#the covenant reborn

[g4zdtechtv]

Cinematech Reborn #8 - Do Your Summer Game Best

Fresh from Summer Game Fest 2024, Cinematech Reborn is back and bringing you highlights from the big event! From killer beans, to Rangers making the scene, to a future match of your dreams, it's a show you cannot miss!

(ALSO SEEN ON 4GTV!)

[moonlightblogs1]

#36 Happy Canada Day!!

Sponsored: Kitty Coven - Oujia Makeup Set White/Tintable EyeShadow @ Kitty Coven Mainstore

Sponsored: 1Hundred - Simply Sexy @ Dollholic Event (June 18th - July 11th)

Canada Day Cheek Tattoos Made By Me

-----

The Horror! - La Luna Aura @ The Horror! Mainstore

LeLUTKA - Avalon Head @ LeLUTKA Mainstore

Swallow - Gauged Ears @ Swallow Mainstore

KILLJOY - Grunge Plugs @ KILLJOY Mainstore

Avi-Glam - Glasslike Eyes @ Avi-Glam Mainstore

Avarosa - Allie Skin @ Avarosa Mainstore

Suicidal Unborn - Tired Eyebags @ Suicidal Unborn Mainstore

Ladybird - Hilda Lipstick @ Sabbath Event (June 21st - July 11th)

Stealthic - Adore Hair  @ Stealthic Mainstore

eBody - Reborn Body + Juicy Boobs @ eBody Mainstore

Blueberry - Valentine Heels @ Blueberry Mainstore

[wynnyfryd]

Trailer park Steve AU part 42

part 1 | part 41 | ao3

cw: irreverent religious imagery, general fucknastiness, minors look away (informal D/s dynamics, fingering, cum play, take me to church)

—

“Ohhhhh, fuck, oh fuck oh fuckohfuckoh—”

Eddie yanks his hips up higher. He’s got him hoisted up in bridge pose: weight up on his shoulders, cock aimed at his own mouth and threatening to blow, legs squeezing Eddie’s hips as Eddie pulls him apart. One hand spears three slick fingers inside him while the other delivers pleasure and penance, stroking him off so sweetly one second then striking tender flesh the next, and hysterically Steve thinks of the girl he lost his virginity to; how she kept making all these breathy, whiny cries in the back seat of his car — so big so full oh fuck Steve oh my god. Steve had always assumed she was embellishing a bit for his benefit, y’know? Like

Reality: Ribbed for His Pleasure.

But now Eddie crooks his fingers up while his free hand slaps down mean and sharp on the top of Steve’s thigh, and Steve fucking shouts. Apologizes to Mallory in his mind and lets out a hideous noise, all pitchy and strangled, his throat full of spit, his eyes filled with tears.

Eddie digs his nails into the skin he just slapped. “You wanted this,” he reminds him with a gorgeous, rasping grunt. Feral, filthy noises that shouldn't sound so beautiful but echo through Steve's mind like a pipe organ in a stone chapel.

Eddie twists his buried fingers; makes Steve's whole body clench. “Said you could take it, didn’t you?”

“Yeah,” Steve pants, head rocking against the floor with the force of Eddie’s thrusts. Fucking him without fucking him; hips working in tandem with his fingers, pretty pink dick smearing precum on Steve’s thigh.

“Say it,” Eddie commands.

“I can take it.”

“Yeah, you can.�� He drapes himself over Steve, bucking against him still, fingers moving faster, breaths speeding up. "My pretty baby," he coos with his mouth hovering inches away. "Can take anything I give you."

Steve licks his lips and wishes, grotesquely, that he had numbers on his wrist. Wants to bend the universe's will so he can stay in this moment forever.

He settles for chasing Eddie's lips with a wet kiss, straining his neck to wriggle his tongue past smiling teeth. "I can take it," he confesses against the slick drag of Eddie's mouth. Repeats the mantra, call and response like he's in church.

Eddie's hand recites the homily, jerking faster, willing release, and he pulls back to aim Steve's aching dick toward his mouth; gives him a serious look. One last chance to bow out.

"Even this?" he asks, readying Steve to pour communion down his own throat.

Steve sticks out his tongue. Looks up at Eddie with wide, reverent eyes — this Hellfire boy with demons inked into his chest — and he thinks this is the closest he's ever felt to God. Something about this feels sacred. Ritualistic renewal; rebirth and covenant.

He nods feverishly.

"Jesus Christ," Eddie groans, and he crooks his fingers in again and squeezes his other hand harder at the base of Steve’s cock. He’s leaking all over him, twitching and flexing as he thrusts; getting Steve all messy and wet between his legs. Steve wants to be fucked so badly he might cry; wants to feel it for real, the head of Eddie’s cock popping past the ring of quivering muscle.

He’s about to ask for it, beg for it — balls drawn tight against his body, tears streaming from his eyes — but then Eddie chants “Open wider, Stevie; you can do it, baby, come on” and Steve baptizes himself, spilling hot over chest and chin, reborn under the guidance of Eddie’s holy, healing hands.

—

part 43

tag list in separate reblogs under '#trailer park steve au taglist' if you'd like to filter that content. if you want to be added please comment and let me know (must be over 21; please either verify in the comment or have your age visible on your blog)

[sepublic]

The Rapture, the Day of Unity, and Happily Ever After

I wouldn’t be surprised if the upper echelons of the coven regime weren’t concerned with being sustainable, because they were privy before the public was to the Day of Unity, which was itself essentially one big rapture where everyone goes to a perfect utopia! They don’t have to worry about the world they’ve left behind, they just need to last long enough to make it to this endpoint, like Belos talking about how he only needs to ‘live long enough to see this through’.

So it must’ve been quite a shock, realizing that’s not it; There’s nothing for all their hard work. They have to go back to their lives as normal, but knowing it’s eternal in the sense of worrying about living life until it naturally ends for them, and making society run ahead of them for the next to pick up. Now people have to do their jobs in creating an actual functioning society instead of loftily dreaming of a fantasy, which is of course topical to the show’s themes about being beholden to the world and people around you as you make dreams practical.

I can see a comparison between the apathy that came from the Day of Unity and how a lot of rich, powerful folk —especially the ones running fossil fuel companies— don’t care about destroying the Earth and its environment, because they’ll be dead before it gets bad enough that the devastation reaches them in their cushy little suites. On the Day of Unity, Emira’s frustrations over her mother only caring about money feel in a similar vein, it all hearkens back to the same problem with these CEOs where their personal, material enjoyment is the only priority.

