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duckprintspress · 9 months

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Meet Aether Beyond the Binary Contributor Scarlett Gale

We are sloooowly creeping up on being 2/3rds funded on the crowdfunding campaign for Aether Beyond the Binary, an anthology of 17 stories by queer authors starring non-binary main characters in aetherpunk settings! It’ll definitely be a relief when we hit that wonderful 100%. Don’t forget to share Aether Beyond the Binary with friends who you think might be interested in the project!

Head on over to our Kickstarter Campaign page NOW to learn waaaay more about this project, and read on to get to know Scarlett Gale, read an interview with her, and check out an excerpt from her contribution!

About Scarlett Gale: Scarlett Gale is the author of His Secret Illuminations and His Sacred Incantations. Long ago, under another name, she was the co-author of Needles and Artifice (Cooperative Press; 2012), featuring a rollicking romantic steampunk adventure novella and associated knitting patterns, of which she also designed several. She writes and produces fringe theatre plays based on B-movies, such as Bodacious Barbarian Babes vs. The Indigo Empress and Showgirls of Beast Island. She is a co-producer of the Alison-Bechdel-approved Bechdel Test Burlesque, which in 2017 was included in the Women and Gender Studies curriculum at the University of Oregon. She lives in Seattle with her wife where she gardens, knits, reads, and drinks warm beverages. Unsurprisingly, she also has cats.

Links: Personal Website | Tumblr | Bluesky

This is Scarlett’s second time contributing to a Duck Prints Press anthology. A short story by her was also included in our debut anthology Add Magic to Taste. Learn more about Scarlett’s other published works.

An Interview with Scarlett Gale

What motivates you to create?

Spite and love in equal measure.

What are your goals as a creator?

To make the world a kinder, hornier place one story at a time.

Are you a pantser, a planner, or a planster? What’s your process look like?

I suppose Planster is the best description, though I think that makes me sound more like someone who has a lot of plants (she says, sitting next to a glass cabinet full of houseplants). For my longer works I usually start with a vibe and a general idea of the arc and write with no real outline until I’m about two-thirds through the story, at which point I will sit down and roughly bullet point the scenes I still want to write, arrange them into story order, and use that as a reference to finish the piece. Why when I’m two-thirds through? Because at that point I’ve had enough Shower Ideas that if I don’t document them somewhere, I risk forgetting to put them in, and my Shower Ideas are the most inspired parts of my writing!

What do you consider to be your strengths as a creator?

Wordcount. Good god, wordcount. I am the rare writer who can just sit down at a computer and bang out several hundred words in twenty minutes without second-guessing myself or worrying if the words are good enough. This makes me simultaneously the best and worst person to have in your writering group.

What do you consider to be your weaknesses as a creator?

Also wordcount. I think every story I’ve submitted to the Press has started out two thousand words above the limit, which means we have to do sooooo much editing. Goodbye, my beautiful words!

Do you like having background noise when you create? What do you listen to? Does it vary depending on the project, and if so, how?

Yes! It makes writing feel less lonely, since I do a lot of it only accompanied by my cats. I listen to music at a medium to low volume that either has no lyrics, or lyrics in a language I don’t speak so I don’t get distracted by the words. I actually bought the cheapest Pandora subscription specifically for writing music. My favorite stations are:

Lofi Chill

Bonobo*

Mikel & Gamechops

Radio Asian Kung-Fu Generation (a recent addition)

*Fun story about the group Bonobo: The morning after our wedding, my whole family crowded into our tiny house to watch us open our wedding gifts. I had given my siblings control over distributing the drink tickets, which meant that after they handed them out to the guests, they used the remaining tickets to get SPECTACULARLY plastered, and were thus deeply hungover. My wife made loads of coffee while everyone grazed on the catering leftovers, and in the interest of creating a calming atmosphere, we put on a Bonobo album. Everyone liked the music, to the point that they repeatedly asked the name of the group, which meant my wife and I kept repeating, with increasing exasperation, “BONOBO!! LIKE THE MONKEY!!!!” It is my primary memory of that morning.

What are your favorite snacks and/or drinks to consume while creating?

Remember to eat? While I’m writing?? You think I’m sensible or something?! (I enjoy a cup of tea, either green, decaf black, or herbal, depending on the time of day.)

Tell us about your pet(s).

We currently have three cats: CeeCee, Matcha, and Gyoza. CeeCee (the Lady Catherine the Purr) is our most recent addition from March of 2023. She’s a fifteen year old scrungly tiny black goblin who knows exactly what she wants out of life: Food, sippies from the bathroom sink, belly rubs, and shoulder rides. If we are not providing any of these at the speed she would prefer, she screams at us. She’s PERFECT.

Matcha is an eight-pound calico brat with the sass of at least four cats crammed into her tiny body. Her favorite things in life are causing trouble and rubbing her face on my hands when I’m trying to write.

Gyoza is a sixteen pound gray tabby with the physical properties of a water balloon full of pudding. He loves to try to “play” with Matcha, which results in her screaming like she’s being murdered. His other favorite thing to do is play in the toilet and then come step on us with his wet toilet feet, because he’s the worst.

Please enjoy this festive photo of the three of them that I had to photoshop from three individual photos, since all of them hate each other.

What’s the best advice you’ve ever received?

Always take the opportunity to use the restroom when it’s available to you. Solid life advice applicable to any situation, really!

What’s the worst advice you’ve ever received?

I had a Jimmy John’s delivery guy tell me I should lie to people and say my fire-engine-red hair was natural, does that count? (I stared him down blankly long enough that he spontaneously apologized.)

If you could give one piece of advice to a new creator who came to you for help, what would that advice be?

Just write it. You can fix the words once they’re on the page, but excessive planning and worrying and worldbuilding won’t help you if you don’t write the words. Just write it! Let it be bad! Fix it in post! Write the damn thing!!!

What’s one thing (style, genre, etc.) that you think you’ll never do, and why not?

Write the type of fantasy book that has a map in the front and a glossary of terms, only because I personally am not motivated to do that level of worldbuilding. I appreciate the people who want to do that, but I guarantee that as a reader I will skip the map and then probably the glossary in order to get to the STORY, which tells you where my priorities lie.

Scarlett’s Contribution to Aether Beyond The Binary

Title: N(ae)ghbours

Tags: attraction at first sight, bisexual, city mouse and country mouse, competence kink, didn’t know they were dating, f/nb, farmer, first kiss, genderfluid, getting together, humor, idiots to lovers, meet cute, misgendering (unintentional), omg they were neighbors, panic attacks (mentions of), present tense, self-esteem issues, third person limited pov

Excerpt:

“But you were going to tell me what you’re researching?”

Ah. Well. “This might be boring and hard to explain.”

Rin waves a fork at the breakfast spread between them. “You have at least five pancakes’ worth of time. Hit me.”

Dahlia takes a steadying sip of tea. She explains about greenhouses and other protected growing areas for delicate crops, and the advantages and disadvantages of using them on a large scale. She explains that her family has a small greenhouse for starts, but most of their land is open-air, which means they get the advantages that come with that, but also the issues—they’re at the mercy of the weather, insects, birds…

Or they would be if not for the aether tunnel.

“It’s like a hoop house,” Dahlia explains, pulling up a photo of a hoop house on her phone to show Rin. “Normally, you cover the frame with mesh, or clear bio-plastic if you’re trying to trap the heat and control the amount of water it gets, but…”

“That’d rip right off in a big storm, right? And how do you get in there when you need to do plant stuff?”

(don't forget to check out the campaign, now that you've read to the end!)

#duck prints press #aether beyond the binary #scarlett gale #aetherpunk #crowdfunding #queer crowdfunding #anthology #book crowdfunding #queer book

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zhiroaesthetics · 8 months

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Writing Commissions 🔛🔝

I want to write more, but I lost all the outlines that I created in the past two years, in which most of them I had started their drafts. Naturally, my morale tanked, but I don’t want for that to stop me on the path to consistency. So I’m opening commissions, yippe!

Pricing $0.02/word; 500 words minimum. (500=$10, 1000=$20, 1500=$30, 2000=$40, etc.)

Type SFW and NSFW Pairings written in Second/Third Person. Most flexible with F(Reader)/M and F(Reader)/F. Open to OC/Canon. Least flexible with Male Reader/Focus and Genderfluid/Non-binary Reader/Focus. I don’t do Canon/Canon or M/M.

Series If they’re not present then it’s more than likely because I’d write a character from the series as opposed to anything from the series (i.e. Raging Loop, 91 Days, Mononoke) so just ask about a character if their series isn’t present.

Gacha Games

Fate/Grand Order

Genshin Impact

Honkai Star Rail

Langrisser (My ability to do the request depends on me having the character due to a lack of online material and the inability to backread)

Granblue Fantasy (I like enough of the cast to speedrun side stories to understand plot references/setting)

Arknights (I don’t play the game but I have two friends that do and I don’t mind annoying them about context. NGL it’s here because I pray for a Chongyue request-)

Fire Emblem Heroes (I can’t do anything story specific because I never read it)

Video Games

Fire Emblem (Awakening, Fates, knowledgeable about Sacred Stones and Engage)

King of Fighters

Anime/Manga

Jujutsu Kaisen (Anime)

Chainsaw Man (Manga - Part One)

Jigokuraku (Manga)

Record of Ragnarok (Manga)

Black Lagoon (Anime)

Baccano (Anime, Light Novels – 1-5)

Considerations

Communication. I have a computer science background, so I take everything literally and my mind blanks at “idk, do whatever you want”.

My Writing Approach. People talk a lot in my stories and though I do it to showcase dynamics, I also do it to pace myself. To prevent overlap and incoherency, I significantly limit my reliance on exposition. I rarely start my stories with it, and I will more than likely write in media res if the requested word cap is on the shorter side.

Expressing Limitations. No does not mean that the idea is bad or that you should be ashamed, but that I don’t feel confident in being able to properly execute it.

Hard Limitations. If it’s an idea that would be concocted by someone that is on Jeffery Epstein’s flight list, then please don’t request. If it’s an idea that would be concocted by someone who wouldn’t mind posting it on Live Leaks, then please don’t request. If it’s an idea that would be concocted by someone who would wave around a confederate flag, then please don’t request. If it’s an idea that would be concocted by a dark humor connoisseur, then please don’t request. I’m also very big on boundaries and trust, so please don’t request ideas with the following elements:

Rape/Non-Con

Drugging

Kidnapping

Payment ko-fi.com/zhiro

Delivery PDF in 12 pt Times New Roman. I’ll post (via ao3) if requested.

Process Please do not request for a commission if you’re uncomfortable with sending money before receiving the commission. Only send the payment once I confirm that I will be writing the commission; I will refund otherwise. It takes 1-3 months for me to finish works, and I’ll do my best in sending a progress report/the premise seven days after confirmation. My drafts are pretty messy, so I won’t be showing them, but I’ll give updates throughout. Please do not request for a commission if you’re dubious about the process.

References archiveofourown.org/users/zhiro/pseuds/Araceli%20Selkie

If any of the above changes, I’ll post the update and edit this post. Thank you for taking your time to read this. Please consider commissioning me, I like to think I’m decent enough.

#writing #commissions open #writing commissions #anime #gacha games #video games #zhiro comms

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checkoutmybookshelf · 1 year

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Sometimes Graduate Coursework Gets Weird

My PhD is in Shakespeare and Disability studies. But because gtraduate school is an absolute clusterfuck and there was exactly one course in early modern literature offered and exactly zero courses in disability studies, my coursework year ended up being a mishmash of stuff that was kinda fun, but absolutely irrelevant to my primary focus. I didn't even come out with any papers that I could publish--although I came out with a couple that were VERY fun and that I am proud of. So what you're getting in this post is possibly my favorite paper on theory I've ever written, and it's on Clarice Starling, Silence of the Lambs, and Hannibal. Enjoy!

A Structural Examination of Clarice Starling in Thomas Harris’s The Silence of the Lambs and Hannibal

As a female detective written by a male author, I would expect Clarice Starling to come under heavy critical scrutiny. However, the majority of critical focus on Starling has been on Jodie Foster’s portrayal of the character in Johnathan Demme’s 1991 film adaptation of The Silence of the Lambs (Staiger, Cragin, Szumskyj 7). Starling’s character in Hannibal, Harris’s third novel dealing with the titular cannibal, has been largely rejected by fans and ignored by critics (Szumskyj 200-201). Thanks to Foster’s portrayal, Starling entered the public consciousness as a female detective icon in a filmic context, and her larger structural arc in the novels has been little commented upon.

The structure of Harris’s novels deserve scrutiny because the structure largely informs the process which leads to Starling becoming Lecter’s lover—a relationship decried by fans as being largely unbelievable and disappointing (Szumskyj 200-201). Early detective novels featured a clear triangular structure, placing the detective, villain and victim squarely in their own categories with little to no overlap, and Stephen Fuller argues that Harris works to maintain these distinctions in Silence before fully collapsing them in Hannibal (822). This essay argues that rather than completely collapsing the traditional structure, Harris creates a structure for his characters that is based in two non-generic, non-permeable binary structures which are then overlaid by a permeable, disputative super-binary over which Starling and Lecter’s character arcs chiasmus. A structural examination of Starling’s character throughout Silence and Hannibal is revealing because it allows readers to distance themselves from the prevailing psychoanalytic critical trend of pathologizing Starling’s character and her relationship with Lecter, demonstrating a reading of Starling that offers an alternative explanation of her strengths as a female detective and relationship with Lecter, absent of Freudian pathologizing.

