#soug

[daughterthethird]

Guess who just finished watching the entirety of Inside Job!!!

[bonbonthecartoon]

Como que quería incluirme pero creo que ya fue tarde

[lordichamo]

posts that make it clear i was a dragonology+warrior cats kid growing up. anyway <333 dragons <3333

[inspired by @hydrangeawrites‘ post. i am not immune to dragonposting]

[donghuamuqing]

We all got that one homie who coughs up slugs and has visions of alternate dimensions

[ithisatanytime]

(soug duh)

[jasapembuatanbonekapromosiyk]

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[twstowo]

Prologue [Sorceress!Yuu x OB!Characters]

˗ˏˋ ★ ˎˊ˗SYNOPSIS: A powerful sorceress, capable of granting wishes, finds herself locked inside a mirror. To break free, she will need to seek the help of Yuu from another universe.

♡︎ The sorceress from the first universe is referred to with "she/her" pronouns, whereas the true main character (reader) is referred to as "they/them."

♡︎Inspired by the trope where the princess gets stuck in a tower but gets out by herself.

「 ✦ Next✦ 」

In the heart of a dark forest stood a sorceress, dwelling within her solitary tower. Legend speaks of her uncanny ability to transform any wish into reality, albeit at a cost. In days long past, she had wielded her magical prowess for noble causes, yet the allure of power proved too intoxicating. Once one savors its might, the craving for more consumes their soul.

Before this sorceress could execute her nefarious plans, she fell victim to a curse, locking her within the tower's walls, forever barred from the outside world.

As time passed, the people gradually forgot about her, and tranquility returned to the land. Meanwhile, the sorceress found solace in her secluded existence, immersing herself in the pursuit of knowledge, delving into tomes of spells, potions, and enchantments. Unknown to her, time slipped away, and she faded into the realm of myth and legend, becoming but a tale told to children.

Isolated in her tower, she longed for connection until an unexpected visitor arrived—a curious man seeking to make a wish. Yet, instead of a quick visit, he became captivated by the sorceress's wisdom, and soon, a profound bond grew between them. Weeks stretched into months, and their intimacy deepened, blossoming into a love that transcended the confines of her imprisonment. However, the man, driven by his affection, sought to liberate her from the tower's curse, sacrificing his wish for her freedom. In a tragic twist, he deliberately became taken by a dreadful curse—one that plagued all who sought wishes from her, gradually corroding their sanity.

The freed sorceress, grateful yet burdened by the unwanted consequences, watched in dismay as the man, once her savior, transformed into a tyrant ruling his kingdom with an iron fist. Unable to undo the curse's grip on him, she fled, compelled to escape his descent into madness, a consequence of her magic that she could not rectify.

Seeking to distance herself from the haunting memory of her lost love, the sorceress embraced her newfound freedom, venturing into a world vastly transformed during her tower-bound years. She traveled across kingdoms, encountering six more men, each with their unique dreams and desires. Yet, inevitably, they too succumbed to the enchantment of her beauty, intellect, and mastery of magic.

One by one, they approached her, fervently wishing for their heart's desires, only to be ensnared by the curse that clouded their minds, mirroring the fate of the first man. Each succumbed to the same tragic spiral of losing their sanity, trapped within the vicious cycle born from their wishes.

Haunted by the knowledge that her powers led to this relentless cycle of despair, the sorceress carried the weight of their curse, burdened by the unintended consequences of her abilities.

Faced with a profound sense of helplessness and remorse, the sorceress found herself drawn back to the confines of her tower,battling with the weight of her actions. The toll of her powers had caused irreversible harm to those she had grown to care for, leaving a trail of shattered lives in her wake.

Overwhelmed by regret and the desperate desire to undo the havoc she had wrought, she yearned to erase the consequences of her wishes. However, in a cruel twist, once the wish was granted, it became an unalterable reality, binding the person to its irreversible effects. She realized the bitter irony of her deepest desires – longing to break free from her isolation had inadvertently led to the ruin of seven lives, all because she sought companionship and a glimpse beyond her tower's confines.

Haunted by the inescapable truth that she could never amend the past, the sorceress struggled with the agony of longing for a return to the solitude she once wished to escape. Trapped within the paradox of her own wishes, she yearned for a reality where she had never ventured beyond the safety of her tower's walls.

In a tragic turn, the sorceress's fate descended further into darkness. Amid her quest for undoing the curses of her once friends, an unsettling disturbance outside her tower drew her attention. Peering out, she saw—six of the seven men she had cursed. Their beings exuded the overwhelming aura of the curses that had consumed them entirely. Lost within their own tormented thoughts, their hearts filled with a relentless thirst for vengeance against her, their memories clouded by self-loathing and venomous resentment toward the sorceress.

Knowing that confrontation would only perpetuate the cycle of suffering, she stepped out, asking for forgiveness, her pleas falling upon deafened ears blinded by fury and hatred. Together, driven by their collective anguish and rage, they devised a punishment more merciless than mere imprisonment within a tower. Instead, they imprisoned her within a mirror—a cruel fate that denied her any semblance of escape or freedom.

Helpless and trapped within her mirrored confinement, the sorceress became a prisoner. They, in turn, carried the mirror to their kingdoms, parading her before the world she would forever be denied, a mocking reminder of the life she could never experience again. Forced to witness the outside world she yearned for, yet eternally barred from touching or experiencing it, the sorceress endured an unending torment crafted by the very souls she inadvertently harmed.

Trapped within the confinements of the mirror world, the sorceress found herself in a relentless pursuit of an escape, weaving incantations and spells in a desperate bid to break free. Despite her unwavering determination, her magic yielded no solutions within the confines of the mirrored realm.