And this makes me think of the rapture comparison too; It comes from the Evangelicals, who are the descendants of the Puritans. I can see the writers playing with how Marx called religion the opiate of the masses; The idea that Christianity was often exploited by the upper class against the lower class to justify their suffering. The idea was that if you were poor, you didn’t need to worry about improving your material world because as long as you remained pious and faithful, you’d eventually inherit a heavenly afterlife.

Thus, working-class Christians were made complacent, believing their mortal suffering was just temporary and even a test for their ascension. Whether you think they actually got a heavenly afterlife is an entirely separate real-life theological discussion, but the point was that it was an excuse by those in power to avoid being held accountable in making the living world actually tolerable for everyone else, and everyone else would not hold them to that standard because they thought it didn’t matter anyway.

So I can see the Day of Unity functioning exactly like that, in fact I’m pretty sure it just did onscreen because we see wild witches such as the Demon Hunters accept the coven bindings because for whatever losses they suffer, eventually the Titan will make it all worth it right? And this framing of the Titan as an abstract God who will take you to an abstract universe is interesting; We know tangibly that other worlds exist of course, but in the context of the show, the utopia bit is a lie.

And if we apply it to real life, much how the show calls out IRL witch hunters (and its fictional one, because TOH’s fictional witches warranted nothing for their existence) as insincere… I do remember a college lecture in things like Animism or cosmocentric belief systems; They saw the ‘spirits’ as not existing on a separate plane, but our own. There was no afterlife or heaven, it was all in this world, people live on when they die and break down and are consumed by other beings, that sort of thing.

The practices of wild magic and the worship of the Titan seem to follow in a similar vein to these and Animism; The Titan is sacred and her body has its own life reborn as the environment, but she’s also undeniably dead, as pointed out by a Deadwardian witch. Eda stresses learning from the natural environment around you for magic, their ‘god’ is a mortal being and also their tangible world. The magic comes via glyphs in nature, as well as the magic in everything that witches get their own magic from. There IS something resembling an afterlife in-universe but we never get to see it, the beliefs of wild magic seem to be at odds with Belos’ Christian colonialism, and again its promise of a rapture and a separate, abstract God and utopia.

Point is; There is no universe after this, or at least that’s not how wild witches treat it. The focus is on the here and now and making this world last, and making it last for the future generations that will take your place. And this defiance of a rapture in favor of life always going on makes me think of how Dana hates the term Happily Ever After, for the implications of everything just being over and that’s it. That’s the end. All the problems are solved now, there is no story left to tell.

I can’t say this was intentional on a conscious level or otherwise, but I do have to draw a connection between this and how TOH’s ending was in response to this critique; Life keeps going on, the protagonists have to keep fixing the Boiling Isles, and then keep it going even if it IS fixed. They just undid coven bindings and King found his first glyph. The Archivists are still out there. The protagonists don’t get an eternal unambiguous happy ending where there’s nothing left to do, they don’t get a ‘heavenly afterlife’ as one could call it, and that’s good!

From a meta standpoint, you can see how it encourages fans to write more stories, to be inspired to keep it going, and it’s another way Dana made the shortening work in the show’s favor. Dana said back in 2020 that she encourages fans to build off of things, as she did as a kid with her own shows, she also wanted it to be that deep growing up! So both in-universe and IRL, TOH isn’t meant to be over, there is no absolute ending because fandom lives on.

Hell, Dana even professed interest in a prequel following Eda’s childhood; She’s since become pessimistic about the possibility, more than likely on account of her cutting ties with Disney and executives’ disinterest. But the point still stands; Life keeps going, IRL. The lives of the characters keep going, in-universe and IRL through fandom.

I also wonder if you could discuss Lumity under this lens; I’m making exceptions for queer romances, especially in children’s media, because they often have to deal with censorship pushing them to the last minute. But when it comes to romance in general, romance involving the main character largely consists of Will They/Won’t They, with the climax having the romance achieved. But because of the Thrill of the Chase, a lot of writers don’t want to explore how characters actually navigate a relationship, hence why it’s drawn out and saved for the ending; The romance has been nearly tied up as a Happily Ever After, there’s no more story to tell. So when they get a continuation, they’ll often undo progress.

Lumity avoids this; Lumity has them get together at the halfway point of the series, and then actually explores their dynamic as a couple together, without creating misunderstandings or breakups or anything. We see how they work as a couple, how they get to enjoy each other as a couple. So them getting together isn’t the ending climax, it’s just another stage in their continuing dynamic. There is no Happily Ever After; There’s problems for them to face together that do sometimes strain their relationship, but they still work on it together; Dana was adamant on showing these things instead of settling for them asking each other out and letting the rest be an implication.

And I think that’s so much more healthy to show kids than just idealizing the Thrill of the Chase and its climax, without appreciating the mundanity of just being together. Because kids grow into adults and don’t really expect or care to pursue a romance past that point, and I wonder if this is part of the culture behind cheating, of still reaching for something unattainable because media doesn’t normalize already having things when it comes to romance. Nor does it care for tackling things together as a couple most of the time.

Dana was raised Catholic, which is separate from Puritanism, but she did have to deal with Evangelicals growing up, as they raged about innocuous things like Pokemon; And Pokemon was her Good Witch Azura, a last gift from her father before he died in a car crash. It’s something Dana still enjoys and she’s done crossover art for it and TOH.

So I can see the coincidence/connection in Dana critiquing Evangelicals’ rapture ideology and how the end of everything is used to placate people instead of worrying about what needs to be eternally maintained, and like. Her feeling similarly with stories and even romances where it ends definitively and perfectly. Because fandom keeps going and she’s a part of it too.

The world keeps going, there is no endpoint to history IRL or in the show; People have to adjust going back to the banality of continuing to live and worry about running society in the long-term, rather than expecting it to not matter because they were going to be raptured anyway. And you know what, this could be good, it means it lasts forever as we see Luz and co. embrace it, happy to enjoy their lives, actually getting to be in a relationship; But life is fragile as we see with the Titan, so we gotta work to keep it going, so that even when we get our definitive end, the people after get their time.

[shutupineedtothink]

It’s about Self-actualization, not Sacrifice

I can’t overstate how much I Do Not Want Agatha to sacrifice herself and/or die at the end of this series, and tbh I’m mad that people are even floating that idea out in the ether.