As I have previously alluded, Starling has been primarily viewed in terms of Freudian psychoanalysis. Fuller dismisses both Lecter and Starling as suffering from “a crippling neurosis” (822), while Robert Benton’s analysis of Starling examines psychoanalyzing not only a serial killer, but also what is unresolved in Clarice’s analysis (457). Even critics who argue that Demme’s film is ultimately feminist do so through a Freudian lens. Diane Dubois, arguing that Starling appropriates and ultimately reverses the idea of the male gaze in order to ask the audience to reevaluate their role as viewer (300), is engaging heavily with Laura Mulvey, and the idea of the male gaze as a Freudian (and therefore male-dominated) method of filming (306). Dubois and Janet Staiger also take up the conflation of Jodie Foster’s Star Persona with Starling’s character and the portrayal of homosexuality in Demme’s film, arguing that Foster—whose sexuality was questioned by the gay community in response to the portrayal of Jame Gumb (Staiger 282-83)—created the iconic images that popular culture ties to Starling (Dubois 302-303). Because this essay is focusing on Harris’s novels rather than Demme’s films, Foster’s star persona has little bearing on the main thrust of my argument, except to acknowledge that the critical trends created by Demme’s film—the use of psychoanalysis, pathologizing Starling and her sexuality as well as her relationships with other male characters—have also impacted the little extant criticism focused on Harris’s novels.

The 2008 collection, Dissecting Hannibal Lecter, focuses primarily (though not exclusively) on Harris’s novels. As the title suggests, this collection focuses primarily on Lecter himself, although his relationship with Starling in Hannibal is an overarching focus. Within these parameters, however, Dissecting Hannibal Lecter follows the critical trends established by articles relating to Demme’s film with one major exception: the collection spends quite a bit of time focusing on generic conventions which explain Starling and Lecter’s relationship at the end of Hannibal. These arguments focus primarily around ideas of genre and psychoanalysis, from Peter Messent’s argument that positioning Hannibal as an American Gothic novel and reading Lecter’s relationship with Starling through the loss of Mischa (24-25) to Robert Waugh’s focus on the imago imagery, drawing parallels between Starling and Lolita as well as Lecter and Humbert Humbert (77). In addition to these essays never quite satisfactorily explaining Lecter’s relationship to Starling, Starling as a character is dismissed by Freudian pathology at best and relegated to Lecter’s equally neurotic, antagonistic sidekick at worst. It is here that I diverge from the major critical trends to focus on a structural reading of Starling in order to reclaim for the novels some of the strength and iconic status that fans found in Foster’s film portrayal of the character.

I previously stated that, rather than completely collapsing the boundaries between the detective, villain and victim in his novels, Harris creates a structure based on two non-generic, non-permeable binaries. The structural foundation of Hannibal and Silence are based on the typical male/female and teacher/student binaries, where male and teacher are dominant and female and student are non-dominant. These binaries are more widely applicable than generic structural binaries, and form the base of Starling’s world. She is a trainee in Silence, and even in Hannibal she views both Brigham and Crawford as teacher figures; after Brigham’s death Starling is arguably at sea with Crawford as her only socially (or personally) acceptable anchor. After Crawford’s heart attack (Hannibal 408) and death (Hannibal 543), extrapolating from John Goodrich’s argument that Lecter also functions as a teacher figure for Starling (43), Starling still has not moved on from her position as a student because she has come completely under Dr. Lecter’s tutelage in Hannibal. I will spend no time explaining this second foundational binary; living in a patriarchal society serves as all the explanation needed. Obviously these two foundational binaries alone are too simplistic to support the structure of two novels as dynamic as Silence and Hannibal; using these binaries alone does not permit Starling any character evolution. She is always female, and always a student in these two texts, and so in order to create complexity in her character via structure, Harris uses a more complex, genre-based super-binary.

In diminishing the separation of the detective-villain-victim structure, Harris creates a binary based on traditional generic classifications, but a binary that also allows for movement and argument. Both the dominant and non-dominant sides of this super-binary are composed of binaries themselves. The dominant side of the super-binary contains a detective/villain binary, and then non-dominant side is constructed by a villain/victim binary. I argue that this super-binary is created from a traditional generic convention, but also that the sub-binaries on the dominant and non-dominant sides of the super-binary are both permeable and disputative. By permeable, I mean that there is the ability to cross the bar both in the sub-binaries, but also in the super-binary structure; this is where we see character movement as well as Harris’s conflation of detective and villain as well as villain and victim roles. So in this structure, not only can a character’s place in the super-binary change, but the dominant side of the sub-binaries can also change. It is this permeability that leads to the disputative properties of the super-binary; depending on where in the text you place the binary and where Starling is in her chiasmus at that point in the text, the dominant side of a given binary (be it a sub-binary or the super-binary itself) can be argued as being either side.

The logical question to ask, given that I argue for a binary structure that can be manipulated to the point of total inversion, is how this structure is still a binary one. This is why the character chiasmus of Starling and Lecter is so critical to this structural model: the chiasmus serves to stabilize the entire structure, by maintaining oppositional movement in terms of character. The three elements of this structure can be visualized thus: The two foundational binaries (male/female, teacher/student) are the table that the hourglass of the super-binary rests on, and the chiasmus creates the bulbs of the hourglass, stabilizing the structure and maintaining distance even when the entire structure is inverted. Visually, the structure might look like this:

Figure 1

Such a structure takes into account not only genre, but the deconstruction of a traditional detective narrative structure, as well as the underlying assumptions of a patriarchal society without allowing for a lens that dismisses Starling as a pathologized woman in need of a “cure.”

Starling positions herself within this structure during her first and third meetings with Lecter. Prior to the meeting, Crawford asks if Starling’s counselor’s license is current, and she replies that it is (Silence 3). While Starling is still arguably a new counselor, she has experience (Silence 3) and therefore could talk to Lecter as a peer in terms of the field of psychology. Starling had the opportunity to split herself along lines of expertise in her fields and place her relationship with Lecter outside of generic conventions of Detective/Villain. Instead, Starling replicates with Lecter her first move with Jack Crawford: she opens communication by presenting herself as an available student. She sends Crawford a note on her qualification for the academy (Silence 2), and she challenges Lecter to literally test her qualifications in psychology (Silence 17). Starling’s third meeting with Lecter opens in a similar fashion. Starling tells Lecter, “It was strange going in there. Something I’d like to talk to you about,” (Silence 58), which positions Starling even more firmly in her role as student in the foundational binary, while simultaneously inverting the super-binary—albeit briefly—to place Starling as detective in a non-dominant position of non-knowing in direct contrast to Lecter’s dominant position as teacher and person of knowledge. Starling and Lecter cement this inverted super-binary as well as the student/teacher foundational binary during this second meeting when Lecter asks Starling if he can address her by her first name, and immediately upon Starling’s consent, dictating that she refer to him formally, by his title (Silence 60).

John Goodrich, in his essay “Hannibal at the Lectern,” examines these first two encounters between Starling and Lecter, characterizing the first meeting as “something of a seminar” (40), and the second as “straight business” (42), while using fencing metaphors to communicate the feel of these scenes to the reader. I agree with Goodrich in his characterization of Lecter and Starling as a student/teacher relationship, however the fundamental assumption made is that Lecter assumes a role as a teacher in order to help Starling, whether that be help on her case, psychological help, or simply helping her overcome her own perceived limitations (45). Goodrich’s assumption—that Starling needs help, and that Lecter provides it for a paternalistic reason—demonstrates the necessity for the male/female binary to underpin the super-binary structure. Starling, like contemporary female readers, lives in a patriarchal system, and critics show a tendency to assign all the agency in initiating the student/teacher binary to Lecter. If Harris had written a patient-psychiatrist novel where the only structural binary involved were the student/teacher binary, then perhaps Lecter could justifiably be credited for the initiation. However, because we are working with a super-binary structure based on genre as well as the student/teacher binary, we must give Starling—who, as demonstrated, has a history of making herself available to teachers she deems worthy—credit for the agency she shows in dictating the type of relationship she and Lecter have. Starling is consistently reminded that she is on the non-dominant side of the male/female foundational binary, but at least with Lecter, Starling makes a choice to place herself on the student side of the binary, and allow her generic place in the super-binary (detective, even if she is a trainee) to confer on her extra authority when she needs it. We see her actively take that authority when she keeps the press out of Rapsail’s storage unit (Silence 54-56).

With the super-binary beginning as inverted, Starling’s chiasmus with Lecter seems to be inverted as well. Because this essays reads Silence and Hannibal as a complete narrative, however, Starling’s point of beginning for her character arc must always be on the detective side of the super-binary. Starling’s journey in Silence is indisputably one in which she moves from a place of not-knowledge to knowledge, which, on first viewing, would seem to directly contradict the established structural framework. At this point it is important to keep in mind that Starling’s character arc crosses Lecter’s at a nonlinear point in narrative time. Starling ends The Silence of the Lambs on a high note; she has stopped Buffalo Bill, she’s a rising star with the FBI, and her personal life is going quite well. Lecter’s life is also on the upswing at the end of Silence, because he has managed to escape custody, change his face and prepare to go spend his life in freedom. The moment where Lecter’s arc crosses over has to be just after his escape (Silence 364-367), and for Starling the chiasmus moment has to be early in Hannibal, when she returns to the old shell of the asylum where she first met Lecter and she realizes just how disparate her dreams have become from her reality (Hannibal 84). To fully explain this chiasmus’s stabilizing effect on the super-binary, we have to back up briefly and discuss Starling’s effectiveness as a female detective. Critics of both the film and novels have argued persuasively that Starling’s effectiveness as a female detective is—in frequent contrast to Will Graham’s methodology—her ability to empathize with the female victims rather than the serial killer victimizing them (Garret 7-8, Hawkins 262, Dubois 300, Messent 23-24, etc.). I will spend little time on Starling’s female detective skills in Silence, that ground is well-trod. What I wish to draw attention to is how those same skills affect Starling’s position structurally in Hannibal.

In Silence, Starling functions as a female detective by inhabiting the gray space in the separator bars of the binary structures. She uses both the traditionally masculine forensic and weapon skills learned at Quantico in conjunction with her distinctly feminine ability to empathize with female victims to occupy both dominant and non-dominant mindsets in order to solve the crime in front of her. Starling both maintains and collapses the super-binary structure in Silence. Ordinarily this would be cause for a deconstructionist argument, however once again, Lecter and generic conventions maintain the integrity if the binary structure even while Starling is testing the permeability of the separator bars. At no point does Lecter claim an institutionalized label of “detective,” the closest Lecter gets to being a detective is as an armchair sleuth, and even then he is more psychiatrist than sleuth, particularly when he deals with Margot Verger (Hannibal 458-461). So the distinction between Lecter’s particular brand of villainy and Starling’s admittedly deconstructionist construction of her own personal style of detection causes sufficient tension and distance to maintain the permeable structure of the binary.

In Hannibal, however, Starling consciously steps away from the more masculine detective strategies. In deciding on her strategy to find Lecter, Harris writes of Starling, “Starling was weary of technique. Faith in technique was the religion of dangerous trades,” (Hannibal 255), while at the same time she “began to credit her own visceral reactions to things, without quantifying them or restricting them to words” (Hannibal 255). Starling is rejecting the institutionalized, quantifiable, masculine way of detecting in favor of a more traditionally feminine, intuitive manner of detecting. This functions in a number of different ways in our super-binary structure. First, this section of the text is a nice literary parallel to the first time Starling had to command feminine power in a male-dominated environment: removing extraneous personnel from the coroner’s office when she was called to print a floater (Silence 82). In both these instances, Starling inverts the generic binary; women are frequently the victims of serial killers and so are frequently seen by patriarchal forces as either victims all the time, or potential victims. By inverting the binary, Starling is highlighting situations in which women possess power or intuition that men do not. Krendler actually acknowledges this inversion of power dynamics, as well as the implied threat to him when he decides that Starling has to be discredited before she uncovers his role in giving Lecter to Mason Verger (Hannibal 381). What is slightly different in Hannibal is that at this point in the novel, Starling seems to be changing her focus from victim to killer.

Readers at this point are aware that Verger want to feed Lecter to his pigs in revenge, and readers are aware that the net is closing around Lecter. So there is a sense of dramatic irony in Starling’s choice of focus and methodology. When Starling sets up her methodology in Hannibal, Donnie Barber has not been discovered as a new Lecter victim, nor is she (or Lecter) aware of Verger’s plot. There is a real sense that Starling and Lecter might view themselves as playing out the dominant side of the super-binary, albeit with Starling focusing on a more feminized version of the detective dominant. The reality of the narrative, however, is that Starling is actually sleuthing out Verger’s plot, while being squarely aligned with the victim and using her strengths as a female detective to once again empathize with a victim in order to solve a crime. At this point in the novel readers have a sense of dual structural vision. Starling sees herself and Lecter structured as the dominant half of our super-binary, fighting it out for control in a move that ideally would end with Starling’s redemption with the Bureau. For readers, however, knowing that both Verger and Krendler are in play, the super-binary looks more like this:

Starling

Lecter/Krendler/Verger

Verger/Lecter/ Krendler

Starling

And the overlaid chiasmus can only send Starling further out of favor with the FBI, while Lecter (assuming he avoids being eaten) is at a very low risk of suddenly being sent into a downward spiral. Once again, we have Starling in a position of being both dominant and non-dominant, based on the strength of the two foundational binaries that she cannot get away from. And also again, the strict categorization of Lecter, Verger and Krendler allow the super-binary structure to maintain its integrity while still being permeable. One critical reason why the binary structure has to be as complex as it is, is to accommodate the shift in narrative in the latter quarter of Hannibal, after the detective sections of the narrative have closed. Before I discuss the last few chapters of Hannibal, I will address Starling’s solo raid of the Verger’s farm.