Realization dawned upon her—a solution lay beyond the confines of her mirrored prison. She needed aid from someone external, but trust was a scarce commodity in her world. Amidst her predicament, a glimmer of hope arose: herself. She knew the depths of her own intentions, the truths that guided her, and the longing to erase the unintended consequences of her actions.

With a resolve forged from the depths of her isolation and remorse, she sought a way to reach beyond the mirror's boundaries, attempting to communicate with her own self outside.

──── ⋆⋅☆⋅⋆ ────

‎♡‧₊˚Thank you for reading!

「 ✦ Next✦ 」

[scarredlove]

So yeah, I made this based off that one ask about (Y/N) going into an area that is extremely dangerous to Sea Sougs and coming out unscathed lol

Basically how they escaped:

(The creature is based off a polychaetes, a parasitic sea worm that is a predator of Sea slugs :) )

Well, they do say beauty is in the eye of the beholder-

I also looked up polychaetes a little and I'm ngl, I had to do my own interpretation~

I... had a little too much fun with this-

[muhaajir]

gulshan-ae-soug ka gul hoon shayad shayad main ek tooti bahaar hoon mahal hoon bewafayi ka main shayad shayad khwaab-ae-barbaadi minaar hoon qaayam hoon jaise muddat-ae-tanhaayi shayad shayad main qaza ka deedar hoon shayad main jaam hoon kisi maikade ka shayad agli subah ka bematlabi khumaar hoon

[afterair]

𝐓𝐇𝐄 𝐒𝐀𝐊𝐀𝐌𝐀𝐊𝐈 𝐇𝐎𝐔𝐒𝐄𝐇𝐎𝐋𝐃

DIABOLIK LOVERS + INTRODUCTION.

 ❬ WORD COUNT: ❭ 3000

❬ WARNINGS: ❭ Mention of sexual and mental abuse , neglect , manipulation , experimentation , human sacrafice and metaphorical mentions / canon backstory of the Sakamaki household : all information gathered from anime , games and wikipedia.

sakamaki - ' reverse winding '

EVE / THE CHURCH BRIDE

' 𝐁𝐔𝐓 𝐈 𝐖𝐈𝐋𝐋 𝐒𝐓𝐈𝐋𝐋 𝐁𝐄𝐋𝐈𝐄𝐕𝐄. 𝐍𝐎 𝐌𝐀𝐓𝐓𝐄𝐑 𝐇𝐎𝐖 𝐏𝐀𝐈𝐍𝐅𝐔𝐋 𝐋𝐈𝐅𝐄 𝐁𝐄𝐂𝐎𝐌𝐄𝐒, 𝐈 𝐖𝐈𝐋𝐋 𝐒𝐓𝐈𝐋𝐋 𝐁𝐄𝐋𝐈𝐄𝐕𝐄. 𝐌𝐀𝐍 𝐈𝐒 𝐖𝐄𝐀𝐊, 𝐒𝐎 𝐈 𝐌𝐔𝐒𝐓 𝐁𝐄𝐋𝐈𝐄𝐕𝐄 '

𝐊𝐎𝐌𝐎𝐑𝐈 𝐘𝐔𝐈 ⎯⎯ ( 小森 ユイ )

' Komori Yui ' , the last known ( living ) sacrificial bride , ' Eve '

She was bought to the Sakamaki household at Karlheinz will , he wishes for her to choose one of his sons to become Adam - later killing him and becoming the king and queen of the demonic world.

a short young women with curly platinum blonde hair and sherbet-pink coloured eyes. Komori Yui is often seen wearing a button-up dress shirt with a frilly neckline with her black school blazer over the top , beneath her blazer is a white bow that rests through the V shaped neckline of the vest she wears with another bow coloured red , tied to her neck above the other bow.

Komori Yui can rarely be found by herself , even in the bathroom - there is a vampire on the other side waiting ( sometimes ) , but she can be found by following a vampire. At the Sakamaki mansion, she can be found in her bedroom or with a vampire. ( if in doubt , find a vampire )

Komori Yui is an extremely unlucky young woman. Komori Seiji is her adopted father , taking her in after being given to him by Sakamaki Richter - Karlheinz’s brother , Sakamaki Ritcher was also the lover of Cordelia and after her being pushed from the balcony , at her request : he cut out her heart and implanted it into the Eve. When Komori Yui was seventeen , she was told that her father was moving abroad and she was to be sent to Japan to live with another family , she later finds out that she was adopted when she finds Komori Seiji’s diary and , that she was given as a sacrifice.

Has multiple nicknames - is nicknamed by ,

Sakamaki Ayato , ' Pancake / Breastless ' : Chichinashi

Sakamaki Raito , ' Little Bitch ' : Bitch-chan

Mukami Ruki , ' Livestock ' : Kachiku

Mukami Kou , ' Masochistic Kitten ' : M Neko-Chan

Mukami Yuma , ' Sow ' : Mesubuta

Mukami Azusa and Karlheinz , ' Eve '

MENIS / THE SON OF WRATH

' 𝐋𝐈𝐅𝐄 𝐈𝐒 𝐏𝐀𝐈𝐍𝐅𝐔𝐋 , 𝐓𝐇𝐄 𝐕𝐈𝐎𝐋𝐄𝐍𝐓 𝐁𝐔𝐙𝐙 𝐈𝐍 𝐌𝐘 𝐁𝐑𝐀𝐈𝐍 𝐌𝐀𝐊𝐄𝐒 𝐈𝐓 𝐁𝐄𝐀𝐑𝐀𝐁𝐋𝐄. '

𝐒𝐀𝐊𝐀𝐌𝐀𝐊𝐈 𝐒𝐔𝐁𝐀𝐑𝐔 ⎯⎯⎯⎯⎯⎯ ( 逆巻 スバル )

' Sakamaki Subaru ' , the sixth born son and the youngest legitimate child.