I don’t care if her sacrificing herself for Billy or anyone else is making a different choice from how she couldn’t save Nicky or stealing witches’ powers, and is therefore “narratively satisfying.” I don’t care if her dying means she gets to be in some kind of eternity with Rio. I don’t care if she was some kind of ghost figure in the comics and we could see her specter in future projects. I do not want Force ghost Agatha.

I want living, breathing, transformed Agatha to come out of this more herself than she ever has been before. Freed from the hold her past and her limiting beliefs and her reputation has had on her for the last several centuries. I want this to be a new beginning of her journey, not the end.

Fortunately, I think Jac and the writers have my back on this. (Please, god)

The journey here on the Road is not about sacrifice. Because a) I don’t believe and have never believed that Agatha actually sacrificed Nicky for the Darkhold. Red herring, it didn’t happen that way. So there’s no narrative reversal to be had there in the first place. And b) the various deaths, the witches’ stories we’ve seen play out so far have not been about Sacrifice either, at least not primarily.

Alice ended up sacrificing her life to save Agatha, but that was not her story in that moment. That was not the narrative we were meant to see.

Alice saving Agatha in that moment was about her stepping into her power, her highest self, the Protection witch she was always meant to be free from the generational curse. Someone who cannot stand by and watch others in pain if she can do something about it. That’s her highest self.

Lilia’s sacrifice wasn’t her true journey either. Her story was about embracing her power, becoming the Traveler, playing out her story in the way she saw and accepting her gifts for what they are (your task is not to control but to see). She too, regained her full power, her full self in that moment, and took out at least five of the Seven with her. She took her power back from the fear that had been holding her for so long, and became the highest version of herself, the Queen of Cups.

Agatha’s journey isn’t about sacrifice either, it never was.

Agatha’s journey, as I’ve said in other posts, is about finding her true self, her true power, unmasking herself from all of the facades she’s worn over the years to protect herself and hide her pain. Answering the question, who IS Agatha, all along? It’s about dealing with her trauma so that she can exist as her true self, and be seen by others as her true self.

We’ll find out in the next couple episodes what that looks like but I can already tell you she’s NOT inherently evil, or inherently good. She is a woman shaped by heartbreak, grief, and sorrow. She has made choices, some bad, some good, and she is capable of making new choices. She is capable of transformation, of peeling away all the false versions of her to find who her truest self is — which I believe, is a leader, a mentor, a guide. The Mother, in many ways.

In that case, sacrificing herself for Billy or the coven or whatever isn’t the play here. It’s teaching Billy (probably, and maybe Jen) what he’s capable of and how to access his true power. It’s the same role she played for Wanda, only this time, when Billy realizes what he’s done (create the Road, probably) she’s going to help him, not fight him for his power. There’s probably also some element of them trusting each other and working together, having seen each other’s true selves.

I’m not going to try to predict the specifics, but my point is that Agatha dying at the end is simply not the move. And if she does, the only way it works is if it’s a dying on the Road to be reborn in the real world type of situation (so everyone else lives too). In which case, fine, I guess, but I still don’t want her to die. I want her to choose life. I think with everything she’s suffered, death is the easy choice. Living and changing and growing and letting people in is much harder.

Besides what an absolute fucking waste it would be of Kathryn Hahn’s talent to just kill off Agatha here and not have her show up later and irritate the shit out of some Avengers.

[mswyrr]

They presented the possibility of older women--who were repeatedly described as "covenless witches" in a story that also repeatedly told us a witch needs a coven--finding community again and a new reason to live in each other and their own power and then "subverted our expectations" with these women dying to serve a male character's story.

That was the point of their stories. Him.

It isn't common for older women in US pop culture to get depicted as people who are capable of rebirth. Of lives, desires, hopes and dreams that matter beyond solely being a mother. It rarely happens, and it didn't happen here.

It's rare for stories to deal metaphorically with real things - like women who get clean or make positive change in their 40s or 50s. Women who find each other and aren't alone and "forgotten" anymore. These things happen -- yes, sisterhood is sometimes a lie and sometimes "people never change." Sure, those things happen. But sometimes sisterhood isn't a lie; sometimes people make change in their lives.

You don't see these stories when they're women though, especially not older women, especially not gay women.

I'm glad for Jen. She doesn't have a community, though. A witch needs a coven they told us, over and over again. They showed us them getting one small taste of the joy they could share together, in their scene of flight. But that was just for Billy too. And now everyone else is dead. To serve the male character's journey, give him some angst.

Agatha is forever spiritually dead--not experiencing any kind of emotional breakthrough or change--because she's not the lead, so she's static so she can serve as a device within the true lead's journey.

She can't even be allowed the growth I pictured as the worst case scenario - where she dies for *the coven*--so they can live and have community and spiritual rebirth together--and makes enough peace to go with Rio. She doesn't even get that much, to get to have a real death that matters and has a sense of completion to it, where we can imagine her reunited with her child and/or at peace with Rio. She can't have that because she has to be Billy's amusing sidekick, his Jarvis, his moral warning lesson about his powers and the witches he got killed and his angst. Because his story matters and theirs didn't.

I was talking to a friend the other day about how love stories often have a "point of symbolic death, when all hope seems lost" (concept from Pamela Regis's study of romance novel structure) and with mf couples they get to rise again from that, into rebirth, into new life. Ff canon couples in stories often, due to a bunch of reasons, aren't allowed that narrative power. They remain trapped in tragedy and despair. I thought surely Agatha herself though, as the lead character, would get to have some kind of change or rebirth as part of a community of women, given that her core wound is betrayal by community -- but she, as a character, doesn't get to go into the symbolic underworld and change and be reborn, because she was never the lead character to begin with.

Sapphic love remains broken once it breaks, the "point of symbolic death" is literal death or a shattering end, there is no rebirth. We, I guess, lack the symbolic potency to come back, in the eyes of the world? We are not generative. "Which one's the man?" "How do they even have sex?" "Your marriage isn't real because you can't make babies." (Kudos for subverting that one, though, show! Except... a child born of women, without a man, cannot live a full life I guess?) And specifically, as a 30something queer woman, people who call my wife, after I've described her as my wife, my "girlfriend" and are shocked by how long we've been together. That we're grown women and our commitment is right down to the bone, that it has blood in its veins. We are not little girls playing dress up. But that is how a ton of nice people see us; we exist but we are spiritually empty, lacking potency. And the stories reflect that. That energy, that core belief that we are the juvenile, non-generative form of love and relationships. And this woman too, she remains in a kind of eternal spiritual death.