Harris gives his readers a nice sense of narrative symmetry, in terms of beginning the novel during a botched drug raid and ending the detective sections of the novel with a vigilante rescue of a serial killer by a disgraced FBI agent. Starling in this section of the novel is very much back to the Starling we recognize from Silence, half action-hero and half hostage-negotiator. She has used her feminine detective skills to get here, and once again her masculine skills allow her to subdue the villains. However, we also get a parallel here between Starling and John Brigham at the beginning of Hannibal. Evelda takes a deadly potshot at Brigham from beneath her baby’s blanket (Hannibal 13), foreshadowing the shot Tommaso takes at Starling with the tranquilizer gun in the barn (Hannibal 475). At that moment, Starling is aligned with both Brigham and her trainee self from Silence. This dual alignment is significant because it acknowledges both where Starling the Detective’s character began, as well as where she has come to and how she must necessarily end. Benjamin Szumskyj argues that canny readers should not have expected a “happily ever after” for Starling, and suggests that a less brilliant writer than Harris would have killed Starling (208-209). My counter argument to Szumskyj is that Harris had it both ways in Hannibal; Starling is double-tapped by a tranquilizer gun, which in a world not under Harris’s authorial control should have killed her. The fact that Starling herself conspicuously double-taps one of the hit men in the barn, and the narrative parallel with John Brigham, says that readers witness the symbolic death of Agent Clarice Starling in the Verger’s barn. The body carried away and cared for by Lecter is named Clarice Starling, but the consciousness that emerges is no longer FBI Agent Starling.

The final section of Hannibal sees our long-suffering super-binary structure once again inverted, and Starling in two new places on it. For this section of my argument, I remind readers that this is a structural analysis of Starling; the narrative reminders and critical focus on Lecter recreating Mischa literally in Starling’s place are periphery to an analysis of Starling herself. That being said, critics of the novel are deeply divided on the effectiveness of Starling’s fate. While Szumskyj argues that Starling’s fate is “a stroke of genius,” and fits it into his own binary structure (civilized/barbaric) (209), S.T. Joshi argues that the ending is “really too preposterous,” suggesting that Starling ought to have been able to resist “hypnotic control” (129). Neither critic suggests the idea of Starling experiencing a symbolic death, however. Arguably, the polarization of critics on Starling’s fate comes from the difficulties of trying to reconcile the drastic changes in Starling’s character, even with the influence of the cocktail of drugs Lecter is plying her with. Positing the death of Agent Starling allows Clarice to transition to an entirely new place in our binary structure: She joins Lecter in the villain category, both dominant and non-dominant in the super-binary structure. In permeating that final boundary through her symbolic death, Starling inverts the super-binary structure because she and Lecter together are going to have no trouble evading police—nobody even bothers to search for Starling after the shootout at the Verger barn except Ardelia Mapp (Hannibal 499-500)—and the two of them have similar tastes and minds. Together, they create a place in the text where Villain is dominant in the villain/victim sub-binary, as well as being dominant in the villain/detective sub-binary, which is of course the non-dominant sub-binary by the end of the novel.

The stabilizing chiasmus of course has now come to its logical conclusion; however Lecter’s arc is structurally straighter than Starling’s. Lecter has come to a place of knowledge and complete power by the end of the novel. Arguably, Agent Starling’s arc came to a close at her symbolic death on the Verger farm; she was not in a position of power, her lack of knowledge caused her to be shot, her career was over and her self-identity was on the verge of a crisis. She had moved from a place of confidence, power and potential in Silence to her “death” three quarters of the way through Hannibal. That leaves the new consciousness named Clarice Starling simply on par with Lecter; she goes (very quickly) from a place of powerlessness and not-knowledge to a place of knowledge. This Clarice, however, does not get a separate chiasmic arc because she is still tied to the foundational binaries. At no point in either The Silence of the Lambs or Hannibal does Starling and Lecter’s relationship move past a student/teacher binary. It is a sexual relationship by the end of the novel, however even after the relationship takes on a sexual component, Starling is still positioned as a student to Lecter. We are told that Starling learns to speak Italian, and that she is constructing a memory palace similar to Lecter’s own (Hannibal 542). It is safe to say that Starling is not taking classes at the Sorbonne, so we must assume that the structure of student to teacher still underpins Lecter and Starling’s relationship.

We must also assume that there is still a detective presence in the novel at the end for the super-binary structure to be maintained. Ardelia Mapp fulfills this function as a non-dominant, socially, and institutionally handcuffed sleuth looking for Starling. Mapp’s inclusion as a detective once again positions the detective as a clearly defined category that manages to remain in opposition, however weak, to the dominant forces of the villain/victims.

Early in this essay, I described the super-binary structure as an hourglass on a still table. In practice, it seems to function more as a perpetual motion machine, with characters and binaries constantly changing orientation and position, but still held in their structural motion. This seems a poetic way to explain Clarice Starling’s functionality as a female detective across Hannibal and The Silence of the Lambs, and it also serves to demonstrate a way to connect Starling and Lecter in a relationship without pathologizing one or both characters. By placing them in a complex, multi-layer structure, readers have an alternate manner in which to read a strong female detective, whose polarizing end has not been frequently enough discussed in a critical forum.

Works Cited

Benton, Robert J. “The Silence of the Lambs: Clarice Starling’s Analysis?” Psychoanalytic Review. 79.3 (1992): 457-461. MLA International Bibliography. Web. 23 February 2016.

Cragin, Becca. "Noirish Inversions: Investigation and Victimization in the Silence of the Lambs and Basic Instinct." Americana : The Journal of American Popular Culture, 1900 to Present 8.2 (2009)ProQuest. Web. 12 Feb. 2016.

Dubois, Diane. “Seeing the Female Body Differently: Gender Issues in The Silence of the Lambs.” Journal of Gender Studies. 10.3 (2001): 297-310. MLA International Bibliography. 12 February 2016. Web.

Fuller, Stephen M. “Deposing an American Cultural Totem: Clarice Starling and Postmodern Heroism in Thomas Harris’s Red Dragon, The Silence of the Lambs, and Hannibal.” Journal of Popular Culture. 38.5 (2005): 819-33.

Garret, Greg. “Objecting to Objectification: Re-Viewing the Feminine in The Silence of the Lambs.” Journal of Popular Culture. 27.4 (1994): 1-12. ProQuest. Web. 12 February 2016.

Goodrich, John. “Hannibal at the Lectern: A Textual Analysis of Dr. Hannibal Lecter’s Character and Motivations in Thomas Harris’s Red Dragon and The Silence of the Lambs.” Dissecting Hannibal Lecter: Essays on the Novels of Thomas Harris. Ed. Benjamin Szumskyj. Jefferson: McFarland and Company Inc. 2008. Print.

Harris, Thomas. The Silence of the Lambs. St. Martin’s: New York. 1988.

Harris, Thomas. Hannibal. Random House: New York. 1999. Kindle. 3 March 2015. Ebook.

Hawkins, Harriett. “Maidens and Monsters in Modern Popular Culture: The Silence of the Lambs and Beauty and the Beast, Textual Practice.” Textual Practice. 7:2 (1993): 258-266. MLA International Bibliography. 20 February 2016. Web.

Joshi, S.T. “Suspense vs. Horror: The Case of Thomas Harris.” Dissecting Hannibal Lecter: Essays on the Novels of Thomas Harris. Ed. Benjamin Szumskyj. Jefferson: McFarland and Company Inc. 2008. Print.

Messent, Peter. “American Gothic: Liminality and the Gothic in Thomas Harris’s Hannibal Lecter Novels.” Dissecting Hannibal Lecter: Essays on the Novels of Thomas Harris. Ed. Benjamin Szumskyj. Jefferson: McFarland and Company Inc. 2008. Print.

Staiger, Janet. “Taboos and Totems: Cultural Meanings of The Silence of the Lambs.” Reception Study: From Literary Theory to Cultural Studies. Ed. James L. Machor and Philip Goldstein. New York: Routledge. 2001. Print.

Szumskyj, Benjamin. “Morbidity of the Soul: An Appreciation of Hannibal.” Dissecting Hannibal Lecter: Essays on the Novels of Thomas Harris. Ed. Benjamin Szumskyj. Jefferson: McFarland and Company Inc. 2008. Print.

Waugh, Robert H. “The Butterfly and the Beast: The Imprisoned Soul in Thomas Harris’s Lecter Trilogy.” Dissecting Hannibal Lecter: Essays on the Novels of Thomas Harris. Ed. Benjamin Szumskyj. Jefferson: McFarland and Company Inc. 2008. Print.

#clarice starling #hello clarice #thomas harris #hannibal #hannibal lecter #the silence of the lambs #academic writing

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denimbex1986 · 4 months

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'All Of Us Strangers and Ripley star Andrew Scott has signed up to voice erotic new audio series The Queen’s Guard, and fans of horny ASMR are simply shaking.

The Queen’s Guard is created by Quinn, an app for audio erotica, with categories including “butt stuff”, “non-binary voice”, and “daddy”.

Essentially, this looks set to be Scott’s raunchiest role to-date, and for someone perpetually associated with Fleabag’s Hot Priest, that’s no easy feat.

Scott will voice the role of Robb the Protector in the horny historical fiction series (yes, there’s more than one episode), though the plot for this titillating tale is currently under wraps. Perhaps in this story, the listener decides when the climax is.

In a short clip posted by Quinn, Andrew Scott walks through a whitewashed room dressed in a silk blue top and matching trousers as he begins to read a section of The Queen’s Guard.

“Look at you,” he says, with a voice so smoky it could cause Bronchitis.

“Look at how beautifully your body bears the marks of everything you’ve been through. I could worship every one of them.”

Scott, who also whispered plenty of sweet nothings to Paul Mescal in this year’s gay drama All of Us Strangers, promised that his fans would get everything they needed and more from The Queen’s Guard.

“I know a lot of you out there love a bit of fantasy and historical fiction,” he said with a slight chuckle, suggesting he knows exactly what kind of fantasies his fans enjoy the most.

“I think you’re gonna really fall in love with this story.”

The Queen’s Guard lands on Quinn on 16 May, and as expected, the reveal has led to a flurry of Scott fans scheduling some me-time in their calendar for that date.

“I screamed so loud I frightened my neighbors,” one fan wrote, as another quipped: “I fear I let out a whistle note only dogs can hear.”

“Carpal tunnel doctor appointments about to go through the roof,” joked a third, as a third predicted: “Amazon is going to be scratching their heads trying to figure out why Fleabag season 2 is suddenly trending again.”

The Queen’s Guard will be available on Quinn from Thursday 16 May.'

#Quinn #The Queen's Guard #Fleabag #Robb the Protector #Paul Mescal #All of Us Strangers #Ripley #Andrew Scott

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dirthara-dalen · 8 months

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After being asked about this I realized I've never made a post about this before.

A while back when I was working on my prequels era fic, I spent some time trying to figure out how two of my OC's had their twin sons given both were male. I will be including some of the OC's I created this whole thing for under the cut and their respective kids.

Taking inspiration from some real life methods as well as a method from the Star Wars universe I created an organization that was designed to aid same sex couples or infertile couples have children. They also provide a safe space/lodgings for displaced lgbt+ youth.

As for the methods used for these couple to have children they are:

The classic surrogate

An artificial womb. This was inspired by cloning but instead of, Ya know, cloning a single person it allows couples of two diff species to safely have a child without putting a potential surrogate at risk.

Lastly, I guess you could call this the natural method. I've heard about this in the past where lesbian couples have had a child naturally.

I know to some this seems like it shouldn't be a thing in the Star Wars universe but to me it does. As I said to a friend of mine, you would think a universe that is so technologically advanced would have such things available to people. I hope if anyone has been curious about a few certain OC's mine came into being.

Now, as I stated above under the read more will be the OC's I created this for ☺️

First couple is Ligastar/Theron. The children they have together are as follows:

Levi and Mar Starwing (they do have a mother, Clover-rae, as they were conceived via assisting the organization with their new fertility program)

Kadan Shan Starwing

Second couple and the couple that inspired me to create all of this is Sio Starwing and Xero Nar. They are two of my prequel OC's. Their children are as follows:

Xeven and Kadja Starwing

Third is Azura Starwing older sister to my main prequels oc Lee and descendant of Ligastar. I don't have images of her partner but her partner is a non binary mirialan. Together they have a single child:

Orian Starwing

#the starwing legacy #dirthara world building

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owl-writing · 9 months

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As each generation of divinity passes and is brought up, they become closer to things important to the mortal races.

All divine races are associated with a number of the four elements. Generally speaking, primordials are associated with all four, titans with three, gods with two, and the demigods and daimones with one each.

These races do not have any form of gender binary. They often choose to present themselves in whatever gender may allow them to work most seamlessly among the mortal races.

Primordials will always give birth to titans, titans to gods, gods to demigods and daimones, and demigods to mortal heroes. Daimones are unable to have children.

PRIMORDIALS [generation one]

The primordials often rule vast concepts and geographical features. They are notoriously distant from mortal races.

Deses: day, light, the sun, life

Drakhaos: chaos, discord, strife, madness

Ekaus: night, darkness, the first moon, death

Eonekho: time, aging, youth

Eusthike: the wilderness, forests, travel, protection of cities

Kato: ocean, sea, natural disasters, weather

Rergas: mountains, volcanoes, destruction

Thesas (the first leader, usurped by Oumes): childbirth, procreation, fertility

TITANS [generation two]

The titans are a step closer to representing things that are important to mortals. They are the first generation to have temples and ceremonies in their honor, but are still seen as fairly distant.

Aimphekia: agriculture, food, fertility – air, earth, fire

Draeus: home, hearth, hospitality, pottery, weaving, sculpture – earth, fire, water

Eioboston: divine law, protection of adults – air, fire, water

Gon: the dead, destiny, fate – air, earth, water

Keonaeus: prophecy, divination, future, past, present – air, fire, water

Kheurges: strategy, war, intelligence, wisdom – air, earth, fire

Laos: the sky, astronomy, astrology, the stars – air, earth, water

Oumes (the second leader, overthrown by Ria): war, criminal behavior – earth, fire, water

GODS [generation three]

The gods are much closer to the mortal races than the generations before them. The gods even walk among the mortal races, sometimes laying with them to create powerful demigods or daimones.

The gods do not have children with each other, seeing their fellow gods as siblings and wanting to avoid the “oops incest” of Eioboston and Oumes.

