Her mori is killing you with her STANK.

Chase music is cpr instrumental because it’s funny

Johnny Slaughter and Ana Flores

Obviously the game already has Bubba in it, but I don’t mind also adding Johnny

I chose him specifically because I think he is the main killer among the family, like the whole game of tcm happens because of him kidnapping Maria

Which is why I chose Ana as his survivor counterpart (and not bc I main her)

His perks could be just like in Tcm where he can see footprints to your last known location for a couple of seconds

Or to make it different scratch marks last longer and glow brighter/you can’t really confuse him with the scratch marks because the glow brighter the closer they are to you idk.

Literally Tcm already did the work for me bc he already has the perfect mori with spinning the survivor around to face him.

Map could be the slaughterhouse specifically because even though we don’t have the sawyer house in dbd we have max’s house which is VERY similar set in the south and a two story house on farmland. It would be stupid to make the same type of map.

I think the chase music would be very…rock n roll-y? Like not a specific song but heavy guitar and drums. Probably a banger.

M3gan and the aunt lady

Forgive me I forgot the aunts name and I don’t feel like looking it up

Only added this because I thought it would be funny

I have no idea what her perks would be at ALL

But her mori would be her tiktok dancing at you then killing you with a sword because it’s funny

The survivors can stun her by powering her down if they get the remote to cut her off.

The map would have to be either the aunts house including the lab OR the lab that she works at with stairs and maybe a working elevator to make it more chaotic. You can’t get outside on the second map, the exit games are the exits of the building, but it has multiple floors.

Chase music is whatever song they used in the movie but instrumental

Max Jagerman and Pete Spankoffsky/Stephanie Lauter

If ANYONE has watched Nerdy Prudes Must Die they would understand this.

Another good killer would be Grace Chastity and the character she aggressively sings at in the end.

This one comes with two survivors like some other killers

I would’ve said one of the lords in black but I think they would rival the entity bc they are literal gods

Anyways Max’s ability or perk could be teleportation. And I think there’s like a perk that makes things harder if the killer is near

He could have like a tweaked version of that

Or being able to see the auras for a couple seconds of survivors who are too scared if they could work something like that in specifically for him

Like how holding ringu’s tapes for too long is bad or being in dreamland is bad when you don’t wake up for mr burnt bitch.

Survivors can hide in lockers to hide their auras because it’s obvious since he is a literal bully

Mori could be him forcing the survivor on the very piece of wood that killed him. Or one of the ways that he killed Jon and Lauren’s characters.

Map is Hatchetfield High School.

Chase music can be instrumental of Nerdy Prudes Must Die or Literal Monster.

[icy-saturday]

Chapter 5 of Numbercide officially gets its name - FOX or “Flying Order of X-ecution”

The Sisters’ factory hidden beneath YoyleTech’s fallen company (since the rise of the “tumor”) is revealed to be a massive starship, improved over time by descendants of Fanny and Lüfter. Objects escaping the earth use this ship to flee to space and find other worlds, Algebralians are left behind.

We meet a new cast of characters (though you may already know them)

X - a survivor of the explosion in the main YoyleTech building and currently escaping the Tumor alongside a few other Algebralians

Tau - X’s closest friend since Four and Seven had passed due to absorption to the Tumor becoming part of it. However, Four and Seven did create descendants but they are still inside their eggshells which X must carry in a cardboard box.

Lightning - Captain of the USS Faraday, formerly the Ventilatorium (the Fan Sisters’ slaughterhouse and home), and guide to a new world for objectkind

Valkyrie - A crossbreed AI of Viking and Shiba (Viking was the mother somehow), owned by Lightning as a personal assistant along with the parent Viking and Shiba units