That's why people are mentioning the Hayes Code, they're feeling how that aligns with larger cultural prejudice against us and our humanity and capacity to have the kind of power of living and loving that is ascribed to mf love and that more (though not always, misogyny is a hell of a thing) straight women get in stories.

The idea that it's GOOD for a story to do this, because "sometimes sisterhood is a lie" and "sometimes people don't change" ignores that context of who precisely this narrative "subversion," this spiritual aridity is given to. And who gets to live and grow and be reborn and strive and learn and become in stories, to be allowed to connect with the transformative potential inside themselves and each other.

The show did give us a lot -- I think it's important to recognize that. The canon ff love; I would have never expected that. The canon kiss. They put a lot into that and I honor that. This wasn't a classic "bury your gays" and I'm not mad at them. They did their best. A lot of the issues I have are probably due to the problems of the mcu overall and how static it is. But the deeper themes are also just incredibly disappointing to me, and I wanted to outline why.

It's entirely possible to be disappointed but appreciate context and not be unkind to creatives who did their best within overall industry/cultural limitations, which is where I am at and what I mean with this.

[groove-on-boogie-down]

It’s not explicitly stated, but I do think in a way, Mae and Sol are both on journeys of redemption that are connected and opposite each other.

Mae had a crime pinned on her. The fire she started to figuratively burn Osha’s dreams became much worse than intended and added to chaos. In pursuing the jedi, she sought to clear her name, hoping for a rebirth that she thought her coven and sister would never witness.

Any guilt Mae possibly carried evolved into what the jedi actually did. She pleaded for help and didn’t get it. Instead she watched the “keepers of the peace” invade her home, attack and kill her family and leave her home in ruins. They left her alone and left her for dead.

Sol carried this lie with him for 16 years, and when he reunites with Osha and finds Mae alive he plans to confess the truth. BUT!! He also thinks proving a vergence will outweigh the harm he’s done. That’s why he’s so hellbent on getting both sisters. To clear his name.

Sol thinks that proving the vergence to the council with both twins will absolve him of the crime in interfering with the coven on Brendok in the first place.

So as this journey of retribution evolves into justice, Mae discovers Osha is alive, and she pivots. Being with her sister is more important now. Together, they are the last remnant of the life they had on Brendok. When Osha rejects her, she seeks a confession, through Sol.

When everything comes to a head, Mae prefers Sol tell the truth. But this is before he rambles about the origins of the twin’s birth. He’s telling Mae things she doesn’t care about, buying his time. But Osha overhears the most important detail, the truth that he killed their mother.

Sol spends more time justifying his actions as part of his plan. He wanted everything to go right in his mind, so he could prove everything had a purpose. He tells Osha he did it because he loved her. And he dies with no apology on his tongue. His redemption is not earned.

In the end, his words and actions are cut off, the same way he cut off Mother Aniseya. His reputation is ruined in his death—by a friend, on a large scale—the same way he helped ruin Mae’s reputation in life. It all comes back to bite him.

Mae witnesses the fallout and is freed from burden. She no longer carries her sister’s hate. Their coven lives through them. The Jedi who wronged her are dead. Under the bunta tree, the twins are reborn. Mae’s redemption is earned! But freedom is short lived.

In sacrificing her memories to protect Osha’s choice, Mae is re-traumatized with pain she just released. Back to a starting point we didn’t see on screen. Four jedi have wronged her but they are dead & she doesn’t remember their justice. She doesn’t remember a twin. It’s just her.

This is a death of sorts. She has lost everything. But she is not free like Qimir would suggest.

The Acolyte Season 1 gave us this tragic theme of things uncorrected & left unsaid. However, in Season 2, Mae deserves a healthy, clear mind. Let Mae-Ho Aniseya have the chance to pull the Thread of destiny so that she can be renewed and reborn, again!

End.

[jiminysjournal]

Okay, so I’ve been thinking this since the trailer that showed Teen holding Sr. Scratchy…

…but I don’t think he’s Billy. I think he’s Nicholas, albeit done in a way that parallels elements of Billy in the comics.

Instead of being obsessed with Wanda, he’s obsessed with Agatha.

We get a good look of Agnes O’Conner’s dead son’s room, planting the seeds of Nicholas.

Agatha calls him “Rabbit Boy,” and he seems to adore Sr. Scratchy.*

She also pretends they’re mother and son, at one point!

Very specifically, she can’t hear any information about his backstory — his name, his hometown — beyond that his mother died.

And, on that note, Rebecca can’t be dead; I simply won’t allow it. And, she must be played by Idina Menzel; I mean, COME ON.

Besides, Billy should be played by a Jewish actor, anyway. Like, I don’t know; Jushua Rush?

Agatha seemed to indicate that her coven betrayed her first. What if Nicholas died, as a result? And then, he was reborn, in modern day, as Teen? Could we finally get Mephisto, by the way?

*Now, admittedly, Billy did also pet Sr. Scratchy in “Breaking the Fourth Wall,” and we did see that shot of Teen Marvelbounding Billy, but the latter could be a scarlet herring, playing on people’s assumptions that he’s Billy.

I might be missing some stuff; feel free to add on. But I do want to timestamp this:

9/19/24 5:13AM, EDT

1:09PM Edit: I just remembered something I forgot! The brooch is a locket, containing a lock(e?) of hair! Could it be Nicholas’?

[robsheridan]

Sisters of the Solstice, part 2 (start with part 1 here). In June of 1975, photographer Sera Clairmont captured the only known documentation of Sweden's mythical “coven of eternal witches,” (as some local folklore refers to them), and published them in Spectagoria magazine issue 11. These are the last of the pages that have been recovered from that issue.

From Clairmont’s text: “The Sisters are women of ritual. Complex layers of rituals for every occasion have collected upon the Sisters’ insular culture over re-generations like stamps on a well-traveled passport. At no time are the rituals more significant than in the weeks surrounding Midsommar, for that is the time of renewal.