He is the youngest of the Sakamaki brothers , he is the only son of Christa ( third wife ) and Karlheinz and has no siblings.

a pale man with light-lavender hair that reached below his ears , shades of deep rouge filling his eyes with a slight pinkish hue. Sakamaki Subaru wears a silver necklace with a tight black shirt and a longer white shirt beneath with rips that hang over his hips , he wears the school blazer over the top with the sleeves just below his elbows where a small silver looped chain rests on the bottom left side of his jacket.

Sakamaki Subaru can be spotted alone in the back of his classes or alone in the cafeteria with a scowl on his face. Or , at the Sakamaki household , he can be spotted in the gardens or the greeting room ( he will never be there for long )

Sakamaki Subaru is known as ᴛʜᴇ ꜱᴏɴ ᴏꜰ ᴡʀᴀᴛʜ because of his quick temper when it comes to ‘ mild annoyances. ‘ As a child , Sakamaki Subaru was doomed from the beginning and any prospects of having a happy childhood were taken before his birth , his mother , Christa was mentally ill and bipolar because of her husband / cousin ( however , she often thought of him as her ‘ kind big brother. ‘ ) Karlheinz sought out his cousin , Christa , in order to conduct an experiment on incest born children and when she learnt of this - she began to hate and love her husband as he was ‘ her kind big brother ‘ and the man that dirtied her , while loathing her unborn son because he was ‘ something impure that could ruin her beauty. ‘ When ᴛʜᴇ ꜱᴏɴ ᴏꜰ ᴡʀᴀᴛʜ was born , Christa demonstrated extremely destructive traits and often belittled and degraded her son , calling him a ‘filthy abomination ‘ and asking him to kill her repeatedly to be done with her life - because of the degradation , Sakamaki Subaru grew up believing he was unwanted and a monster. For a long time , the youngest son believed it to be his father’s fault that his mother was ‘ broken ‘ and tried to protect her , when he did so - she slapped him across the face and ran into her cousin’s arms : demonstrating that at that moment , she was not entirely influenced by Karlheinz and giving her son trust issues , making him believe all women were ‘ two-faced ‘ or liars. ᴛʜᴇ ꜱᴏɴ ᴏꜰ ᴡʀᴀᴛʜ soon began to believe that she simply hated him and did not ever want him , he was only a monster to her - because of the lack of support and refusing his ideologies , he turned to anger to deal with his sadness and is extremely destructive. 

EPITHUMIA / THE SON OF LUST

' 𝐌𝐘 𝐃𝐄𝐒𝐈𝐑𝐄𝐒 𝐖𝐈𝐋𝐋 𝐍𝐄𝐕𝐄𝐑 𝐅𝐈𝐋𝐋 𝐌𝐘 𝐄𝐌𝐏𝐓𝐘 𝐍𝐄𝐄𝐃𝐒. '

𝐒𝐀𝐊𝐀𝐌𝐀𝐊𝐈 𝐑𝐀𝐈𝐓𝐎 ⎯⎯⎯⎯⎯⎯ ( 逆巻 ライト )

' Sakamaki Laito ' , the fifth born son , regarded as the ' perverted brother '

He is the youngest born triplet of Cordelia ( first wife ) and Karlheinz , Younger brother to Sakamaki Ayato and Sakamaki Kanato.

a slender man with shoulder-length reddish coloured hair that faded into a lighter blonde and shares the same piercing green eyes as his older brother, Sakamaki Ayato ; he is often seen with a fedora pulled above his eyes , slanting down and a grin on his face. His uniform consists of a black jacket with faux fur imbedded into the hood , an unbutton dress shirt ,and a skinny , black tie around the collar.

Sakamaki Raito can be found by listening to the moans or elated screams of the young women and men who follow him around. He can be seen wandering hallways or sitting in his selected classes. In the Sakamaki mansion , he can be heard playing his piano or watching over the household from shadowed corners.

Sakamaki Raito is regarded as ᴛʜᴇ ꜱᴏɴ ᴏꜰ ʟᴜꜱᴛ because of his lewd actions and perverted mindset which was evidently , caused by his mother. As a child , Sakamaki Ratio was the firstborn son but soon had two younger brothers - he became the youngest triplet due to japans culture. Sakamaki Ratio had a lot of free time as a child because he had no ‘ responsibilities ‘ like his brothers during the day , but , as Sakamaki Raito got older - Cordelia found a different ‘ use ‘ of him. ᴛʜᴇ ꜱᴏɴ ᴏꜰ ʟᴜꜱᴛ and Cordelia began an incestuous relationship when the youngest triplet became of age , Cordelia used sexual and mental manipulation to believe that the intimate touches that they shared , were acts of love. Sakamaki Raito never outright told anyone but , ᴛʜᴇ ꜱᴏɴ ᴏꜰ ᴘʀɪᴅᴇ had suspicions. However , their father - Karlheinz , quickly found out , ( most probably by Cordelia teasing the relationship to gain some sort of jealous reaction from her unaffected husband ) and punished the young boy by forcing him to remain in the dungeons : Cordelia sought to break her children’s minds and make them succumb to her whims out of devotion and started to make Sakamaki Raito jealous when she visited the dungeons to torment her son , saying she had ‘ found another ‘ and was having ‘ entertainments ‘ with someone else ( demonstrating to Sakamaki Raito that he was not special and she was not his lover , against his own thoughts. ) This was further pushed when she had these ' entertainments ' in front of him , this caused Sakamaki Raito's warped perception of love. When Cordelia had relations with other people , he saw that as cheating on him and often killed them out of jealousy , later on gifting them to Sakamaki Kanato to mutilate. Once Cordelia was reaching her end by the eldest triplet’s hands , she ran to ᴛʜᴇ ꜱᴏɴ ᴏꜰ ʟᴜꜱᴛ for him to save her : she stated that she only had love for her husband and she would kill him , as he would kill her - ( killing a vampire , as a vampire , is an ultimate form of love ) this caused for Sakamaki Raito to push her off of a balcony and down to the gardens , where she was burnt by the second born triplet.