Aethia: disease, healing, alcohol – air, earth

Kaia: blacksmithing, the forge – earth, fire

Koulkon: music, writing, language, poetry – air, fire

Mypes: arts, crafts, diplomacy, messenger, travel – air, earth

Okon: courage, cunning, diplomacy – earth, water

Opes: protection of children, athleticism, war – fire, water

Ria (the third & current leader): magic, rulers, law, order, justice – air, water

Rys: herds, flocks, animals, hunting – earth, water

Tenes: messenger, night, darkness, the second moon, prophecy – air, water

Tios: love, passion, marriage, pleasure – fire, water

DEMIGODS [generation four, part one]

Demigods are the children of the gods. Their other parent is very often one of the sapient races of Kephea, but there are exceptions. Demigods always have some kind of visible or magical indicator of their non-mortal natures. Unlike most other divine races, they do have a concept of gender that usually aligns with the genders of the cultures of their mortal sides.

All demigods are under the protection of Opes as children until they become old enough to start making names for themselves. Opes is also the only deity to not have children of their own, instead seeing the children of their fellow gods as their own spawn.

Aethia: air, earth

Kaia: earth, fire

Koulkon: air, fire

Mypes: air, earth

Okon: earth, water

Ria: air, water

Rys: earth, water

Tenes: air, water

Tios: fire, water

DAIMONES [generation four, part two]

Daimones, like demigods, are the children of the gods and have no mortal parent, instead created solely from their parent’s power. Their names comprise of just their title and elements that go beyond the primary four, both connected to mortal races and detached from them.

While there are only eight types, there are many individuals within those eight types. These daimones often turn themselves into stones, which allow mortal races to harness their abilities. Many mortal nobles tend to use these crystals only as decoration, but adventuring types and heroes do well with some daimon crystals too.

Why do they do this? Hell if I know, I just wanted this in my story.

Opes is also the only deity to not have children of their own, instead seeing the children of their fellow gods as their own spawn.

The Blood Aristocrat: water, amethyst

The Dust Aristocrat: earth, quartz

The Electric Aristocrat: fire, carnelian

The Ice Aristocrat: water, sodalite

The Sand Aristocrat: earth, hematite

The Smoke Aristocrat: air, amber

The Steam Aristocrat: fire, jasper

The Storm Aristocrat: air, citrine

#worldbuilding tag: kephea #owl original post

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cloudbun02 · 1 year

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⋆ ˚｡⋆୨ Genders I'm fluid between ୧⋆ ˚｡⋆

Hi ! I'm genderluid and this is a list of all the genders I'm fluid between.

This might be changed and or updated. The word Questioning will be used to indicate if I am doubting if I am able to be that gender or not. I know no one asked, but will that stop me? Nope (๑ > ᴗ < ๑)

⨯ . ⁺ ✦ ⊹ ꙳ ⁺ ‧ ⨯. ⁺ ✦ ⊹ ‧₊˚⨯ . ⁺ ✦ ⊹ ꙳ ⁺ ‧ ⨯. ⁺ ✦ ⊹ ‧₊˚⨯ . ⁺ ✦ ⊹ ꙳ ⁺ ‧ ⨯. ⁺ ✦

⋆ ˚｡⋆୨ Demiboy ୧⋆ ˚｡⋆

a person who feels their gender identity partially identifies with a masculine identity but is not wholly binary. Like a demigirl, a demiboy may identify this way regardless of their assigned gender. A demigirl and demiboy fall under the trans umbrella.

My most common (˶ᵔ ᵕ ᵔ˶)

Pronouns: He / They , They / He (Depends)

⋆ ˚｡⋆୨ Transmasc ୧⋆ ˚｡⋆

sometimes abbreviated to transmasc, is an unbrella term that describes a transgender person generally, but not exclusively, one who was assigned female at birth, and whose gender is masculine and/or who express themselves in a masculine way.

Not as common, but still the one I hate the most cuz of dysphoria

Pronouns: He / Him

(Anything else makes me dysphoric ｡ﾟ(ﾟ´Д｀ﾟ)ﾟ｡ )

⋆ ˚｡⋆୨ Non-binary ୧⋆ ˚｡⋆

people may identify as an intermediate or separate third gender, identify with more than one gender, no gender, or have a fluctuating gender identity.

I preffer They / Them, but I'm usually fine with any (except for She / Her)

Pronouns: They / Them + Any (including xenos and excluding she / her)

⋆ ˚｡⋆୨ Neoboy ୧⋆ ˚｡⋆

is a non-binary identity that is mostly separate from being male, though it can be described as a gender that is masculine-aligned, neutral-aligned, mingender, and/or miaspec. Neoboy.

This one isn't a very known one, so I haven't been able to come out

as it（ ; ; ）

Pronouns: They / Them / He

⋆ ˚｡⋆୨ Star Demiboy ୧⋆ ˚｡⋆

A Star Demiboy is someone who feels a connection to both masculine and non-binary identities, while also being stargender / feeling a strong connection to stars. They may portray this in their way of expression and or their pronouns !

Pronouns: He / They , H☆ / Th☆y , Star / Stars , St☆r / St☆rs

⋆ ˚｡⋆୨ Stargender ୧⋆ ˚｡⋆

A xenogender in which one's gender is or is like a star.

This gender may combine with Demiboy, which creates Star Demiboy

ଘ(੭ ᐛ )━☆ﾟ.*･｡ﾟ

Pronouns: Star / Stars , St☆r / St☆rs , ☆ / ☆s

⋆ ˚｡⋆୨ Bigender ୧⋆ ˚｡⋆

is a gender identity in which a person has or experiences two genders. The genders may be any combination of two genders, and those genders can be binary ("man" or "woman") or non-binary. They may be experienced simultaneously or may alternate, and they may not be experienced equally or in the same way.

When I'm bigender, I like to call myself a Boygirl (˶˃ᆺ˂˶)

I usually feel both as a demiboy and as a demigirl. But I just recently started feeling bigender and am not sure, so I might update.

Pronouns: He / They / She , He / She

⋆ ˚｡⋆୨ Star Demigirl ୧⋆ ˚｡⋆ Questioning

A Star Demigirl is someone who feels a connection to both feminine and non-binary identities, while also being stargender / feeling a strong connection to stars. They may portray this in their way of expression and or their pronouns !

I have kind of a weird relationship with this one cuz I don't ever feel femenine genders. But for some reason, I do identify as slightly feminine when I'm non-binary or when I identify as non-human.

But I don't want to be reffered to as a girl, rather,

☆ a femenine-leaning star. ☆

Pronouns: They / Them , Sh☆ / H☆r , Th☆y / Sh☆ (I usually don't mind She / Her)

⋆ ˚｡⋆୨ Boygirl ୧⋆ ˚｡⋆

refers to someone who identifies as both a Male and a Female is connected to both boyhood and girlhood, or whose identity is so interconnected it cannot be separated.

You can also identify as a Girlboy, but my leading one is boy.

Pronouns: He / She

⋆ ˚｡⋆୨ Boygirlthing ୧⋆ ˚｡⋆

boygirlthing ; a gender where the user is both a girl && a boy but also a thing at the same time . . .

Pronouns: He / It / She

⋆ ˚｡⋆୨ Sillyboygirlthing ୧⋆ ˚｡⋆

𓏲 a gender related to being a silly boygirl thing ; being a silly thing that is also a boygirl ; a boygirl thing related to silliness in any way ; etc . . .

This is more of a xeno so no one irl is gonna call me this （ ; ; ）

Pronouns: He / It / She

⨯ . ⁺ ✦ ⊹ ꙳ ⁺ ‧ ⨯. ⁺ ✦ ⊹ ‧₊˚⨯ . ⁺ ✦ ⊹ ꙳ ⁺ ‧ ⨯. ⁺ ✦ ⊹ ‧₊˚⨯ . ⁺ ✦ ⊹ ꙳ ⁺ ‧ ⨯. ⁺ ✦

#gender #genderfluid #trans #transmasc #nonbinary #demiboy #neoboy #xenogender #stargender #pronouns

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patchodraws · 1 year

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sorry to star wars post on main i’ve been thinking a lot lately about what a new jedi order trilogy - led by rey - could look like, and what it could do to separate itself from the cycle of repetitive star wars storytelling. i remember seeing a post a while back on reddit about having a trilogy with droids as the main antagonists, and decided to expand on the idea a bit. here’s some of my thoughts:

this trilogy would take place maybe ten or so years after the rise of skywalker. the new republic didn’t get reformed, instead being replaced by a new galactic governance called the interstellar allegiance. it’s nowhere near as powerful as either republic was, but without any remnant threat, the biggest issue is pirates and crime lords and not the ideology of the empire.

in the first movie, our antagonists are a droid union known as the binary rise, who have grown impatient with their lot in life with the republic, the empire, and the allegiance not having done anything to fight for their rights in the galaxy after a decade of advocacy. using factory plans from geonosis, the leaders of the binary rise have begun manufacturing droids without the same labour programming used before, allowing them more free will in their efforts to make their goals known to the galaxy at large. i think some interesting plot points could be finn - who’s part of rey’s order and seeing this chaos unfurling in the galaxy - choosing to leave the order and align himself with the union, given his own past as a first order stormtrooper and how he believes all beings deserve the same rights. another point could be to retrieve the main computer from the millennium falcon - aka L3-37 - as both a strategist and leader after her decades-long imprisonment. finally, in looking to gain an advantage over organics in the galaxy, the union could uncover the secret of the Nameless from the high republic series - creatures that drive force users insane - in order to level the playing field.

the next movie could see desperate members of rey’s jedi order scrambling to find something to counteract the threat of the union and the nameless, searching for destructive dark side secrets. rey could catch wind of this and set off to stop her students from uncovering something ancient and powerful, maybe like abeloth? with the allegiance currently in conflict with the union, it could be up to a small number of characters and no millennium falcon to pursue these dark students. poe could join rey and they could even turn to finn and ask for his help, reuniting but under shaky circumstances to stop an even greater threat than the union and the scattered nameless. this would be the movie where the characters grow a bit more and come to understand the plight of the droids, as well as maybe discuss solutions to the conflict that don’t end up like the last several, looking to break the cycle of war in the galaxy. of course, being the middle movie of the trilogy, we could see this ancient evil uncovered and released upon the galaxy, creating a threat both for the union and the allegiance that - in the third movie - they must somehow unite to vanquish. i haven’t thought much about the last movie in this supposed trilogy, but it would be interesting to see the antagonists of the first film join the protagonists (after receiving their rights, of course, as part of negotiations for their help) to stop a massive threat that’s actually built up in the previous film.

obviously, this is nothing more than a jumble of thoughts that a proper screenwriter could probably vastly improve upon, but what do y’all think ?

#star wars #star wars fanfiction #star wars speculation #my writing #yes the binary rise is meant to be a reference the binary sunset

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historyhermann · 2 years

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Booming LGBTQ Representation in Animation in 2021 [Part 2]

Continued from part 1

Reprinted from Pop Culture Maniacs, my History Hermann WordPress blog on Jan. 15, 2023, and Wayback Machine. This was the seventh article I wrote for Pop Culture Maniacs. This post was originally published on January 5, 2022.

Other streaming platforms, like Paramount+ had animated series with LGBTQ characters. For example, the Rugrats reboot, a gay single mother named Betty DeVille, voiced by openly queer actress Natalie Morales, is a character. More prominent, however, is Star Trek: Lower Decks, fulfilling on Mike McMahan’s commitment to explore the identity of Beckett Mariner, who is voiced by Tawny Newsome. In the episode “We’ll Always Have Tom Paris,” Mariner tells Tendi, “I’m always dating bad boys, bad girls, bad gender non-binary babes, ruthless alien masterminds, bad bynars,” with a reviewer saying that Mariner affirms that “she is essentially pansexual.” In another episode she reveals she spent time on a space station and notes one of the nature preserves they are going to is where she went on a date, not specifying whether the date was male or female. She also calls Boimler, her male friend and colleague, her “number one.” Andy Billups (voiced by Paul Scheer), the ship’s chief engineer, is implied to be asexual as he has no interest, in the episode “Where Pleasant Fountains Lie,”of sleeping with the male or the female guard, and he is not shown participating in any sex acts in the “Naked Time” simulator in the show’s following episode. Whether the series follows up on this in an expected third season is anyone’s guess. At the same time, Star Trek Prodigy, also on Paramount+ includes Zero, who is a Medusan, with Medusans as genderless aliens who use they/them pronouns.

Hulu and Peacock also featured LGBTQ characters. In March, the series creators of Solar Opposites, Justin Roiland and Mike McMahan confirmed that Korvo and Terry are a romantic couple in a committed relationship. Another Hulu series has two LGBTQ characters, one of whom is bisexual (Melissa Tartleton) and another which is gay (Gary Garoldson). Furthermore, in the a Pride-themed episode of the children’s animation, Madagascar: A Little Wild, an okapi named Odee Elliott appears, who is non-binary. Odee is voiced by Iris Menas who said the episode’s biggest takeway is “acceptance and love and celebration” while GLAAD’s director of entertainment media, Jeremy Blacklow, said the episode comes at a time that “LGBTQ inclusion in kids and family programming is rapidly growing,” and stated that DreamWorks Animation is partners with GLAAD to “ensure that all families are represented on-screen.”

A late comer is the Crunchyroll coming-of-age series High Guardian Spice, created by a trans man, Raye Rodriguez, who was a character designer for Shadi Petosky’s Danger & Eggs animated series. This series featured trans and lesbian characters, with one of the trans characters voiced by Rodriguez himself! The other character, Snapdragon “Snap”, was voiced by a trans woman, and is on the road to transitioning to being a trans woman by the end of the series. The lesbian characters included two cousins of Sage, one of the story’s protagonists. They are named Aloe and Anise, her wife. The person who voiced Anise is a lesbian actress and she voiced two other characters in the show, meaning that those characters could be arguably lesbian coded. Furthermore, Sage showed an attraction to Snap and her friend Rosemary, meaning that she is presumably a lesbian, and Rose may be as well. Thyme, one of the show’s other protagonists, shows an attraction to a mermaid in one episode, while her roommate Parsley is very close with her. At the same time, another voice actor is openly gay and a person who voices a character named “Slime Boy” is ambiguously queer.