“Each Midsommar season, the Sisters chosen for renewal give their physical shells back to the earth. Some depart in rituals of soil, and their remains are used to decorate the land, often raised to decompose as markers of the Sisters’ territory to scare away any men who dare come near. But some of the women - old souls who require stronger magick to transfer - must give themselves to rituals of flame, and [text illegible due to paper damage] reborn in flame. It is in the flame rituals where one understands the depth of the sacrifices the Sisters have endured to survive for so long without men. At dusk, the [illegible] dangerous ancient dark magick, taking a heavy toll on [illegible]… If any mistakes are made, or [illegible] too weak, [illegible] the soul will never return, [illegible] the wrong soul [illegible] …something else comes back.” [the rest is illegible]

---------

NOTE: Spectagoria is an ongoing work of fiction created by me. This alternate reality horror story is part of my NightmAIres narrative art series (visit that link for a lot more). NightmAIres are windows into other worlds and interconnected alternate histories, conceived/written by me and visualized with synthography and Photoshop.

If you enjoy my work, consider supporting me on Patreon for frequent exclusive hi-res wallpaper packs, behind-the-scenes features, downloads, events, contests, and an awesome fan community. Direct fan support is what keeps me going as an independent creator, and it means the world to me.

[butmakeitgayblog]

Always, Lexa has loved her. 

In every lifetime. In every iteration of her.

Forged in the fires of hell and phosphorus embers of perdition, Lexa, a demon, walks among them. From the dawn of man crawling from their caves on bended knee, to the concrete skylines of the new world, she watched them flourish, thrive, and crumble. Smelled the smoke of their burning Eden while sipping their sin like the finest opulent wine.

"Kiss me harder," Lexa whimpers against the heat of Clarke's milk and honeyed mouth as hands work their will below.

In every lifetime she is different. A different face. A different name. Golden blonde bleeding to silver, burnt amber to black. A village healer who seeks to comfort. A coven leader who works her incantations in vain. A conjurer, a shawoman, a witch by so many shifting names. From the days when beasts roamed free and she, only a nomad protecting her clan through a veil of ancient mystics, to Clarke Griffin of the new age, the midwife with a strange knack for saving lives already thought lost to this realm.

"Fuck, Lex," Clarke sighs, rolling her hips into the thrust of Lexa's fingers hard enough to rattle the bones.

From the beginning, Lexa has watched her hone her craft, over decades and centuries and long lost millennia. Has watched her conjure and harness death in the smoke of fire-stoked chants, as her beating heart burned at the stake. Has kissed the choked, 'May we meet again' from the blue of her lips, felt the cold of her skin as she drowns on the riverbanks by their righteous hands in the never ending cycle of loving her, and losing her, and patiently waiting for that someday when she is reborn again.

"I've missed you." Lexa feels her tears turn to ash in the chalice of Clarke's kiss; quenching and searching and chasing after so many years without. 

Hell doesn't burn quite so lovingly in the lifetimes when she loves her back, returning Lexa's kisses and aching for her touch with equally wicked smiles. When she breathes her passion and pleasure against the warmth of Lexa's lips and lays her body among the ruins of their blasphemy. Back arched and legs spread as she pants for Lexa to fill her more, to take her rougher. To pour her sinister lust into her. The lifetimes where Lexa gets to hold her, taste and touch her, to feel her wrapped tight and wet around her fingers… Those are lifetimes that bring color to the grey of Lexa's damnation. When power seeps from her like a sieve of midnight fury, tasting of blood and summer sweet dandelions on Lexa's tongue. 

Clarke gasps in pants and sacred salt, hands breaking the circle upon such consecrated ground. "Don't let me forget, baby. Don't let me forget you."

Beyond her earthly bindings, the truth of her remains. The unwavering essence that calls to Lexa from the four corners of the Earth whenever she returns to her. 

Her soul remains true in every lifetime, in every iteration

And always, Lexa has loved her. 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Or, Demon Lexa falling for every reincarnation of Witchy Clarke over the expanse of eternity, but mostly I'm just here for the aesthetics 🎃

[wolf-girl]

Vampires

I was always very bored by how perfect and indestructible the twilight vampires are. They are so overpowered, it makes everything boring. So, i changed A LOT about them -

everything i don't mention is just like in canon!

The transformation into a vampire takes up to 24 hours after the bite. After that a vampire is considered a "reborn" until they are one year old.

physical appearance:

doesn’t matter, how thirsty or old a vampire is – they always look flawless

their skin-color doesn’t lighten after the transformation, they just seem very pale due to having no more blood in their body

their eyecolor is the same as when they were human, but it becomes darker the thirstier they are. Once their eyes are black, they will start to feel dry

they have visible, but not quiet noticeable fangs

physiology:

vampires’ skin is denser and harder, but it feels just like human skin

vampires have a beating heart – it pumps venom through their veins

due to the venom the body temperature of vampires’ is at 17°C (~62,6°F)

vampires have to breathe. Whenever they can’t, they would lose consciousness and their hearts would stop beating, until they are able to breathe again

the longer they don’t drink blood, the lesser becomes the venom inside their bodies. Every move would hurt more and more, they’d feel powerless and exhausted. However, they wouldn’t die, just dry out

vampires can eat human foods – it gets dissolved by the acidic venom in their stomachs and they feel nauseous afterwards. Other than that, it wouldn’t do anything to them, than taste bad

male vampires can’t impregnate human women

powers and abilities:

vampires have enhanced bodies: their physical condition is at human's peak, with infinite stamina

with concentration they can enhance their senses: it allows them to see, hear, smell, taste and feel better than humans

every vampire has a special ability, which is unique to them

they have a very fast regenerative healing should they be wounded or break a bone

Reborns are usually stronger and faster than fully grown vampires, due to having a bit of their own blood still in their system. Only a vampire with the special ability of strength or speed could match them. However, if a vampire were to drink the blood of a witch*, they would be as strong and fast as a reborn again.

weaknesses:

direct sunlight gives them a feeling of a sunburn, which gets worse the longer they are in the sun. If they were to stay in the sunlight, they’d also get a headache, similar to a sunstroke. This can end with them losing their consciousness (they don't sparkle at all)

their eyes are light sensitive

minor physical injuries such as gunshots, stab wounds, and broken bones will cause pain and slow them down

should they get bitten by another supernatural being, the wound would scar

a torn of limb can’t be reattached

vampires can be killed through any weapon getting pushed through their heart, decapitation, heart extraction or fire

others:

vampires don’t have perfect recall (it could be someone’s gift)

All of these changes make the Volturi really unnecessary. But they are still the largest clan of vampires. They claimed the Tuscany as their territory and have been living in Volterra for centuries. They are a relatively influential coven, but only within Italy.