ADEPHAGIA / THE SON OF GLUTTONY

' 𝐌𝐘 𝐎𝐖𝐍 𝐓𝐇𝐎𝐔𝐆𝐇𝐓𝐒 𝐏𝐀𝐈𝐍 𝐌𝐄 , 𝐓𝐇𝐄𝐘 𝐓𝐎𝐑𝐌𝐄𝐍𝐓 𝐌𝐄. '

𝐒𝐀𝐊𝐀𝐌𝐀𝐊𝐈 𝐊𝐀𝐍𝐀𝐓𝐎 ⎯⎯⎯⎯⎯⎯ ( 逆巻 カナト )

' Sakamaki Kanato ' , the fourth born son , and owner of a room full of wax brides.

He is the second born triplet of Cordelia ( first wife ) and Karlheinz , Younger brother to Sakamaki Ayato and older brother to Sakamaki Laito.

a short boy with light purple hair and the eyes to match : Sakamaki Kanato has dark under-eyes and an uncomfortable smile normally plastered on his face. His clothes that are typically worn are a white vintage dress shirt with a ruff styled collar , and dark plum waistcoat

He is never seen without his beloved teddy bear , ' Teddy ' .

Sakamaki Kanato can be found inside his classes at the designated times as he isn't big on causing trouble unless insulted at Ryoutei Academy. However , at the Sakamaki household , Sakamaki Kanato can be found in his own room or his private room - where he keeps his wax figures.

Sakamaki Kanato is nicknamed as ᴛʜᴇ ꜱᴏɴ ᴏꜰ ɢʟᴜᴛᴛᴏɴʏ because he is a glutton for being the sole focus of somebodies attention. During Sakamaki Kanatos’s childhood , he was desperate for a sliver of attention from his mother since he never received it no matter what act of desperation he performed - however , he was only called upon when Cordelia wanted him to sing ‘ Scarborough fair ‘ for her ( only asked for him to sing because it aroused her ) which he did , happily. Cordelia however , often had affairs with different men in order to get Karlheinz’s attention and at some point in time , Cordelia received a ‘ teddy ‘ bear from a lover and gave it to her second-born, this led to ᴛʜᴇ ꜱᴏɴ ᴏꜰ ɢʟᴜᴛᴛᴏɴʏ becoming infatuated with the gift and separating himself from his brothers. Sakamaki Kanato , like his brothers - soon began to resent Cordelia because she did not shower him in affection , because of this resentment; he helped his brothers in finishing her off when Sakamaki Ayato was hunting her and Sakamaki Raito threw her off of the balcony - he found her battered body and lit her alight with a flame. 

" Hysteric " ( ヒステリック- Hisuterikku ) - Sakamaki Ayato

HUPEREPHANOS / THE SON OF PRIDE

' 𝐀 𝐏𝐑𝐈𝐍𝐂𝐄 𝐖𝐈𝐓𝐇 𝐀 𝐒𝐋𝐀𝐍𝐓𝐄𝐃 𝐂𝐑𝐎𝐖𝐍 '

𝐒𝐀𝐊𝐀𝐌𝐀𝐊𝐈 𝐀𝐘𝐀𝐓𝐎 ⎯⎯⎯⎯⎯⎯ ( 逆巻 アヤト )

' Sakamaki Ayato ' , the third born , household troublemaker and refers to himself as ' ORE - SAMA '

Eldest triplet son of Cordelia ( first wife ) and Karlheinz , Older brother to Sakamaki Laito and Sakamaki Kanato.

a tall boy with reddish coloured hair and piercing green eyes and a small stud in his right ear ; is often seen with an undone red tie wrapped around his fair neck. His uniform consists of a half done-up cotton shirt , a black blazer and black pants with the right leg pulled to his knee.

Sakamaki Ayato can always be found yelling in a classroom , ridiculing those who insulted his strength , in the cookery room trying to force a student to make him his favourite dish if he cannot find Komori Yui or , in the gym hall - showing off to anyone who would watch. However , in the Sakamaki mansion , he can often be found in the living room with his ' younger ' brothers : plotting a prank or berating them for taking humour in his self appointed nickname ' Ore - Sama '.

Sakamaki Ayato is seen as ᴛʜᴇ ꜱᴏɴ ᴏꜰ ᴘʀɪᴅᴇ because of his attitude towards others and his brothers. During his ‘ adult ‘ life , Sakamaki Ayato has presented himself as a narcissistic troublemaker with an acumen for others’ misery however , this was all caused by his mother because of the responsibility she threw onto his young shoulders. Sakamaki Ayato was a very blunt young boy and would often complain to his mother’s face when separated from his ‘ younger ‘ brothers and was forced into studies without further argument ( similar to how the ᴛʜᴇ ꜱᴏɴ ᴏꜰ ꜱʟᴏᴛʜ was treated by his own mother ) as he was desperate for Cordelia's affection and praise. Soon , because of all the neglect and psychological abuse - his need and desperation for pride was tainted and his views on Cordelia became abhorrent , this lead to him hunting down Cordelia and injuring her - she later on died by his brothers hands.