At the same time, terrestrial broadcast networks had their share of LGBTQ characters. This included gay men Crispin Cienfuegos and Ham Tobin in The Great North, voiced by Julio Torres and Pauli Rust respectfully, an implied lesbian woman named Frankie (voiced by Naomi McDonald) in Cartoon Network’s Elliott from Earth, and a queer man named Jerry Smith. Craig of the Creek, another Cartoon Network animated series currently airing features non-binary, lesbian, gay, and agender characters. Nickelodeon’s Blue’s Clues & You! featured an alphabet song which featured multiple Pride flags, Jessie Juwono, a supervising director of the now-ended Big Hero 6: The Series, confirmed Globby and Felony Carl, as a gay couple, and storyboarder Sam King said, two days after the series finale of Disney’s DuckTales, that she would permit fans to “assume I think every character except, like, Lunaris, is LGBTQIA+ in some shape or another.” On the other hand, Nickelodeon’s still-airing The Loud House features lesbian, gay, and bisexual characters. Another series, Tuca & Bertie, the new season of which began airing on Adult Swim in June 2021, on Netflix for season 1, featured various LGBTQ characters as well. This included a bisexual Toucan named Tuca, and a female seagull, Kara, who is a former love interest of Tuca.

The ongoing Cartoon Network series, Victor and Valentino, features a character who is implied to be a lesbian: Xochi Jalapeno, voiced by Cristina Vee. As I wrote in November 2020, she has a clear romantic interest in another woman, Amabel, and her lesbianism is “heavily implied by her never showing romantic feelings for male characters and often blushing when she is around Amabel.” Sadly, in May of 2021, it was announced that The Venture Bros was ending. The series featured various LGBTQ characters such as the openly gay Colonel Horace Gentleman, a lesbian character named Virginia “Ginnie” Dunne, and a gay couple: The Alchemist and Shore Leave. Luckily, it was later announced the series would have a direct-to-video film continuation at some point.

Some shows aired on actual television channels and on broadcast networks. One such show was Final Space, with the show’s final season premiering on Adult Swim first, then later HBO Max and Netflix (for international broadcasts), from March 2021 to June 2021. The show’s cancellation was confirmed by show creator Olan Rogers. Final Space had previously aired on TBS. In December of 2020, I wrote that “if rumors are true, then the third season of Final Space will have LGBTQ characters” and that turned out to be be true! This was manifested in a humanoid alien by the name of Ash Graven voiced by Ashly Burch. She had previously voiced a bisexual woman in OK K.O.!: Let’s Be Heroes named Enid, a non-binary Gem woman in Steven Universe named Rutile Twins, a lesbian woman named Laney in The Loud House, and currently voices Molly McGee, a Thai-American protagonist of the series, The Ghost and Molly McGee.

In Final Space, however, Ash was shown to be a lesbian character in the eighth episode of the show’s final season, as she holds hands with a genderless being, Evra, voiced by a biracial queer actress, Jasmin Savoy Brown, and she had previously hated a man who had rejected her in a previous season. In a podcast about the episode, Rogers confirmed that Ash was lesbian and noted that his co-writer, David Sacks, pushed for an episode about Ash, while he had wanted to do another character. He also stated, at the time, that if the show were to have another season he would expand on the relationship between Ash and Evra. Sadly, he never got the chance to do this due to the show’s cancellation. The show also included recurring LGBTQ characters like Clarence Polkawitz (voiced by Conan O’Brien), a selfish man, as bisexual, and the gender-flipping possibly genderfluid Tribore Menendez (voiced by Rogers), while Rogers himself said that he would have pushed for Little Cato as a gay character in another season.

Other examples of shows airing on television and streaming platforms were Duncanville and HouseBroken, which aired on Hulu and FOX. Duncanville features a recurring genderfluid character named Mia Abarra (voiced by Rashida Jones), a kiss between one of the protagonists, Annie, and another woman, Sandra, and features background characters mentioning they are in gay relationships in several episodes in the show’s newest season. LGBTQ characters were throughout HouseBroken, whether a gay trans male cat named Chico, a bisexual mixed-breed terrier Diablo, and the owners of Tabitha, Stelios and Brett, as a same-sex couple. In November, in an episode of The Simpsons, a FOX series which has been running since 1989, Smithers was shown with a new boyfriend who was named Michael de Graaf.

More prominent is The Owl House, the first half of the second season which aired on the Disney Channel from June to August, then was added to Disney+ later. While it is aimed at pre-teens, the series is a “deep story with a simple premise” as one reviewer described it. A second season canonized the semi-canon feelings between a bisexual Afro-Dominican/Afro-Latina young woman named Luz Noceda (voiced by Sarah-Nicole Robles) and a lesbian young woman named Amity Blight, which fans dubbed “Lumity.” It also introduced a new non-binary character named Raine Whispers, voiced by Avi Roque, a non-binary actor, and confirmed that Eda Clawthorne (voiced by Wendie Malick) is queer because she had feelings for Raine, who she previously dated before breaking up, and previously noted she had ex-boyfriends. Furthermore, Mae Whitman, who voices Amity, came out as pansexual. The way forward for The Owl House beyond Season 3 is uncertain, as showrunner Dana Terrace stated in early October. Unlike previous Disney shows, which featured LGBTQ actors who generally did not voice LGBTQ characters, The Owl House features LGBTQ actors voicing LGBTQ characters, such as Mae Whitman. [6] Another currently airing Disney series, Big City Greens, featured two gay characters: Alexander and Terry.

Other Disney shows seemed to feature LGBTQ characters as well. In one episode of Amphibia there were two women who were coded based on the bisexual and pansexual flags, according to the show’s art director, named Jess and Ally. The latter was voiced by Latina comedian Melissa Villaseñor who is of Mexican descent. In another episode, a man was shown proposing to another man. As Jade King pointed out, there is a possibility of confirmed representation between two of the show’s protagonists, Anne Boonchuy and Marcy Wang, while there is “chemistry between Yunan and Olivia…teasing…a full relationship between the two.” There was even an episode which a song by Rebecca Sugar, creator of Steven Universe, was shown.

In two episodes of The Ghost and Molly McGee, a lesbian character named Ms. Roop, who is voiced by Jane Lynch, a lesbian woman, is shown. In the episode “Mazel Tov, Libby!”, she is slow-dancing with a woman and in the next episode she is shown to be a lesbian. The woman she dancing with is her wife, Pam. Samantha C. King, a director for the show, said that Roop is a “lesbian who always talks about her wife” and added that Pam and Roop aren’t the only LGBTQ characters, but that there will be “more significant rep later on.” Others have even argued that Molly McGee herself is bisexual, claiming that during a musical sequence in one episode, a bi flag-colored sticker can be seen on Molly’s motorcycle helmet, but this is only a unconfirmed theory. One of the show’s creators, Bob Roth, one of the show’s creators stated as much, urging fans to let the representation “unfold naturally.”

One indie animation put many of the series on streaming platforms and broadcast television to shame. Helluva Boss, at the head of the indie animation boom, continued to air on YouTube. Apart from the established LGBTQ characters like Blitzo (pansexual), Moxxie (bisexual), and Stolas (gay or bisexual), voiced by the openly gay Brandon Rogers, Richard Steven Horvitz, and Bryce Pinkham respectfully, the episode “The Harvest Moon Festival” introduced a trans female character named Sallie May (Millie’s sister), who is voiced by a trans woman, Morgana Ignis. Even two male-presenting characters, Blitzo and Stolas shared a kiss at the end of the episode “Truth Seekers.” The series can be described as having a tenor of morbid humor and being “unlike any other animated series, indie or mainstream, that has ever been created or has appeared on any platform,” unique in its own way. The series also featured, in the next-to-last episode of the show’s first season, Blitzo and Stolas going on a date together, although it did not work out for either of them, as Stolas can’t spell out why exactly he loves Blitzo, with both leaving each other behind. This series is prominent in the indie animation scene and one of the few queer female-led series, unlike other series which have wonderful representation but are not headed by queer people.

Otherwise, My Life is Worth Living, a series which is meant to use “relatable teen stories to teach suicide prevention strategies.” It includes stories which cover “LGBTQ+ issues, substance abuse, sexual abuse, and physical injury” and has aired on YouTube since September 2021. LGBTQ characters include Scott, a public speaker revealed to be gay in Dante’s Story and Dante, a high school football player who has struggled to come out. On October 11, the newest episode of Nico Colaleo’s series, Ollie & Scoops, premiered on YouTube. In the episode before that, which aired on October 22 of 2020, it centered on the history of a teacher, Binnie, who is “anxious and nervous to tell another teacher, Wendy, that she likes her,” with Colaleo promising that there will more of both characters in future episodes.

Many anime led the way when it came to representation. For instance, the original net animation, Assault Lily Bouquet: Fruits, based on Assault Lily Bouquet, had homoerotic focus, while the ongoing series My Next Life as a Villainess: All Routes Lead to Doom! featured a bisexual harem of men and women who pin after the protagonist, Catarina Claus. In 2021 five series with LGBTQ characters began. High-Rise Invasion featured two protagonists who begin as a friends but become romantically involved with one another, while Otherside Picnic centered on two women who have feelings for each other. In the latter case, however, their feelings are only implied as they never kiss or even directly say they love each other, leading some critics to say that they can’t think of the show as anything more than “just another generic supernatural anime.”

Trans characters appeared in So I’m A Spider, So What? and Wonder Egg Priority. A non-binary character appeared in the series, Blue Period, who is misgendered and mocked by her classmates, and yuri content was present in both Sailor Moon Eternal movies, with two lesbian characters having a role: Sailor Neptune and Sailor Uranus. The series Komi Can’t Communicate includes a character with an ambiguous gender and another character, a woman, who is infatuated with the series protagonist. Some reviewers pointed to yuri coding in other series, like Vlad Love, Blue Reflection Ray, Kiniro Mosaic, Vivy, YuYuYu, Zombieland Saga: Revenge, and Battle Athletes, while noting the final season of Kobayashi-san Chi no Maid Dragon S, calling the latter the “one of the most ridiculous and entertaining yuri-ish anime…in some time.” There are also implied yuri tensions between the protagonists of The Aquatope on White Sand with one reviewer for Anime News Network saying that they are considering the series “to be a yuri series” and calling it “yuri-coded right from the start,” while another saying they are setting their “yuri expectations…fairly low” for the show, but are still planning on watching it anyway.

January of this year will see the premiere of the new season of Princess Connect! Re:Dive, along with Luminous Witches and Love Live Superstar!, all of which may have yuri subtext. In early February 2022, The Legend of Vox Machina, an adult animated fantasy series based on a Critical Role campaign, will begin airing on Amazon Prime. It will include two bisexual siblings (Vex’ahlia “Vex” de Rolo and Vax’ildan “Vax” Vessar), and two queer characters (Keyleth of the Air Ashari and Scanlan Shorthalt).

There are a number of animated series with LGBTQ representation that are either scheduled to air or presumed to air in 2022. This includes the reboot series The Proud Family: Louder and Prouder, which will have an interracial gay couple (Barry and Randall Leibowitz-Jenkins), part 4 of Disenchantment, and the fourth season of The Dragon Prince. The latter show has featured supporting characters who are gay, non-binary, and lesbian. Arcane may also be coming back for another season sometime in 2022, although the exact date is not currently known, as will, presumably, Volume 9 of RWBY.

It is also expected that Dead End: Paranormal Park, previously named DeadEndia, will premiere sometime this year as well, after it was pushed back from its original premiere of October of 2021. Dead End: Paranormal Park, when it premieres, will break barriers with a trans male protagonist, Barney, with series creator Hamish Steele hoping it would get “more trans creators getting their chance to tell their stories” while hinting at other LGBTQ characters in the show apart from Barney. Steele also, in a thread on Twitter, described overt trans representation as important to him for a number of reasons, but due to the show being a UK production since UK broadcasters had rejected his previous trans storylines, and hoped that the series can be “one production taking a clear stand against the normalisation of transphobia in this country [the UK],” with the series having, in his words, “multiple trans cast and crew.” Hopefully the series will continue to increase positive queer representation in kids animation.

There are indie animations in development which will likely begin or continue this year. This may include new episodes of Nico Colaleo’s series, Ollie & Scoops, the premiere of S.A.L.E.M.: The Secret Archive of Legends, Enchantments, and Monsters, [7] and a new season of Hazbin Hotel on A24. Colaleo has already stated this, saying there would be “much more” Ollie & Scoops, while Hazbin fans were annoyed at much of the pilot cast not returning in the animated series which seems all but guaranteed to premiere this year.

HBO Max’s Lumberjanes, an animated adaption of the comic of the same name which ended in December 2020, will likely not air this year, but it is possible the litany of indie animations will air. This will not include Rain: The Animated Series as it was cancelled in September 2021 before the series premiere in a re-upload of one the show’s animations for unspecified reasons. The creators of the indie series, The Descendants, said they will pitch their series this year, with the show creator declaring that people need to create their dreams.

However, there are indie series moving forward, with no sign of cancellation. Indigo, with its development presumed after a previous cancellation, Wild Card, which has an openly bisexual protagonist, Jack, based on the show’s bisexual creator, Alex Bahrawy and Sheepish, with a non-binary protagonist, are only a few of many indie series with LGBTQ protagonists which are currently in development. [8] Wild Card seems to be moving closer and closer toward premiering the pilot, at least, as does Far Fetched Show.

I hope that Mika A. Epstein of LezWatch.TV is right in arguing that in terms of representation, this year, “things will get better” and fandoms will develop as ways to express the love people have “for a story or a movie of a TV show,” with shows which take risks, are daring, an tell diverse stories of various types.