When a vampire bites a human corpse within the first twenty-four hours after their death, they become a ghoul*. * Witches and ghouls are something new within the rewrite universe.

[moonlightblogs1]

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[thehawkeyefan]

Updated Parallels to the Wizard of Oz

So back after Episode 5, I made a post exploring the parallels to the Wizard of Oz that Agatha All Along has.

If you want, you can view it here.

Anyway, I wanted to post an updated theory, because I believe I have a deeper understanding than I had before.

Agatha Harkness: The Wicked Witch of the West. The Antagonist/Villain of the Wizard of Oz, in this case reversed and she is our protagonist. She is responsible for each of the deaths on the road in someway. But unlike the Wicked Witch of the West, she's not actively seeking out to murder Billy and his friends, she wants to protect him. She wants to give him the chance she never got, and she wants to help. Also another reversal, in the Wizard of Oz, the Wicked Witch of the West is killed when Dorothy splashes her with a bucket of water, which causes her to melt. In a strange twist of fate, it's the water witch that is the path ahead for the coven.

Billy Maximoff: The Wicked Witch of the East. This is a bit of a reversal as in the Wizard of Oz, it is the Wicked Witch of the East who is killed when the house is dropped on her by the Tornado, but in this case the car crash instead gives the Wicked Witch of the East a chance at life. In this

William Kaplan: Dorothy. Is the one who seeks out the Wizard of Oz in the story, in this case, his death gives Billy the chance to be reborn.

The Car Crash: The House Dropping on the Wicked Witch of the East. In this case this event is reversed and it has killed Dorothy instead.

The Hex: The Tornado. When it's dropped the wicked witch of the east is transported to Reality (aka, Oz).

William's Body: The Ruby Slippers. This body is what protects Billy from full on death, and just like Dorothy in the story, Billy takes the ruby slippers from the corpse of William. In this case literally.

Jennifer Kale: Glinda the Witch of the North. Her trial is the first for the coven, she appears at the beginning giving Teen the warning about being careful around Agatha, similar to Glinda in the Wizard of Oz appearing before Dorothy to help her first prepare her for the Wicked Witch of the West. Her first action in her trial, the very beginning of the road, is to help defend Billy from Agatha. She does so by warning him of her danger and her history, and that he should approach her with caution. Of course, with all the reversals in the story, Agatha is not out to kill Billy but is instead projecting both herself and her dead son onto him. But still Billy does take the warning to heart, and the wisdom keeps him from truly revealing himself just yet. Plus she is described by the Lilia as the way forward. Glinda appears at two points in the Wizard of Oz. Once at the beginning to help Dorothy on her journey, and once at the end to help surmise her journey, and teach her how to obtain what she needed on her own. In the end, Glinda helps Dorothy finally get home. Also above irony that the water witch is the way forward for Agatha. I wouldn't be surprised if Jennifer's knowledge is the secret to helping Agatha get her powers back/learn to control them. The High Priestess is said to possess spiritual knowledge, and Agatha is the coven's Spirit Witch.

Sharon Davis: The Scarecrow. She just thought they were having a party. As she walks the road she does try to learn more about witchcraft and her new coven, but in the end, her lack of experience and knowledge doesn't prepare her for the first trial. She is killed by downing two glasses of wine without question and thus not being conscious to put her hair in the potion. Agatha is responsible for her death because she brought her into the coven and the journey down the road despite knowing she knows nothing about witchcraft. She is also the maiden death as well, as she is new/inexperienced to witchcraft.

Alice Wu Gulliver: The Tin Man. Alice came on the road thinking she was looking for her mother, instead she found the closure she needed to reignite her passion and heart for the world. Her death comes from her blasting Agatha with her powers in an attempt to save Agatha from her mother. This act of compassion got her killed as Agatha responded by draining her of all her power/life. Thus Agatha is also responsible for her death. She is the mother death as well, as in life she was always looking out for the maiden of the coven, Billy. And her death came about in a brazen act to save a member of her coven.

Lilia Calderu: The Cowardly Lion. Lilia came on the road because she was hoping to avoid Death, but in actuality needed a coven and community. Her death is finding the courage to face her coming Death head-on, and sacrificing herself to save her coven. Agatha is responsible for her death because she's the one who places the Death Tarot down sealing her fate. Lilia is also the crone death, as her death comes at the end of her long life, and she uses her time to impart a final bit of wisdom on each remaining member of the coven to help them fulfill the roles they'll need to take on after she's gone. For Billy she returns his Spellbook, encouraging him to continue learn and continue practicing the craft. For Agatha she gives a warning about an upcoming battle in order to help her survive. And for Jen, she spends the entire episode preparing her to fulfill the role of the coven's wise woman once she's gone. Encouraging her, building her up, and informing her she's their path forward now.

Evanora Harkness: The Illusion of Oz. Where Oz was just an illusion in the Wizard of Oz, Evanora is very real. While in the story Oz manipulates Dorothy and friends to go out and kill the Wicked Witch, an act to get someone to deal with the biggest threat to Oz. Evanora is just a bitter ghost taking advantage of the road and the trial to abuse her daughter beyond the grave.

Rio Vidal: Oz behind the Curtain. While Oz was just a fraud pretending to be great and powerful, Rio is actually great and powerful. Divine. Death waits at the end of the Road, just as the Emerald city.

The Salem Seven: The flying monkeys. In the Wizard of Oz, the flying monkey's are the Wicked Witches minions that she sends to kidnap Dorothy, here they are a hive-minded coven hell-bent on getting revenge on Agatha for her self-defense massacre of her coven.