' worthless boys must spend eternity at the cold, damp, bottom of the lake, all alone where no one can help them ' - Cordelia : ( his punishment was often being dropped to the bottom of the lake , this is how his fear of water ( thalassophobia / aquaphobia ) was developed.

PHTHONOS / THE SON OF ENVY

' 𝐈𝐍𝐒𝐄𝐂𝐔𝐑𝐈𝐓𝐘 𝐁𝐔𝐈𝐋𝐓 𝐌𝐘 𝐁𝐎𝐍𝐄𝐒 𝐀𝐍𝐃 𝐒𝐓𝐑𝐔𝐂𝐓𝐔𝐑𝐄𝐃 𝐌𝐘 𝐌𝐈𝐍𝐃 '

𝐒𝐀𝐊𝐀𝐌𝐀𝐊𝐈 𝐑𝐄𝐈𝐉𝐈 ⎯⎯⎯⎯⎯⎯ ( 逆巻 レイジ )

' Sakamaki Reiji ' , the second born , self appointed ' manager ' of the Sakamaki household and works as the heir , a job that Sakamaki Shuu should be partaking in.

son to Beatrix ( second wife )and Karlheinz , Younger brother to Sakamaki Shuu.

a slender young man with dark plum hair ( fades to blonde at the tips ) and pale magenta eyes ; is often seen with a pair of white gloves on and rectangular glasses with silver frames. His outfit is typically formal wear that consists of a black shirt , a grey toned vest and deep plum waistcoat paired with a purple string neck tie.

Sakamaki Reiji can always be found in his classroom at the correct times or patrolling the hallways looking for his brothers if he has no obligations , making sure the Sakamaki name is not tarnished and does not provide an unwelcome visit or scolding off of his father. In the Sakamaki mansion , he can often be found in his room with his chemical instruments and drinking tea or reading a book in a sitting room , away from his elder brother.

The antisocial pessimist , Sakamaki Reiji is seen as ᴛʜᴇ ꜱᴏɴ ᴏꜰ ᴇɴᴠʏ because of his childhood and how he was treated by Beatrix. Sakamaki Reiji is an ambitious man and so , as a child , he was encouraged to study by his mother to become the best ' right-hand man '  his elder brother could have - ᴛʜᴇ ꜱᴏɴ ᴏꜰ ᴇɴᴠʏ felt shadowed in his brother’s glow and that he could never match up to Sakamaki Shuu in his mother’s eyes. Sakamaki Reiji developed a deep loathing for his older brother throughout his childhood because he never received the attention and dedication that his brother received from their mother and decided , in a fit of half thought out jealousy , sought out to burn Edgar’s village to the ground. ᴛʜᴇ ꜱᴏɴ ᴏꜰ ᴇɴᴠʏ felt that this would gain the praise of his mother and recite some sort of responsibility onto his brother , to show him how careless he was. However , this had adverse effects and didn’t alter the relationship between himself and his mother , this caused a bitter taste to settle on the second borns conscious so , he then sought to be rid of his mother and hired a vampiric hunter to be rid of his mother and hired a vampiric hunter to be rid of her. She died with a proud smile on her face.

" tableware otaku " ( セブングラス shichisan megane ) - Sakamaki Ayato : ( collects tea sets and tableware )

ACEDIA / THE SON OF SLOTH

' 𝐈𝐆𝐍𝐎𝐑𝐀𝐍𝐂𝐄 𝐈𝐒 𝐀 𝐏𝐄𝐀𝐂𝐄 𝐈 𝐇𝐀𝐕𝐄 𝐘𝐄𝐓 𝐓𝐎 𝐀𝐐𝐔𝐈𝐑𝐄 '

𝐒𝐀𝐊𝐀𝐌𝐀𝐊𝐈 𝐒𝐇𝐔𝐔 ⎯⎯⎯⎯⎯⎯ ( 逆巻 シュウ )

' Sakamaki Shuu' , the eldest brother , the heir to the Sakamaki household , and master of the Sakamaki mansion.

son to Beatrix ( second wife ) and Karlheinz , Older brother to biological brother Sakamaki Reiji.

a young man with curled blonde hair and light blue eyes ; constantly has earphones in his ears and is seen with his MP3 player ( attached to a wire that is wrapped around his pale neck ) , his outfit is typically a beige sweater and unbuttoned white dress shirt with his school blazer over the top, resting on his shoulders ; like a blanket.

Sakamaki Shuu is often found asleep in two places - on a stairwell or more likely , the music room in a far back corner of the school as he is never interrupted by other students in Ryoutei Academy , he is also surrounded by instrument's he can play at his will. However , at the Sakamaki mansion , he is often seen in his bathtub or the living room - asleep with his earphones in to silence the ruckus of his brothers.

Sakamaki Shuu is regarded as ᴛʜᴇ ꜱᴏɴ ᴏꜰ ꜱʟᴏᴛʜ because of his mannerisms and regular attitude throughout his adult life. As a child , his mother Beatrix saw him as a ' win ' in the competition with the first wife , this led to Beatrix pushing Sakamaki Shuu to become barricaded with responsibilities and lessons - as a result of this , he often ran to the village where he became friends with a young human boy , Edgar , who was a source of peace for the young master. Beatrix became deeply upset whenever her eldest ran away and this caused the second-born son , seeking her approval and out of pure jealousy , to burn the human boys village to the ground. ᴛʜᴇ ꜱᴏɴ ᴏꜰ ꜱʟᴏᴛʜ watched his friend desperately run to save his parents and never come back out , this caused the eldest fear of fire ' pyrophobia ' and , he soon began to develop his own world of comforts to soothe the ache of his best friend - he quickly shut himself off from his family and developed a apathetic view on the world and didn’t concern himself on mortal concerns. 

