#this is about its gothic elements

[r0tting-rat]

Why do I keep seeing everyone being weirded out by Nosferatu. Y'all bitches are all sooo fucking in love with the dark academia aesthetic old book/old library aesthetic literature student aethetic gothic scholar aesthetic and whatever shit tiktok comes up with until? actual gothic shit shows up? What the fuck did u expect from the retelling of a gothic story. Why are u mad that that stuff is uncanny, weird, uncomfortable, creepy, morally complex and gross? Why are u mad that it's sexual? We are talking about a VAMPIRE. OF COURSE IT'S SEXUAL.

Twilight fried yall brains good god.

[rawliverandgoronspice]

man, I love A Link Between Worlds... sometimes I remember it, its hyper-competent yet humble design and storytelling proposal, and I genuinely think that makes it among my favorite Zelda games ;;

[wickershells]

If i have to see one more “this is so ethel cain core” comment i am gouging out my eyes And offering them to the heavens as penitence for the horrors of the human race. We have failed o lord

[the-crooked-library]

Nuance, Narratives, and Nosferatu

As of today, Robert Eggers' Nosferatu (2024) has only been in theatres for 4 full days; and, coincidentally, that is about as long as I am able to let my thoughts marinate before they demand to be communicated. Before going into any further detail, let it be known that this film was made by freaks for freaks; it exists for the goths, the gays, the monsterfuckers, the historians, and for all those who delight in moral and thematic complexity.

With that being said - spoilers under the cut!

There are two principal narratives running through the flesh of Nosferatu, both of them rooted heavily in the cultural and literary origins of the story. It is a nightmare; it is also an erotic fantasy. It is horrifying, and it is also achingly romantic. From what I've seen so far, the vast majority of discourse that has already emerged around the film is caused by people misunderstanding or deliberately ignoring the relationship between these different lines of analysis; so please trust me when I say, from the bottom of my heart, that this duality is the very lifeblood of the movie.

The reason for that is, quite simply, that Nosferatu is a gothic horror film, set in 1830s German Confederation; and its plot relies on the same (sometimes contradictory) complexities often displayed in Victorian gothic fiction.

From the beginning of the movie, we are given to understand that Ellen Hutter met Count Orlok - the eponymous nosferatu - psychically, when she was very young. They spoke, she pledged herself to him, and was horrified to realize what she had done when he revealed his true visage to her in their first visual (and sexual) encounter.

Here, under the lilacs, the paths diverge.

The first reading of the film is perhaps the more straightforward. A young girl is essentially catfished and groomed by a much older, dangerous man. When they meet for the first time, she is a teenager; the lilacs that bloom where it happens become a trigger. He is the source of her madness and "melancholy" (depression), she has nightmares about him regularly enough that her husband is aware of them, and it is implied that she has been institutionalized in the past. Thomas Hutter is the physical representation of her one desperate hope for a normal life - but as the story progresses, she finds herself being denied even that. Orlok's psychic connection with her verges on demonic possession; in chilling, The Exorcist-inspired sequences, she writhes and mutters, prophesying a city-wide reign of death and terror. In pursuit of his claim on Ellen, Orlok terrorizes her husband, murders her friends - and, eventually, she gives her life to take him with her to the grave, saving the city from the plague he caused.

That is the horror element of Nosferatu; it deals with an exploration of childhood trauma, of PTSD, of difficulties maintaining a social life after the fact. It is easy to understand even from a modern viewpoint, and it pushes the film to its conclusion with a bleak, heart-wrenching punch.

The horror is not the only element of Nosferatu.

To contextualize the alternate - though just as correct - reading of the film, it is essential to understand that Ellen’s society was extremely sexually repressed, especially in regards to female and queer sexuality.

Both were severely medicalized, demonized, and restricted; and as such, when these topics do make an appearance in contemporary fiction, they are often inextricable from disgust and fear.

Dedicated as always to historical accuracy, Eggers maintains the same setting-based narrative coding.