[libec-mostly]

‼️ HUGE IWTV SPOILERS ‼️(also don't care if there are any grammatical mistakes i learnt english by myself don't judge 🙏)

the fact that every major moment in this show comes with fire is an amazing decision and it has such a beautiful metaphor and correlation with religion like

first it was a church fire inside of chaos, a flame of a human life inside of louis, a massacre, and pain pain pain oh so much pain, and then acceptance, and love, and worship "I saw him, saw his extraordinary aura and knew him to be no creature I’d ever known, I was reduced to nothing" and then some sense of security, a fucked up idea about happiness and a family, and eternity, and it was a rebirth of louis. here inside a chapel, surrounded by dozens of candle flames, of holy fire, under the christ, he found a real god, his god, like a 'devotee experiencing christ for the first time'

fire in storyville, denial of his own nature, torturing memory of the life and a family of a human that he once was, and reality that he now had to face, inability to control his emotions, and the consequences of unconscious impulsive actions, the birth of claudia, his daughter, his sister, his companion, his everything, his claudia.

a burning of antoinette and a homicide of lestat - louis is lost completely, day by day, he's tired and he can't keep up with the play pretend of a perfectly fucked family, with his claudia. with HIS lestat. and he's already torn between the present and the past and he wants to go back, he wants to be loved and be seen by lestat for the first time again, but he made his choice a forever ago, and he regrets it that instant. louis and claudia are reborn again, they leave new orleans

during a search for others like them in romania, it's an old vampire lady who threw herself in a fire and it's opened louis' and claudia's eyes on the reality of being a vampire without hope and guidence, and maybe for a second here, they thought about lestat, and felt a sense of compassion towards him

a fire in a mansion of some reach douches in paris - the first time after claudia's birth when she feels alive again, she found a coven that feels like family and she's riding a bike home and maybe just for a moment she remembered what lestat said about "an experience that feels like eating syrup while riding on the wind". and maybe it's weird but she felt herself being at two places at the same time - at home in new orleans, and at home in paris. "I love everybody and everything in this every moment, right every now!" claudia is alive oh so alive

and then it's an execution of claudia. a death by sunlight. and claudia is strong, incredibly strong, and she doesn't fall to her knees, but it hurts so much, and oh somebody please help me, i don't want to go, somebody please! she turns to lestat. she doesn't say anything, she can't, she doesn't need to. she looks at him "it burns so much i can't take it, it's under my skin, it's all over me, it hurts dad. dad. please. i need your h-". claudia is strong. so strong, she manages to kill lestat just by looking once in his eyes, while being burned alive by the sun

louis setting the théâtre des vampires on fire, not feeling a single emotion but a raging flame of anger after being resurrected. and louis is a dead man walking, two times more literal or ironical this time. and he's leaving paris because paris burns in all the colours of fire.

and then it's louis walking into the burning rays of sun in san francisco after meeting a young reporter, who made him plunge into an ocean of devouring memories of new orleans, of lestat, of his death, of his birth, of his claudia, and it was all so suffocating and it burned and burned and burned underneath his skin, and there he was again. dying. being born. becoming a new louis, an unprecedented louis, a polished to a shine mask of louis, that he would have to wear for the next 77 years.

"The sun as the giver of all life and the vampire as the epitome of the undead, the diametric opposite to life itself..."

"...are we closer to vampires because we too can be burnt, or are they closer to us for it?"

[flimsyscript]

So about that prophecy

I've spent the past 2 weeks blasting through the Akatsuki no Yona manga, and I'm ready to drop a theory on the prophecy.

TL;DR — It's actually been about Yona and Hak the whole time.

Spoilers up to chapter 259 under the cut

First, let's break down that prophecy, yeah? (I'm using the translation that's been posted on MangaDex Chapter 255 since I've found lots of different versions online):

Darkness falls upon the great earth Through the blood of dragons A revival comes again Bound by the covenant of old When the four dragons assemble The sword and shield that protect the monarch shall awaken And the red dragon shall return at dawn

Clearly, Kija, Shin-Ah, Jae-Ha, and Zeno are the four dragons.

For the sword, shield, king, and red dragon, I think it's a bit more complex.

What we know at the start of the manga is this: That the soul of the red dragon king has been reborn and that person is Yona. Yona thus goes looking for the four dragons because of this prophecy, and she finds them! And it turns out, except for Zeno, they too have been reincarnated — over and over and over again. So, the assumption we make here is — this is a cycle. That the dragon's and red dragon king's souls will continue to be reincarnated forever, and each time the red dragon king is reincarnated there will be a "darkness" that has fallen over the land.

However, what if the prophecy wasn't about the red dragon king’s soul, but about Yona specifically?

In 255, King Hiryuu speculates about the prophecy with Zeno, passing it along because he knows Zeno will go on living. When he does so, King Hiryuu confesses that even he doesn't know what it means:

However, while pondering the prophecy, King Hiryuu comes to a realization after repeating the words "...the red dragon shall return...":

"...when the red dragon shall return..."

"Return" here suggests that someone has left at some point, and then has come back. So, instead of the prophecy just generally being about the soul of the red dragon which reincarnates, it's actually about Yona. This is further highlighted when Yona visits King Hiryuu in her dream:

They are not one person — the red dragon's soul — but two separate people. And so, the prophecy can only be about one of them.

And after King Hiryuu realizes the prophecy is about his reincarnation/Yona, what does he do?

He points his sword at the dragon who will not die — who will be there when the red dragon returns. At this point, I assume King Hiryuu has realized that Zeno will have a role to play in the threat that faces the red dragon, likely as he knows about the power of the chalice and thus the deeper meaning in the words "...the blood of dragons...when the four dragons assemble..."

Another thing that supports the theory that the prophecy is about Yona and not the red dragon's soul (meaning Hiryuu, Yona, and subsequent reincarnations) is that King Hiryuu could have ended the four dragons lives at any time, but doesn’t because of Yona’s request. We learn this when Yona has her vision of the past where she speaks with him:

"Should I instead put an end to everything here...?"

To which Yona replies:

"Don't bring an end to them now." = Acknowledgement that King Hiryuu has the power to do that.

"I want to be reunited with everyone again." = Yona specifically wants to be reunited with the four dragons.

So, if King Hiryuu has the power to end the dragons, why wouldn't he have the power to have them reincarnate? And, reincarnate until they can meet Yona? King Hiryuu doesn't know how far in the future Yona lives, either, and so what if the three dragons keep reincarnating until that time? And Zeno keeps living until that time, as well? Having the possibility of reincarnation introduced to us in this world makes us think it's just something that happens naturally, but this would make it a very specific act with an end date — when they meet Yona.

But, okay, so let's say the “red dragon” in the prophecy is about Yona. Where does Hak come in?

Well, he's the king.

Walk with me a moment. We've already experienced one misleading part of the prophecy — who's to say there isn't another? We assume the "king" and the "red dragon" are the same person because King Hiryuu is both. But we've just established that the "red dragon" is actually Yona, so the "king" could very well be someone else.