Notes

[1] This was also clear in GLAAD’s 2020-2021 “Where We Are on TV” report (counting characters which premiered on primetime cable TV from June 2020 to May 2021) which noted characters in BoJack Horseman (since cancelled), The Owl House (p. 15, 40), Carmen Sandiego (p. 19), Kipo and the Age of Wonderbeasts (p. 19, 40), Steven Universe Future (p. 40), DuckTales (p. 40), She-Ra and the Princesses of Power (p. 40), Harley Quinn (p. 42), Young Justice (p. 42). Let’s not forget that as Mike A. Epstein of LezWatch.TV pointed out, “while GLAAD does look into some international shows, it’s very skewed American.”

[2] 2021 was the fourth year of the awards show. In 2020, She-Ra and the Princesses of Power won for the “Outstanding Animated Series” category (the runner-up was BoJack Horseman and other nominees were: The Owl House, Steven Universe Future, Harley Quinn, and Kipo and the Age of Wonderbeasts). Also She-Ra was nominated for the “Best TV Episode With LGBTQ+ Themes” category, for the episode “Heart Part 2” while Adora and Catra in the same show won the “Fan Favorite Couple” award. In 2019, Steven Universe‘s episode “Reunited” was nominated for “Outstanding Individual Episode with LGBTQ+ Themes” and She-Ra won “Outstanding Animated Series” category (runner-up was Steven Universe and other nominees were: Love, Death & Robots, Bojack Horseman, Adventure Time, and Tuca & Bertie). In 2018, Rebecca Sugar, the showrunner of Steven Universe, was a runner-up for the “Outstanding LGBTQ+ Director / Producer / Showrunner” category, Steven Universe was one of the nominees for the “Most Groundbreaking Representation” category, and Steven Universe won the “Outstanding Animated Series” category (runner up was Adventure Time and other nominees were: Danger & Eggs and Loud House).

[3] Apart from these series, Kipo and the Age of Wonderbeasts, She-Ra and the Princesses of Power, Recorded by Arizal (implied that future story could have LGBTQ characters), and Onyx Equinox (with bisexual characters) ended in 2020. The hinted Astur’s Rebellion series by Sara Eissa was posed in 2020, but likely will not return. Additionally, the third “season” (as Peacock called it) of Cleopatra in Space, as I wrote about in December 2020, aired on Peacock on January 24, but had no more rep than the two moms of Akila which appeared in “School Break” which aired in November 2020.

[4] The other series are produced by a smattering of companies like Shadow Machine (Final Space; Tuca & Bertie), SpindleHorse Toons (Helluva Boss), Liden Films and Felix Film (Otherside Picnic), TNK (Redo of Healer), Millepensee (So I’m a Spider, So What?), The ULULU Company and Rough Draft Studios (Disenchantment), Zero-G, Inc. (High-Rise Invasion), Skybound Entertainment (Invincible), Asahi Broadcasting Corporation (My Next Life as a Villainess: All Routes Lead to Doom!), P.A. Works (Aquatope on the White Sand), and Titmouse (Star Trek: Lower Decks).

[5] https://www.youtube.com/watch?v=PIjX9rGvUmk, at 41:40-44:24). A few months later, an animator for the show said that they were “given explicit directions” to make Le Chevre and El Topo, in their scenes together, “romantic and intimate.” (https://scepterno.tumblr.com/post/642230247631323136/wait-i-can-finally-talk-about-how-i-was-given). This confirmed what GLAAD said in their report: “…Netflix includes queer characters in the animated series Carmen Sandiego” (p. 19)

[6] Other LGBTQ actors who did not voice LGBTQ characters include Matt Lucas as Benny in Romeo and Juliet, Rosie O’Donnell as Terk in Tarzan, Joshua Rush as Bunga in Timon & Pumbaa, Jane Lynch as Sergeant Calhoun in Wreck-It Ralph, Harvey Guillén as Funny in Mickey Mouse Funhouse, Auliʻi Cravalho as Moana in Moana, David Hyde Pierce as Francis in A Bug’s Life, Raven-Symoné as Monique in Kim Possible, Jack Dylan Grazer as Alberto in Luca, Sara Ramirez as Queen Miranda in Sofia the First, Graham Norton as Moonwind in Soul, Miley Cyrus as Penny in Bolt, Billy Eichner as Timon in The Lion King (2019 remake), Nathan Lane as Timon in The Lion King, Ellen DeGeneres as Dory in Finding Dory, Jonathan Groff as Kristoff in the Frozen films, Patti Harrison as Chief of Tail in Raya and the Last Dragon, Sean Hayes as Terri Perry in Monsters University, Alyson Stoner as Isabella in Phineas & Ferb, and David Ogden Stiers and Ian McKellen as Cogsworth.

[7] In this series, Salem, protagonist, is non-binary and pan, while Oliver is gay, and Petra is asexual.

[8] Others include Dirt: The Series, Romancing Roslyn Cherry, Howdy Cloudboy, Gadzooks and the Cryptoid Kids (a series by two gay men with LGBTQ themes), Roads to Rome, Succubus Cop, Starmakers, Cabiria Intermezzo, and Long Way From Del’Arte.

#lgbtq #kisses #star trek lower decks #indie animation #hbo max #lumberjanes #ollie & scoops #hazbin hotel #wild card #indigo #youtube #paramount plus

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Cthulhu mythos/Yog-Sothothery info dump on the ones you most like been waiting for t̵̺̥̔̾h̸͎̪́͐͘ͅê̷̜͘m̵̦͇̰̍̑ T̴̛̛͕̲̳̯̹͕̀̋̉̾̄͂̓̕͝ͅH̷̙͖̬̪̬̮͇̫̋̄̏̋͑͋͋́̕͝E̷͕̓͌ ̶̰̻̅̅̀͐̋͘͘̚͝O̷̧͇̠̮͓̝̭̿̐̾͐͌̕ͅṴ̶̧̡͔͉̔̈̍̂̀͘͝͝ͅT̴̢̳̯̹͓̠͖͚͖̯̫̠̄̏̉̑͌̀̾͂͜͝͝E̵͇̬̪̫͈̟̦̳̯̠̦̮̓̇͌ͅȒ̶̢͍̙̦̘͕̱̘̑̃̈́̈̏̈̐̌̕̚͝ ̵̘̬̼̭̔̓Ģ̴̨̞̳̲̻̝̦̝̘̦̳͉̙̞̆̚Õ̵̢̫D̸̡̛̝́́̀͑͆͊̌̚͠Ŝ̸̨̧̡̨̨͍̞̹̯̮̫̂̅̃͌͌̄͗̓̐͘̕͜͠ͅͅ so let's begin

Lord of the Watery Abyss: Great Cthulhu.

Size 300 meters.

Threat level: Yellow to Red.

Appearance: a head of an octopus with rubbery rotted skin and prodigious claws on his hands and feet along massive narrow wings on his back with a body structure similar to an orangutan, the beast's body is made out of something not of this realm seeing it once may cause you to lose your sanity in a week

History: on the planet Vhoorl, located in the "twenty-third nebula" the great one was born from Nug and Yeb or yog sothoth some no one truly knows. At some point he traveled to the binary star of Xoth, where he mated with gods knows what and had three children named Ghatanothoa(still ugly but there he is), Ythogtha, and Zoth-Ommog. after that he traveled to Saturn, followed by Earth, along with his species only known as the "Star Spawn of Cthulhu" whose origins are unknown. they landed (or were possibly thrown) into a continent in the Pacific Ocean where they built the great stone city of R'lyeh, after a war with the elder things, great Cthulhu went to a deep hibernation in r'lyeh where he rests now hopeful it stays like that.

Habits:

fun fact I once fought a kid back in elementary school because they thought Cthulhu had a tail I don't know why I did that. Cthulhu is the only one of hp Lovecraft's creations that he drew a picture of and it's funny enough he only used Cthulhu once in a story that is the call of Cthulhu, he mostly just referenced him.

The King in Yellow: Hastur.

Size 15 feet to 300 meters.

threat level: unknown possible Red.

Appearance: in Hasturs more human form he is a 15-foot-tall man of unknown origin wearing a yellow robe, wearing a medallion with his yellow sign, in some cases he may wear a mask or a crown along with it, in his other form he appears as a yellow, vast, vaguely octopoid being although unlike his brother he never has an octopus head

History: it is mostly unknown where Hastur comes from besides the fact that he is Cthulhu's brother although his yellow symbol has appeared in a cave painted dated back to 64,000 years ago, he is likely imprisoned on a star near Aldebaran in the torus constellation but as of now he might have escaped

Habits: Hastur mainly instills insanity into people's minds creating madder and madder pieces. Oftentimes, they will succumb to the influence of his infamous "Yellow Sign". They will recreate the horrid sign however they can and seek to share its image with others often repeating the simple words "Have you seen the Yellow Sign?" it has been pieced together by those who have somehow met the deity that he raised all of his cults to kill his brother Great Cthulhu, because of this Hastur has the second biggest cult in the world, culture, the way of think, music, art, memetics, all of it, was spawned from his influence So tell me… Have you seen the Yellow Sign?

fun fact when Mario + Rabbids Sparks of Hope was first revealed I seriously thought the main villain was Hastur. I have a strange relationship with Hastur when I first started getting into the Cthulhu mythos/Yog-Sothothery I only saw Hastur once and it wasn't much just a few images and the yellow symbol i thought cool Cthulhu has brothers then as I'm writing for an AI dungeon as a joke I slowly start thing about hamsters name and the yellow symbol, even more later on I start thing about it again as I'm drawing, foursome reason anytime I join a fandom for long peridot of time and make joke stories slowly overtime Hastur will return to my mind no matter how many times I join new things or leave them Hastur always comes back first the rest of the Lovecraft stuff comes back to but always Hastur first. what the hell is it that he isn't even my Blorbo he's not even my favorite Lovecraftian god I'm kind of horrified that the one god who mainly influences the minds of creative types is the one I can't stop thinking about.

The dark goat with a Thousand Young Shub nee-Goo-roth.

Size 3,776 meters

Threat level: Green

appearance: an enormous cloudy mass that extrudes black tentacles, slime-dripping mouths, and short writhing goat legs

History: unknown

habits: Shub nee-goo-roth is mostly stated to be an outer god of fertility and has been stated to have birthed most life in existence and is the most widely worshipped entity, she has mated with many entities such as yog sothoth and Hastur(gross), only real habits on recoded are showing up to her cults to gift them a rewards to certain worshippers of Her called "The Milk of Shub nee-goo-roth" or "Mother's Milk" there is very little information about this substance other than it might have mutagenic qualities, with the power to influence childbirth in among Her worshippers, who's to say She can't influence others?

fun fact yes her real name is bad that's why the change, she isn't the least important, but only that most writers using the mythos merely reference the deity in passing terms and with rare exceptions don't use Her as a physical presence, this all spawned from Lovecraft himself because he only ever used Her name as mentions by various cultists and in various incantations so most don't even know what to do with her, she is one of the only females of the outer gods the final boss of the video game QUAKE is Shub nee-goo-roth.

The Lurker at the Threshold Yog Sothoth.

Size: Varies, normal 47 meters

Threat level: Varies, White to Yellow

appearance: varies mostly a mass of glowing orbs, with eyes or tendrils with incest-like features in some versions

History: unknown

Habits: yog sothoth only appearances on summoned in some manner reason may vary between gain forbidden knowledge or limited power over space and times. or Ultimately, however, those who seek to interfere with the nature of space and time end up with Yog-Sothoth... which is said to be a fate worse than death. those who had the gift to speak to yog-sothoth say they don't find him good nor evil more like a true neutral, yog-sothoth is he is omnipresent as he is all of reality he is omniscient as he is in all places at all times for you see he is the everything from the largest of multiverse to the smallest of atoms and even beyond that he is all that has been is and all that shall be ,an all embodiment of all of time and space across an essentially infinite number of space-time continuums, "Yog-Sothoth knows the gate. Yog-Sothoth is the gate. Yog-Sothoth is the key and guardian of the gate. Past, present, future, all are one in Yog-Sothoth. He knows where the Old Ones broke through of old, and where They shall break through again. He knows where They have trod earth's fields, and where They still tread them, and why no one can behold Them as They tread", he views all existences in all dimensions simultaneously, yet is still locked out but still watching, aware of us, is watching us, and is thinking about our every move.

fun fact the dunwich horror is yog-sothoth son because a framer convinced him to impregnate his daughters. he is the second most powerful entity ever made like really he has time, space, reality manipulation, limitless range, omnipresence, true godly regeneration, omniscience nigh omnipotence, and even more, truly infinite capacity and yet he still only the second strongest funny how that works right? as i was writing this I two dreams about him the one, one of them I hug his weird form until I fell asleep hugging him and the other one was when I gave someone godly powers and he should up to me and beat me with a stick