" good-for-nothing " ( 役に立たない - Yakunitatanai ) - Sakamaki Reiji

©2023 desthom do not share, copy, or translate any of my work without my permission

[justastrugglinghotchocolate]

In regards to the post I made about Henry earlier, here’s the headcanon 'theory' I have based on all of this:

Basil and Henry had a wonderful romance in college. It was a defining situationship for both of them, perhaps a genuine queer awakening for Henry (as he had toyed with the idea before, but had always seen it as a more ‘edgy way’ to generate outrage, Basil was the first person he genuinely fell in love with) and a validation of interest for Basil (“oh wow, a man really loves me! Neat!”). Regardless, there was certainly a romance between them.

I personally think Henry fucked it up because of commitment issues (Remember, while he complains about marriage, the real criticism is towards commitment as a whole. Being a bachelor gives you options, having to marry them away. He also consistently says 'eternity' scares him. Also Basil points to Henry being unable to understand his love for Dorian because Henry "change[s] too often") which then contributed to the breakdown of their relationship. But still, on Henry’s end, there was an egotistic belief that Basil would never find anyone as good as him (Henry) and therefore Basil was still and would always be his. Thus the violets: he might be in mourning for the nature of their relationship before, but he is faithful to the love they had. (“My dear old Basil, you are much more than an acquaintance.”)

And then Basil finds Dorian.

There’s an interesting thing that happens in the first chapter of the book where Henry never dismisses anything Basil says. In fact he goes out of his way to acknowledge them and expand upon them, even reassuring Basil at certain points. To me, it’s almost like Henry doesn’t grasp the depth of Basil’s love for Dorian. Basil seems to want to keep it that way, while also struggling to do so.

I think Basil's hesitancy is mostly out of guilt: Basil cares about Henry and feels that in some way this is partly a betrayal of their relationship (whatever that is to the both of them). I think it's also partly out of (justified) fear of how Henry will react.

Throughout the first chapter, Basil keeps confessing how much he likes Dorian ‘but only artistically!’, then backtracks hard, the moment Henry shows any interest in meeting Dorian (because that would prove Basil isn't telling the whole truth).

Henry keeps entertaining Basil’s little ‘it’s artistic only, i swear—” until this exchange:

““I am very glad you didn’t, Harry.”

“Why?”

“I don’t want you to meet him.”

“You don’t want me to meet him?”

“No.””

The repeat of Basil's words is extremely important, it points to a double take (literarily!). I believe this is the moment when Henry realizes that Basil’s interest isn’t artistic in any way. And this also marks the moment every action Henry takes towards Basil grows cruel and spiteful. After Parker announces Dorian’s arrival and they head, Henry, for the first time in the intro, fully dismisses what Basil says to him. Dismissing Basil becomes a repeated action through out the rest of the novel.

“Then he looked at Lord Henry. “Dorian Gray is my dearest friend,” he said. “He has a simple and a beautiful nature. Your aunt was quite right in what she said of him. Don’t spoil him. Don’t try to influence him. Your influence would be bad. The world is wide, and has many marvellous people in it. Don’t take away from me the one person who gives to my art whatever charm it possesses: my life as an artist depends on him. Mind, Harry, I trust you.” He spoke very slowly, and the words seemed wrung out of him almost against his will.

“What nonsense you talk!” said Lord Henry, smiling, and taking Hallward by the arm, he almost led him into the house.”

Later when they meet with Dorian. There is an extremely interesting change from the 1890 ver.

1891 ver: “No wonder Basil Hallward worshipped him.”

1890: “No wonder Basil Hallward worshipped him. He was made to be worshipped.”

Upon laying eyes on Dorian, Henry realizes he cannot compare at all. Basil didn’t just replace him, Basil sought someone who was nothing like him and far superior to what Henry stood for. What better way to announce you’ve moved on than falling in love with someone completely different and even 'better' than your ex? 

After this, Henry forces Basil to ask him to stay. He makes an excuse when Dorian asks and plays coy until Basil finally says : “Stay, Harry, to oblige Dorian, and to oblige me.” 

By the way, Basil already asked Henry to stay on Dorian’s behalf (“If Dorian wishes it, of course you must stay. Dorian’s whims are laws to everybody, except himself.”), but Henry wanted Basil to say “I want you to stay. I want you to stay for me, Harry.”

[domimin]

You got: soug

I love it so much I will put it in my pocket thank you :3

[lordichamo]

soug milgram redraws. souggram if you will

[caputvulpinum]

After The Revolution Will Never Come

An examination on the realpolitik of revolutionary movements and the perpetuation of the iconography of violence. Originally written for my university final paper. 2,500 words.

-

There will come soft rains and the smell of the ground, And swallows circling with their shimmering sound;

And frogs in the pools singing at night, And wild plum trees in tremulous white,

Robins will wear their feathery fire Whistling their whims on a low fence-wire;

And not one will know of the war, not one Will care at last when it is done.

Not one would mind, neither bird nor tree If mankind perished utterly;

And Spring herself, when she woke at dawn, Would scarcely know that we were gone.

-Sara Teasdale, “There Will Come Soft Rains”.