Let's go back to the sword and shield now.

When King Hiryuu is talking with Zeno, he is confident the "sword" in the prophecy is the sword he was given by the dragon gods. And while he's unsure of what the shield is meant to be, he thinks it might be a protective charm, even going to suggest the crest he gave Zeno is the “shield”:

But what if the crest is also a red herring? What if the "shield" is another protective charm?

What if it's Hak's pendant?

Something to support this: the pendant is heavily featured in many panels in chapter 259. We see it constantly throughout the chapter:

Which suggests it’s something Kusanagi wanted us to see as present in this final showdown. So, why not?

If this is the case, this is what we're left with:

Four dragons: Kija, Shin-Ah, Jae-Ha, Zeno Sword: King Hiryuu's sword Shield: Hak's pendant King: Hak Red Dragon: Yona

Personally, I’d love to see Hak as the “king” in the prophecy. Throughout the manga, Hak has felt as if he just exists to support Yona and Soo-Won, or that they are people that are above him in some manner. For him to also be of importance I think would be a moment where he recognizes that he’s always been walking alongside Yona and Soo-Won, and not behind.

Plus, Kashi did have her premonition about Hak. We assume she saw him protecting Yona as her bodyguard. But what if she saw that Hak becomes the king?

And so, that's why I think the prophecy — and the reincarnation of the dragons and the red dragon — has actually been about Yona and Hak this whole time. The implication of this is that when the prophecy comes true/comes to fruition, I think it'll also mean the end of this reincarnation (and Zeno's long lifespan). Meaning, the dragons and red dragon’s soul won’t be reborn anymore.

One last item to throw in here: I think Soo-Won will protect Hak with the sword. I'm less certain of this, but Soo-Won is of King Hiryuu's blood, and that hasn't come much into play yet other than being a complicating factor for who should be on the throne. But what if Soo-Won weilding King Hiryuu's sword awakens it in some way? I don't know!

That's all I got so far, but would love to hear what y'all think!

[misshcrror]

        𝐇𝐎𝐔𝐒𝐄 𝐎𝐅 𝐇𝐎𝐑𝐑𝐎𝐑: ──── YASEMIN's char study ;

BOLD — always applies. ITALICS — situational / sometimes / kind of. STRIKED OUT — never applies or uncomfortable with.

          𝐂𝐇𝐀𝐑𝐀𝐂𝐓𝐄𝐑     𝐒𝐓𝐔𝐃𝐘     :     𝐺𝑂𝑇𝐻𝐼𝐶 𝐿𝐼𝑇𝐸𝑅𝐴𝑇𝑈𝑅𝐸  

𝐂𝐀𝐑𝐌𝐈𝐋𝐋𝐀 : giant feather-beds. tightening the corset. moonlit walks. killing for love. cruelty for the sake of love. love is always selfish. romantic tragedy. love to the brink of destruction. nighttime rendezvous. bloody kisses on soft skin. death was the maiden. a very strange agony. claimed by the supernatural. dreaming about your lover. sympathy for the devil. loving me to death. candlesticks lighting up the palm of your hand. a passion that wears you. killing the one you love.

𝐏𝐇𝐀𝐍𝐓𝐎𝐌 𝐎𝐅 𝐓𝐇𝐄 𝐎𝐏𝐄𝐑𝐀 : a single red rose laid out to be found. sensual voices singing them to sleep. a familiar shadow attending every recital. love waits on the rooftop in the night. two soulmates holding hands. walking down long corridors. retrieving something lost. devoting one’s craft to them. making them your muse. the horror was for love. painted faces on parade. gentle touches in the dark. revealing your darkest secrets. beauty and the beast. writing messages on the mirror. kindness conquers all. letting your lover go. love never dies.

𝐉𝐀𝐍𝐄 𝐄𝐘𝐑𝐄 : loving the escape. an impassioned affair. being consumed by love. meeting your soulmate. lace and silk. thirsting for the perfect romance. marrying for passion. losing yourself in the face of your lover. wedding veils and bouquets of pink roses. maddened by love. finding warmth in the cold. calling out for your love. starting at the bottom. the fire cleanses everything. hiding your passion. your love will destroy me / my love will destroy you.

𝐓𝐇𝐄 𝐏𝐈𝐂𝐓𝐔𝐑𝐄 𝐎𝐅 𝐃𝐎𝐑𝐈𝐀𝐍 𝐆𝐑𝐀𝐘 : painting a portrait or sketching the face of someone you love. meeting in secret. visions of your lover dying. clutching a lover’s clothes to your chest. love so consuming you kill them. protecting their innocence at all costs. betrayal. polyamory. devotion. flowers for the one you love. remembering the name of your first love. jealousy when you see them with someone else. love so consuming you die for it. visiting the the place where you saw them the first time.

𝐓𝐇𝐄 𝐂𝐎𝐔𝐍𝐓 𝐎𝐅 𝐌𝐎𝐍𝐓𝐄 𝐂𝐑𝐈𝐒𝐓𝐎 : letters to your lover. marrying for love. these bars can't keep me from you. motivated by love. an avenging angel. scorching jealousy. love reborn. devoted to memory. it was all for you. going your separate ways. commit murder for me. an unstoppable hunger. death comes for us all. the love stronger eventually grows apart.

𝐃𝐑𝐀𝐂𝐔𝐋𝐀 : the holiest love. girls love wolves. the blood of the covenant is thicker than the water of the womb. violence is passion. red lips, sharp teeth. love letters in a diary. unrelenting support. getting lost in the woods. coming home to you. walking backwards into hell. revenge for my love. even death won't stop me. we can live forever. love is an open wound. too much love to give. bestowing your favor. a never-ending thirst. beauty even in death. ravenous desire. if only death had a heart to give. a mercy killing. these violent delights have violent ends.

𝐅𝐑𝐀𝐍𝐊𝐄𝐍𝐒𝐓𝐄𝐈𝐍 : childhood friends to lovers. they were something out of a dream. arranged marriages. learning to love. was it all really worth it? our guilt can know no bounds. revenge, my love. dismembered body parts. my beating heart in your open palm. your death destroys me. adam and eve. crossing the mountains. an antagonist in mourning. paradise lost. the loss of innocence. abandoning your dream. the tempest on the horizon. humans are the real monsters. my love is wiser than my hate.