The primal chaos ,The Blind Idiot God, The Cold One, Azathoth

Size: unknown

Threat level: Black

appearance: unknown

History: Before there was time, before there was anything, there was nothing. And before there was nothing, there were monsters. and before there was monsters there was only the Daemon Sultan. long long long ago, he fell into a deep slumber. and then there was light, life, death, dreams, mind, concepts, pain, power, chaos, space, reality you, and I, all. The first things to come after his rest where 5 beast, The Lurker at the Threshold, The dark goat with a Thousand Young, the crawling chaos, and 2 nameless mist. he now rest at the center of all things surrounded by the ultimate gods playing accursed flutes and maddening drums to keep the demon sultan asleep. during some point the he was given a name... Azathoth the unclear chaos

habit's: Azathoth hideous name. azathoth only true habit is he resides on a black throne at the center of all things, it won't be wise to go there It's A terrible pilgrimage to seek the nighted throne of the far daemon-sultan Azathoth. all of Azathoth's creations only exist in his dreams And that is everything and all. Azathoth knows not what He dreams, but everything from the primordial bacteria on Earth up to Yog-Sothoth Himself, is a figment of Azathoth's imagination. When... -not if- Azathoth awakens, we will wink out of existence and Azathoth will be left alone yet again, there is truly nothing that will survive. in the space beyond space and beyond time where azathoth and the rest of the ultimate gods change doesn't even exist things are stagnant and unchanging there is no getting a new transformations, no power ups, this is absolute. "Out in the mindless void the daemon bore me, Past the bright clusters of dimensioned space, Till neither time nor matter stretched before me, But only Chaos, without form or place. Here the vast Lord of All in darkness muttered Things he had dreamed but could not understand, While near him shapeless bat-things flopped and fluttered In idiot vortices that ray-streams fanned. They danced insanely to the high, thin whining Of a cracked flute clutched in a monstrous paw, Whence flow the aimless waves whose chance combining Gives each frail cosmos its eternal law. "I am His Messenger," the daemon said, As in contempt he struck his Master’s head". There is no relating to Azathoth. No comprehension, ... and no sympathy. When Azathoth awakens... ... we don't.

fun fact when you get down to it azathoth really represents what cosmic horror is all about, The completely apathetic existence of an alien creature, that is completely outside our realm of understanding. and the fears that come with the unknown. azathoth the one thing above yog sothoth making him the strongest entity ever because again it's all just his dream and where the result of that dream. I once talked about azathoth during a school trip to a 7-Eleven where i said and this is for Verbatim "he's like Garfield" it was really stupid to because the only proof I had was that they just sleep and that wasn't even correct Garfield eats lasagna and hates Mondays, azathoth only sleeps..... and basically creates everything to

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The Crawling chaos Nyarlathotep ☻

lǝʌǝl ʇɐǝɹɥʇ: B̷͙̹͎̍̉̓̀̔̍͠͠L̸͈̠͈͖͍̳͗̑̈̐͜͜͝͝A̵̱̰̬͛̈̅͛̀͗̈́͋̚C̴̡̨͖̞̰̤̦̥̘̋͆̌̋̅͗̈́͌͝K̴͈͐̋͐̿ unknown

Size: Varies, 7 feet, 784 meters

history: unknown

appearance: a man who resembles an egyptian pharohs, five meter tall black stone sphinx, with vulture wings, the body of a hyena and a human head devoid of a face, a striking physical appearance over six feet tall with deep set eyes and a stately manner, a man small of stature, a gigantic black entity, similar to a bat. Its body is only partially material, being composed of a corrosive substance capable of dissolving human skin on contact. Its most characteristic feature is its brilliant trilobed eye. a beast covered in dozens of tentacles, mainly in its head, where they resemble hair, and tail. An eldritch being composed of human flesh and bone, with the exception of its head. It is covered in dozens of tentacles, mainly in its head, where they resemble hair, and tail. Its body is mainly a large human spine and ribs that doesn't have a face, instead it only has a hole in its head. , a human girl with long silver-colored hair that changing shape whenever she feels a strong emotion and bright green eyes, A three legged beast with an eyeless tentacle for a head

History: Х̸̡̨̡̧̙̹̰̬̳͍̝̙͓̯̫̫̟̬̳̺̹͈̦͓͓̄̎̒̒͊͆̓̿̒́̍̓̎̏̋͊͂̏̾́̃̀͆̂͋͌̇̿͗̀͑͊́̐̍͂̍́̽̋͝͝О̸̡̢̨̛̛̪̪̞͎͉̯̫͚̜̻̥̯͎̣͇̮̻͕͔̙̺͇̮̹̙̙̤̠̭͚̩̘͇͊̓͐̐̅̊̓̐̊̽́͐̆̀́͗̎͑̊̈́͒̒̄̀̄́͘͝͝͝͝͝͠͝Р̶̢̢̨̧̛̭̟̼͚̲̯̦̦̘̮͎̮͔̫̯͚̩̜̩̲͔̼͓͈̻̙̙̥͕͎͎̹͇̒̈̎̇̅́́͗̌̐́О̶̡̡̛̹͚̱̖̖̗͖͉̯̤̠͉̬͓̼͉͓̮̼̥̬̩̱͙̗̼͇̳̐͂̊̐̇̈́͊̀̂̒̅͑̀͆͑͆̉͐ͅͅШ̸̧̧̛̥̺̲̹̙̬̱̖͖̣̥͔̼̭̝̺̗̱̞͔̹̥̠̱͍̻͖͙̐͊̆̈́̃̈̀̓͑́̊̅̑̑̌̽͂͊̑̋̽̾́̈̐̇̊͌͗̚͜͜͜͝͠͠͠ͅͅО̶̨̨̨̨̢̬̮͔̙̗͉̖̭̼̼̙̬̞̰̲̙̣̻̿̒͑̈͛̅̿̏̽̒̿̔̌̆̅̊͘͜͝͝ ̴̨̧̡̨̛̘̮͙̹̺̬͇͔̬͇͉̯̬̼̱̟̤̭͙̮̞͇͕͖̺̩̈́̔̂̓̌̏̽̄̈́̃̏͑̓̀̃͌̋͋̌̿̈́̇̑͐̑́͂́̏͑̇͂̇̔̚ͅͅР̷̧̡͍̖̮̜͇̩̺̰͉̖̻͉̹̩̭̠̪̟̟͓̗͓̦̦̠͒̐̃̒̅͐̔͂̄͌͗̾̔��̟̦͓͖̳͚̜̲̺̗̫͚͓̙̝̗̬͚͜А̶̨̡͈̩͕̮͇̗̲͙͉̞͇͖͕̬͓̦̯̙̇̐̚Б̵̛̛̛̛̛̣̝͔̮̉̿̅͂̓̀̾̌̆̈́̓͊̂́̒͗̂́̀̆̕̕͠͠͝О̵̨̧̧̨̰̘̦̥̱̼̰͚͉͎̲̼̲̘̜̤̮̝̠͖̫̳͖͔̞͕͍̲̫̪̳̟͚͎͉̭̥́̀̃̎̐̓̀̓̂̆̀͊̔̔̈́̀͗̎̇͑̆͆̏̽̃͑̒͌̓̈́̿͆̐̎̾̓͊͘͜͜͜͝͝͠͝ͅͅТ̷̧̨̧̛̦̱͚͓̫̲̺̠͖̰̙͓̻̃̀̍̈́͂́̂́̀̎̌̑̓̂̆̆̓̉͐̀̓̈́̈́̽́̽͊̔̅̂͛͑͐̃̔̈́̑͗͐͐͘͘͜͠͝͠͝ͅͅА̶̡̨̢̢̨̛̻͍̟̦̬̮̪͇̩̩̥̖͇̳͇̩͚̙̤̹̯͚̰̠̺̩͓̳͌̇̌̿̈́̎͑͆̾̀̊̆̔͆̏̽͊̇̏̑̐̏̃̈́̍̔͊͑͂̽́̓̋̎̈́͘͘̚͜͜͝͝͝͝ͅЕ̷͔̤̭̮̦͕͌̒̉̓̋̈́̎̊̒͂̌͆̋͊̂̒̐̊̏̍͛͊̂͋͌̈́̃͑̋̎̏̀̑̽̕̚͠͝͝͠Т̶̧̧̨̧̛̞̙̩͎̯̤̝̣̭̟͇̙̺͈̖̜̤̞̻͖̻͙̫̻̝̹̻͙̮̼͔̯̯͇̪̹̮̺̬̂͆̆̈͑̽͆̈͒̃̊̑͘͜͝,̵̛̼̘̻͕͔̗̝̪̠̻̯̀̽̿̽͛̍̚͠͠͠͝ͅ ̶̨̢̧̢̜͇̪̱͇͓͍͍͎̠͉̩͉̦̳̗̦͉̠͎͔͎͖͈͇̣͉̣͇̝͙͉̘̯͈͍̺̌̓͗̈́̌̇̏̄͊̂͆͂͆̋̎̔̑̀̈́̈́̿͆͛̈́̉͆̃̄̽̄̉͝В̵̡̛̳̇̒̍̒̔̌̌̀̈͒͑͛͘͝Ы̷̣͎͍̼̪͓̟͕̰̹̤̬̬̦̳̮̰̫͍̜̳̪̗̳̒̍̑͜ ̸̢̡̢̧̙̪͓͎̺͇̯̠̥̺̥̩̬̲͍̙͍̜͓̭͎̝̮̪͕̻̪̥̣̜̦̞̮̱̦͇̲͍͖͙̺̬̮͛̏̓͆̌̾̈̈́̾͐̽̽̈́̇̅̔̓̄̎̒̎̓̓̋̂̓̚̕͘͝͝͝͝͠ͅВ̸̡̢̯̩͚͍̗̮̦͇̫̤̭̣̦͈̤͇͈̜͇̯͇̠̩͚͚͚͔̯͎̲̩̠͇̝̥̟͙͎̅͒͂̑͜͜ͅͅС̴̢̡̨̡̺̜̮̝͕͈̲̻͚͉̹̰͙̩̟͇̖͍͙͓̝̗͍̪̻̠̳͚̜͈͖̱͕̪͍̩̻̭̫̱̝̠̻̗͓́͑̊͂͑̅̇̿̇̆͗ͅЕ̵̨̡̢̢̛̟̤̘̮͕̺̱̩̥͔̼͇̬̬̣̮͔̙͓͚͓͍̹̬̱̼̫̻͔͉̰͚̻̇̿̊̒͐̅̂͗̅̑̌̽̈́͒̎̌̆̅͋̈́́̆̋́̈͜͜͜͝ ̷̡̨̡̢̟͚̪̣̥̘̪̘̼͕̹̫̣͔̳͇̥͖͈̼̼̤̘͔̞͕͍͌̇̌͑̓̿͊̄̌̓̆̈́̕͜͠Е̷̢̛̛͍̻͖͙̟̘̗̝̥͎̥̭̜̞̃̊̑̎̉́͂̊͋̐͒͑͆͛̔͐́̅́̔̉̾̿̎͋̉̉́̕͝͝͝͝Щ̸̡̧̨̥̭̪̫̖͎͉͚̲̞̗̥̲̠͖͕̭̭̺̍̏͊͐̋̽̋̊̈́̚̕ͅͅͅЕ̸̨̡̢̛̳̯̮͍͈̩̠̯͚̰̫͚̹̘̼̖͎̞͈͈͖̣͇̬̜̘̤̞̫͓̖̯͆̍̇̂͂̀͌̅͑̂̓͌̈́̕͜͜ͅ ̶̧̢̢̡͍̭̭͉͖͙̫̭̞̠̦̝͚͚̝̫̤̞̮̦̥̲̫̭͍͓̤͍̻͂̉̔̓̋̿̽̀̍М̶̡̡̧̢̨̤͔̹͈̥̼͓̬̠̹̘̠̗͎̗̝̖͓͚̳̗͖̖̲̞̼͖̩̮͙̜̣͍͔̝͙̠͍͉̫̼͓̻̅̉͗̈͌͜͝͠ͅО̷̡̡̨̨̛̖̼͈̮̺̝̫͉̺̟̼̭͚̺͚̲͔̖̹̠̺̭̜͇̮̘͂̒̅̌͌͒̅̆͗́͑̅̃̾̀͐̈́̋̈́͑̕̕͝Ӝ̸̧̨̢̡̛̱̳̝͖̖̮̖͓͉̠͇͈̮̘̞̖̭̫̟̦͇̩͉̺̝͚̭̣̜̪͉̍̓͒́̋́̓͂̉͂̏͂̽̈͋̉͛̂̀̿̇̀̕̚͜͝͠͝͠Е̴̡̡̡̡̢̧̛̳̗̙̣̩̫̮̼͚̲̟͔̝̻͕̝͎͖̝͚̯͇̗̮̰̹͔͚̩͕͖̭̳͓̗̳̫̟̭̺̥̂̉̈́̃̓̈́̓̈́̔̃͊̑̇̀͐̉̾̔͂͒̋̔̓̐̄̈́̈́͊́̈́̈́̉́̕̕͘̚͘̕͜͜͝͠͠ͅТ̸̡̧̢̛̛̻̮̭̯͍̗̪̣̫̘͎͍͍͔̣͉͍̫̺͇͉̝̣͕́͒̓̿͐̍͗̿͗́̈́̀̏̅̍̔̂͑̈̆̓̿͆̐͘͜͜͠͝Е̴̢̨̦̤͉͈̫͚̥̠͕̹̙͕̥͖̝̣̥̪͚̮̦̙̖̩̻̭̜̘͈̦͔̦͎̪͖̫̗̿͆̊̓̊̍̓̅͜͜͝͝ unknown.