There is an inherent seductiveness to being justified in your actions. To know without any doubt that you were right; that whatever path you chose was the correct path to take, now and into the future. It makes a world of complicated loose-ends and shades of gray into a perfect aesthetic of simplistic moral values. If you were correct, then it necessitates that something else was wrong; if your side is the right side, then whatever actions you took must also have been right. This is not to assign blame; life is a confusing tangle of messy and ugly truths intertwined with deceptions, many of which happen at the same time, or are even the same thing. To crave the shelter of simplicity, to want to feel the certainty that your idea of your own righteousness cannot be challenged, is perhaps one of the most honest parts of human nature.

Yet while this is an understandable instinct, it is not a good one. Jim Butcher elaborated on a fairly well-known idea of actions only justifiable by ourselves in his quote, “No one is an unjust villain in his own mind. Even - perhaps even especially - those who are the worst of us. Some of the cruelest tyrants in history were motivated by noble ideals, or made choices that they would call 'hard but necessary steps' for the good of their nation. We're all the hero of our own story.” 

My fear, however, does not come from the justifications that others do not give our actions. Instead I am more afraid of the normalization of violence that we can accept so long as those around us accept that violence. To be beyond reproach requires a community which believes that to be true of your character; inversely, to be irredeemable and monstrous is not something we choose to see for ourselves, but rather that we judge in how we see others. For Americans, I cannot claim to know the source, but I am certain of its consequences, when I look back even throughout my own short lifetime at the popularization of antiblackness, antisemitism, homophobia, and Islamophobia. Each of these philosophies are predicated on the understanding that an outside group is to blame for the violence being done against them, that there is a shared, unilateral complicity in corrupting evil which must somehow be vanquished. 

I think often about the potency of symbols and iconography within the human psyche. Simple images which, through some miracle, have become more than what they could ever otherwise be. Icons are sanctuaries, places of holiness, of veneration. They cease to be mere images and become a representation of philosophies, ideals, and concepts, empowering whatever they represent like a focusing prism might strengthen the light and heat of a ray of sun to set a fire from a single perfect point. Meaning is found in the most illogical of things, but that does not reduce the fact that we find meaning in them nonetheless. So I find it concerning to witness within the modern American politics of the radical leftist revolutionaries what seems to be an unconscious commitment to perpetuation of the iconography of violence.

    Consider the guillotine. There have been countless stories of its legend, its grim history attached to the shining blade. Its inventor was the Doctor Guillotin, who sought to create a more humane method of murder ordered by a ruling class of citizens–at the time, there were the options of a headsman or a gallows, both of which caused, ostensibly, too much cruelty in the ending of human lives by human hands. I do not believe that Guillotin would have envisioned the legacy of bloodshed he would allow, but I do not believe that anyone ever expected the bloodlust of the French Revolution to reach such awful heights.

    They were awful, without a doubt. Over the course of less than a year more than fifteen thousand people were executed via the guillotine, with another twenty-five thousand being executed through other means. Looking not back to the words of the past, but instead to the philosophies of the present, I believe that the guillotine captures something in our imaginations like no other method of execution ever has. It is a clean, simple, perfected machine, tall and central in wherever it sits, confrontational in its exact function. The great equalizer of all men, Madame Guillotine, for we are all comrades in that we are mortal. And, of course, it is a more humane way to separate men’s ghosts from their bodies. 

    It is this concept more than any that I think is why the modern revolution’s iconography exists so strongly within the grip of the falling blade. We seek to understand ourselves not as murderers or tyrants, but as merciful victors, somber in our need to enforce justice and rules, refusing to relish the idea of suffering even if there is simply no other course but to kill. To torture, maim, and cause as much agony as possible for our personal delights would be truly ghoulish, unacceptable, and prove that we of course are no better than what we defeated. It is a very Romantic means of death; there is spectacle, but there is brevity. There is poetry to the righteousness of an impartial Sword of Damocles, yet we do not stoop to sully our community’s hearts with needless pain.

    All of this is a lie. There is no community worth anything which seeks to root its foundations in the efficiency of ending human life. To kill another person as painlessly as possible due to perceived moral necessity is not a mercy, because it by nature must justify the action of murder. Morality ceases to be a function when the legalization of the taking of another’s life is the source of it.

    But still, I cannot pretend I do not understand, or even that I do not want to agree, with many of my fellow anarchists. I see the symptoms of a system of government and commerce which has, with no metaphor or allusion, encouraged the permittance of treating human life as a resource to be extracted for profit. I see private citizens funding with personal billions upon billions of dollars the violent usurpation of a foreign nation to prevent their trillion-dollar businesses from being slightly less of a trillion-dollar business. I see leaders of our country witness the countless murders of black men, women, and children, and call for the communities of the dead to control their anger, instead of controlling the killers that remain unpunished or even become celebrated for the ultimate miscarriage of justice, that which ends in the destruction of human beings. I see my planet not even being granted a slow and limping fading-away as it is instead accelerated to apocalyptic levels of death due to the refusal of sacrificing profit for survival. How could I not understand the need for a means to prove to the kings of our kind that they, too, shall die–and by the hands of those they would continue killing, if need be?

    Unrest has moved through our world and nation not as a wildfire has, clean and purifying, but as a plague which infects and sickens the hearts, minds, and souls of us and what we make. Our bitter fury at our own powerlessness to prevent harm being done festers and rots like mold in the pit of a peach, capable of killing everything sweet in the world as it lay just beneath the skin. There is a logic to why the guillotine has become such a potent symbol of change, but I do not want to admit that there is a justification for perpetuating that symbol. To venerate and lionize a means of murder and execution ordered by those in power is, I worry, not just to continue a cycle of violence and the reinvention of structures of suffering we live under now. I worry that, at its very core, it encourages an inability to think of any hope for change that does not glorify death and destruction. Perhaps every act of creation necessitates destruction; perhaps a violent upheaval in the loosing of shackles is inevitable for the future of humanity. Certainly it is difficult to envision a reality of realpolitik that does not begin and end with human death at human hands.

    But just because it is difficult, or perhaps even impossible, does not mean that we should not shy away from the iconography of violence-as-politics, of murder-bringing-change. I think there is very little in our government and systemic structures that is worth salvaging, truly, but I think of something other than headless corpses piled in the city square when I try and imagine a better world.

    Fire has always been an icon in human history; it predates history, and even predates humans. It is destructive, but its destruction is a purification and cleansing. Nothing remains but ash and charcoal, but because nothing remains, it means that you are free to take an entirely new path, with nothing in the past to shackle you. It appears in Creation myths as both creator and destroyer; the conflagrating Shiva, Lord of the Dance; the father of humanity, Prometheus, stealing flames to gift to the first cold and lonely humans instead of being hoarded by selfish Zeus; Coyote climbs the mountains of the sky to take for us fire from the giants, and now the tip of his tail is burnt black from it forever. It appears in the supernatural as divinatory and healing; the Oracle of Delphi inhaling the burning fumes of the gods; the priests of God lighting candles to exorcise demons; the tarot traditionally depicts The Tower, or The House of God, as lightning-struck and aflame, an omen of cataclysmic destruction and overwhelming catastrophic change. Wherever we look, we see fire and fear it as much as we love it, for it is the flames that both grant us life and warmth and kills all it touches with the same breath.

    If we must move away from the perpetuation of violence in revolutionary iconography, I must respect the power of iconography at all. Power abhors a vacuum, and propaganda as a rallying cry is an eminent source of empowerment and strength for our convictions. I think of the wildfires of California, and the chaparral which must be burnt to cinders requires to grow and stay healthy as an ecological biome. Entire ecosystems have evolved with the understanding of their end by flame inevitable, and have tied their births to the ashes that are left behind. It is not in the homeland of my tribe that I see a possible replacement for the guillotine–there is no real romance in a pinecone–but I find it elsewhere.

    There is a part of the Cape of Africa called the fynbos, or fine bush. It is a region of land where more than four in five plants are endemic to nowhere else except that miniscule hundred kilometer band. Fires rampage through it every decade or so, eradicating the lush beauty of the hills bright with flowers, each trying to attract the pollination of the sunbirds which live in the region and feed off of their nectar.

    It is in the ashes and smoke of a wildfire which has left nothing of the old world that I find what symbol I see myself in. Four days after the conflagration, a single flower will have bloomed; the Cyrtanthus ventricosus, commonly named as the fire lily. These plants bloom only after the soil their bulbs live in are exposed to extreme temperatures; they are exclusively pollinated by a single species of butterfly; within two weeks, the flowers will have died as the rest of the fynbos explodes back into vegetation, and it goes dormant once more as a bulb, waiting for the next fire to come, as I suppose it must know it always will.

    I want to be clear: I do not see this as an appropriate symbol because of the idea that it represents the hope of a future where justice has won. I think that the lie of victory over oppression is perhaps the greatest danger we face as Americans; we are too easily comforted by the idea that the fight for civil rights and humanity can exist in the past, definitively beaten, or only ever in the smallest dregs, never truly a threat anymore. The idea of history being something we create, as opposed to something which does not apply to us, is not seductive as righteousness is, but rather a terrified grip onto complacency: If we live in times where injustice must be fought, then that means if we are not fighting injustice, we are why it must be fought. The fire lily, on the surface, lives only after the revolution of fire. It is perhaps to others a sign of beauty, perhaps of hope, that life shall exist even after the most calamitous of change.

    To me it is the knowledge that the fire lily did not come to life after the fire–justice does not live only once injustice is defeated. The fire lily is a lily. It is a plant which grows from the same bulb, flowering again and again, withering away each time and waiting for its moment to bloom. It is never dead, it may only be killed; otherwise, it is still there, just below the surface of the soil, unseen and ignored by many, but exists within the foundations of the world nonetheless.

    The point in time where any of us will ever be able to say, “This is after the revolution”, will never come. The fight against human cruelty, against murder and violence in all its sizes and shapes and justifiications, against conflict and struggle and suffering–it is never something able to be won. We exist in a constant state of learning more about our fellow man, and our ideas of justice grow with each new thing we learn. To be alive is to change into something other than what you were mere moments ago; to be dead is definitionally to stagnate, unable to change yourself, merely to be changed by those around you. The fire lily did not grow after the revolution, it merely was most visible then. Fire happens when we grow rampant and green and far too comfortable with the idea of forgetting that, just like justice exists within the foundations of our societies, so too does injustice, waiting to strike. The only difference between the fire and the flower in this system of symbology, then, is merely what symbols we see in them, and what we are willing to do about it.

[oottaa]

مالي شغل بالسوق مريت أشوفك عطشان حفن سنين وأروى على شوفك

أشلون انام الليل وانته على بالي حتى السمج بالماي يبجي على حالي

[dogydayz]

so the gay hogs server has been just. every now and then my lil group of Scourge-fan buddies go in general and just make up fucked up bastardizations of his name because for some reason it's the funniest shit to us. Allow me to grace you with some of these:

Skug Skurge Scoog (curtesy of a singular comment on the Spriter's Resource under a custom Scourge spritesheet) Skurg Sog Soug Scrouge Scrug Scouwge Sklug