Habits: Nyarlathotep is he Messager of the outer gods, said to have a thousand different forms. Most are which said to be horrific and terrifying, some of his forms, however, such as the pharaoh form mentioned in the short story perfectly resemble humans. It is likely, then, that he is capable of assuming any form he wishes. he is capable of any ability he choices which ever he choices it doesn't matter his greatest strength, however, is his power to manipulate. Often making bargains or deals with those he deals with, he is conniving, deceptive and almost never trust worthy. he is meant to bring complete doom and destruction to Earth but choices not to, what reasoning would he have he's a creature that delights in madness and manipulation, and why destroy his favorite play things he's been toying with ever sense life first stepped on land, before man was he waited for them. as far as capability goes, Nyarlathotep is the strongest being, well yes yog sothoth is all in one, and one in all, and azathoth can wink out all. nyarlathotep the only deity that can actively effect the entire existence and is the only one that can bring the other Outer Gods and Great Old Ones into our mortal realm. "Screamingly sentient, dumbly delirious, only the gods that were can tell. A sickened, sensitive shadow writhing in hands that are not hands, and whirled blindly past ghastly midnights of rotting creation, corpses of dead worlds with sores that were cities, charnel winds that brush the pallid stars and make them flicker low. Beyond the worlds vague ghosts of monstrous things; half-seen columns of unsanctified temples that rest on nameless rocks beneath space and reach up to dizzy vacua above the spheres of light and darkness. And through this revolting graveyard of the universe the muffled, maddening beating of drums, and thin, monotonous whine of blasphemous flutes from inconceivable, unlighted chambers beyond Time; the detestable pounding and piping whereunto dance slowly, awkwardly, and absurdly the gigantic, tenebrous ultimate gods—the blind, voiceless, mindless gargoyles whose soul is Nyarlathotep." Nyarlathotep appeared to the ancient Egyptians in various guisesand was revered as both a pharaoh and as a God, but why would he stop there? A God that can take any form and who delighted in manipulation and deception, would've likely taken other shapes to continue to manipulate the human species. Whose to say Nyarlathotep wasn't actually Napoléon Bonaparte? Or Gavrilo Princip ? Or Karl Heinrich Marx? Or Paul the apostle? Or that Nyarlathotep is responsible for every major religion we have currently. He could've been Nikola Tesla. Or Rasputin, or Judge Holden of Texas. Nyarlathotep is immortal, powerful and very patient. And we are all simply his toys.

fun facts Nyarlathotep is the main reason I hopped in the Cthulhu mythos/Yog-Sothothery, it all started because my brother once told me about him back when I was elementary school, and I wanted to know more about him so I started looking around one thing leads to a next and I'm learning about Greek mythology to understand who Hypnos is, watching an anime that appends to about him, and buying a PlayStation 5 for bloodborne. Nyarlathotep besides Cthulhu and Hastur might be the most influential entity in the mythos, when you look deep into it characters like, Bill Cipher, Discord, The Lich, Randall Flagg, the Scarlet King or the Ambassador of Alagadda, Zalgo and even Godzilla from singular point can all have some part of them traced back to The Faceless God. there where easier names I could have said for who Nyarlathotep could have been but I didn't know if you would be comfortable with them. and to finish something off Nyarlathotep would be the third strongest entity ever so basically Azathoth >∞ Yog-Sothoth>>>>>>>>>>>>>>Nyarlathotep >X100 everything else. besides Hastur, Nyarlathotep has shown up in my dreams the most, the final boss of the game dusk and Sundered is Nyarlathotep. the moon prescance in bloodborne is basically Nyarlathotep, the anime series called Nyaruko: Crawling with Love is a whole series where Nyarlathotep is an anime girl who comes down to earth and falls in love, yes this is real and it's adorable, Azathoth, Yog-sothoth and Nyarlathotep are the only characters completely banned from all versus debates because they are scene as to overpowered. there has only been one person who escaped Nyarlathotep and he is Randolph Carter, because of this Nyarlathotep completely hates him, the reason most ship them together is because it's really the only actual relationship he has in any of the story's he has ever appeared in, however it does not mean he is removed from "love making" in fact lets put it lightly there's a very good reason why he has a page on the pure evil wiki. my favorite Lovecraftian monster bounces around a lot but Nyarlathotep might acutely be my favorite entity in the mythos. heres a fun list about how I image all of the outer gods on the list Cthulhu, Hastur, Shub nee-Goo-roth, Yog-sothoth , Azthoth, and Nyarlathotep. do you remember Nodens ya, because Nyarlathotep hunts them down like animals, then mocks them, and then rips them apart for his sick kicks. this doesn't have to do with anything but when I was writing this I kept seeing images of Scarlet Flandre and Marx and I would sometimes write there names instead of nyarlathotep, it's like a cute little siblings walking into your room as you've been working for hours and hours, there like a little beacon that need to do go to sleep or do something active.

overall this has been fun to share this mythos with someone else for once and this is the second to last one the last one is about everything else. so thanks for reading ;)

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A̶̧̨̧̪͇̳̠̫̠̯̰̗͎̲̮̫͖͇̺̯͉̙͖̒̐͊̌̂̓̈́͠ͅĤ̸̨̨̡̛̼̗͓͓̬͔͓͔̻̠̺̗̪̟͈̲̔̑͗́́̈́͑̏̅͆͐̄̀͂̆̕ͅH̸̨̡̨̨̛̲͓̜̪̩̤̰̩̹͈̲̼̲̭̓͂́̉͒̌̂̈̊̽̈́̈́̉̑̂͜͜͝͝͝͝Ä̴̢̡̨̧̧͇͔̥̙̩̟̭̼̞̰̯̬̱̦̫̩͉̲̖̞̮̤̲̖̭̜̩̤̲͖̰̙͚̤͉͉̱̲̩́͜Ḩ̷̛̛͎̬͙̭̠͉̜̦̩̜͎͔͓̺͐̋́̔̽̋̒͐͂̑̔͒́̍̈́̋̓͂͌͗̾̓̎͐̊̈͋̎̃̚̕̚̚͝͝͝Ą̸̨̡͉̜̟̰̦͇̼̱̮͇̲̰̦͎̱͙̰͚̖̯̼̫̱͉̙͈̤͊̏̔̈́͂̏͜H̶̡̡̙̪̳̺͈͇͉͍͖̙̦͔̰̞̹̪̣͓̻̫̝̯̝̥͈̯̼̪̟̥͈͙͖̼̝͓̳̗͓͈͈͈͕͇̰̑̍́̌̄́̓̇̾͆̀̄͐̑̿̉̒̈̊̂͘͘͝͠A̴̧̡̛͕̣̫͙̫͇̗̟͔͓̻͕͈̝͙̺̫̬̘̫̦͇̠̩͕̬̤̝͔̟̻̰͓͉͙̳͇̬̠̩͍͈̫̣͕͉͒͐̔͗̾̀̏̓̌̃̽͑͌̅̏̔̂̀̈͗͐͂̏̔̉̊̔̄̈́̆̊͒͂̽̈́̚̚͜͠͝͠͠ͅH̸̞̝̻͚͆͒̊̾̎́͊͗͋̔͂͑̋́͗̋͊̒̑̄̈̀̀̐͗̽̚̕͠͝Ȟ̵̡̪̱̬͔̖̹̰̳̭̠̜͍͆̑́͑̑̈͋̃́̈́́͆͑̈́̀͊̋̍̔̂̈́̎̅̈̅̂̿͆̕̕̕̚̚͝͠ͅͅĄ̶̬͚͙̭̜̱̘͇̞͍̞̣͍͕̙̞̠̘̫͖̼̞̼̣͙̒̆̒̄̾̒̑̋͋̅̑̓͌̇̃͆͊́͜͝͝H̴̨̧̨̛̜͙͙̝͕͎̖̹̖̙͉͇͓̺͚̰̦͍͍͉̭̳̼̠͈̞̭̟̙̗͍̲̖̱̦͖̝̻͑́͆͗̎̿̇͊̃̾͑̃̈̐̈͑̅͑̔̒̅̽̅͂̇̓͋̀̇͌̑̍̓̍̓̅͒̃̃̚͘̕͘͜͜͝ͅA̵̧̤͕͎͉̝̣̳̯̞̖̳͓̬͎̮̤̠̝̲̠͓͇̬̭̝̲̭͚̣̳̬̙̱̻͚͍̭̹̜̯̤͗H̸̢̢̛̫̝̬͍̩̝̲̝̹̼͓̺̺̭̞͍̗̬͌͆̈́̄̓̌̓̀́̾̋͗͑̕͠͠H̴̨̧̢̡̡̙̭̜̭̥̫͈̤̳̼̝̼̤͕͖͎̼̮̤̜̫͎̱̟͚̝̟̪̩̣͍̝̓͗̐̔͛͂͂͛̅̽̍̅̆̐͂̽͗́̀̓͛̇̈́̈́̇̾̃͒̄̍̈́̽̌̄̚̕̚͝͝͝ͅA̶̧̠̞̟̥̮̅͋̇̉̑̒͛̃̔̀̅̆̆̔̇̀̉̈́͐̍͛̒̓̈́̃̅̋͆͛̒̚͘͘̚̕̕͠͝͝͝͝H̶̛̲̓́̀̓͒̏̈́͌́̌́̀͗̽̋̀͋̀̾̆͘̕͝͝͝͝Ä̸̢̻͚͍̲̩̘̦̖̲͓͇̺͎͇̦́̋̄̿̔̈́̓̄̏̆͒̍̐̑͊̊̆͑͘ͅH̶͍͚̺̭̃̒̂̇̈́́̈́̓͂̐̂̋̍̐̑̾̽́̿̅̅̓͂̓̔̊̄̌͘̕̚͝͠͝ͅẢ̶̢͈̘̗̅̆̌̏̏̎̓̌̓͋̾̈́̊̌̈́͛̄͘̕͝͠H̴̨̧̗̙̥̮̠̝̫̰̦̼̹̟̤͚̖͈̠̼̲̯̺̫̩̝̟̺̜̬̩͉̦̿͜ͅĄ̴̡̖̞͔͙̼̥̼̲͖̬͚͚͙͕̬̟͚̗̘̜̟̆͑̈́͝H̶̨̬̒͛̂̕H̶̻̪́̉͗̔̇̍̒̇͆̎͌͑̅̿̋̏̇͑̎̚̕ͅͅA̷̧̨̡̠̲͕̜̝͔̦͙̰̥̝͔͕̺̬͕̱̱͚̪̹̩̰͚̟̦͚͚̦̹̬̦̳̓́̾̅̓̆͒̋̾̄̑͒̕̕̕͘͘͜Ḩ̴̨̨̱̫̬̜̘̜̜̮̮̞͍̜͎͉̩̲̱̈́̉̀́͗̒̍͝ͅH̴̨̨̡̡̨̢̧̯͉̣̻̖̦̤̝͔͍̞̘̤̝̘̫̰̮̼̟̭͎͈̦̫̭̙̩͉͎̝̭̙̝͇͔̭̪̲̏̐̐̈́̀̉͒̀̀͊̽̌̈́͋͛͆͑̽͐̿̈́̂̓̿̐̔̑̂̔̑͛̈́̋̌̐̊̔̈́̇̃͘̚̚̕̕͜͝A̵̢̬̬͎̻̯̮͖̰̜͖̘͕̥̼̼͍̽̈́̈́̑̈́̕͜͠͠H̷̛̩̻̗̜̤̱̲̥͉̝͍̯̯̬̿̎͆̇͗̄͂͐̓͆͐̀̑͒͒̂̉̓̅̀͛̏̄̄̉͌͌͂̐̾͆̓̔̔̕H̶͉̖̥̼̳̹̝̞̜̳͕̹̻͙͖͚̹̼̘̗͔͙̟̫̬͔̤̙̦̮̯̘̜̣͑͛͆̃͌͑͌̓͘͝͝Ȃ̴̡̧̞̯̠̺̳̘̫̘̦̻͖͙̗̪͍̹̻̺͖̱̦̠̗̩̖̞̞̺̦̦̼̬̲̫̮̯͙̠͕̤̬̱͛̈ͅĄ̷̡̢̨̬̲̥̠̱̙͖͕̺̥̱̯̠̯̩̯̅̔̽͌̏̋̉͝ͅH̵̨̡̧̢̛̯̹̙̹̘͓̟̜͙̜̰̳̥̭̫͇̠̜͔̥̬̬̩̹̰̆̂̃̐̒̊͛̄̊̓̔̒̄͂̈́̎͂͑̈̍̿̆̒͌͌̈̀͘̚̕͜͝͝͝͝͝͝H̸̯̤̤͍̭̮̪͚̜̞͓̝͓̬̣͇̘͙̤̣̫̖̳̣̳̾͑̈͂̏̏͛̏̈́͊̔͑̊͌͘̕̚͜͠͝͠ͅẠ̷̻̥̘͂͂̑̾͊̈́̔̉̍͂̐̋͂͊̔̈̌̈́͛̓̎̇͌̉̅͂̅̀̒̇̆̽̊͒̎̏́̕͝͝G̵̢̛̤͍̭̙̭̦̝͍̲̞̞̫̞̪͚̝̫͕̹̝̫͈̜̩͍̖̀͗̏̂́͛̇͛̂̔͐̍̈́̒͐̃̃̃̓̈̿̾̀̈̒̀̈́̓̈́̆͋̈́̔̏͗̏̉̅͒͐̉͘̚͝͝͠͠͝Ȍ̵̢̟̫̙͎͍̺͎̮̮̘̞̭̲͍̤͚̉͐͊̊̍̒̒̓̕͜Ḓ̸̡̧͈̘̥̹͉͉̖̠̣͔͍̮͈̖̦͉̲̯̞͚̠̺̬̮̭̭̤͇̪̳̆̐̀̄͛̇̇̂́̆̆́̾̅̈́̾̓́͌̿͛̑̃̀̉͑̓̈́͐͐̉̐̉͂͘͜͜͜͜͜͝͝ͅW̷̢̨͓͓̞̟̜̫̞̺͊́̾̐̎̈́̒͌̄̿͠ͅͅH̵̢̡̡̭̥̺̮̤̫͙̝̘̰̜͓̯͈̦̠̲͉͂͂̇̏̉̑̈́̽́́͑̈́̉̐̀͂̇͗̄̍͐̋͗̓̓͒̂̍̽͘̚̚̚ͅW̷̜̲͈̰̜͕̳̬̪͌̎͑̅͑̏̐̌̽͘͜H̴̡͎̘͖̩̼̞̖͉̹͖̣͒̈́̀̒̾̆̂̈́̀͑͊́́̒͗͒̅̓̏̅̈́̂̈̾̔̒̑͂́́̏͗̏̕͜ͅW̵̡̢̙̦̯̝̟̖͇̻͈̰̥͖̘̗̱͖͇̪̘̦͕̖̮͔̻̆̇͗͗̌̄̋̽͊̿͊̀̄̽̅̀̊̓͂̐̓̒̈́͊̃̅́̀͌́̓̓͑̕̚͝

Thank you again, cosmic horror anon

#an ask

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