In anticipation of morality arguments vis à vis monstrosity, depiction, and modern purity culture, let me clarify: this is something that works within his chosen genre. Horror, and especially gothic horror, invites a deeper analysis in regard to morality and motivation, and in this case, Eggers' homage to the origins of that genre grounds the narrative in its time and location, as well as fleshing it out much further than a purely modern cultural lens would permit. In this context, the details of Ellen's connection with Orlok become paramount to the understanding of the film.

As bits and pieces of their background become revealed, the audience realizes that her psychic gift did not begin with him - and neither did her melancholy, or her isolation. She was born with her abilities, and throughout her childhood, she was a bit of a tomboy by her contemporary standards, running wild in the woods near her father's property; however, once she foretold her mother's death, and once she was too old to get away with eccentricities, her father became frightened of her abnormality. She was isolated, confined indoors, and that is when her melancholy had begun. Painfully lonely and aching for some form of companionship, she called out into the ether; and Orlok responded.

Over the course of their story, he becomes the physical manifestation of everything Ellen perceives as dark and sinful about herself.

He is psychic, he is vicious, possessive, and blatantly sexual; her sensual affection with Anna parallels the evident and physical attraction he displays towards Thomas; and the social power he so easily commands is the same that she lacks, being a woman in a rigidly patriarchal society.

In the end, the severely questionable age gap, the murders, the coercion, the betrayal - all of that comes down to respect. Throughout the film, that is the one thing that Ellen is consistently denied. She is young when she meets Orlok, yes; but she is aggressively infantilized by her surrounding society even when she is a grown, adult, married woman.

It starts from the beginning of the film, when the Hutters visit the Harding family. During those scenes, the men are shown talking business - while the women play with children in the parlour; and the same social framing persists into the body of the film. When Ellen is suffering from what appears to be some form of mental illness, she is referred to as a child by multiple different characters; and when the condition progresses, she is swiftly diagnosed with hysteria and drugged - thus being forcibly removed from the discussion of her own illness. The general reactions to that illness - which is, in fact, a display of her psychic abilities - range from annoyance to fear to curiosity; it is seen either as a disability or a curse, rather than anything entirely innate to who she is. Her fears are dismissed. Harding tells her to learn some deference. Even closer to the finale, when Von Franz admits that she could have been a great priestess in another age, he does so with pity rather than anything else; in their industrial era, he cannot help but see her only as a tragic sacrifice - horrible, but necessary to save the city from a plague. Brought in to heal her, he instead guides her to her death.

All these aspects of Ellen's circumstances find a direct opposite in her relationship with Orlok. Unlike all other characters in the film, he only ever sees her as his equal, which is made even more evident when his interactions with Thomas and Herr Knock are brought into consideration. With both men, Orlok insists on being addressed by his lordly title, "as his blood demands it"; and yet, Ellen never calls him by any title at all, be it "My Lord" or even a simple "Herr." She argues with him freely, and there is a familiarity between them that he is demonstrated to never tolerate from anyone else. Similarly, while he disguises the covenant he makes with Thomas, the terms of his covenant with Ellen are laid out clearly, in full. He does not hide from her; she already knows the worst of him, the same way he knows that she is intelligent, that she is powerful, and that she is not meant to be demure and deferring. Again and again, Orlok insists that Ellen is not meant for humanity - and the true horror, the horror she cannot bring herself to face, is that he is right.

In a sense, he is a mirror held up in front of her own face. Ellen is painfully aware that she does not fit in, and that she never has. The "normal" society, epitomized by the Hardings (wealthy husband, pretty blonde wife, 2.5 kids), has no place for her - and actively dislikes her.

The film makes this ostracism impossible for the viewer to ignore. As the story progresses, it becomes evident that the other human characters - even those that do sincerely care for Ellen - never truly know her. Anna loves her, but wishes she would not talk of dreadful things - and lashes out as a result of that discomfort, scolding her. Sievers finds himself bewildered by her; Knock sees her as an object to trade; Von Franz pities her, Harding hates her, and Thomas cannot truly satisfy her, even after being touched by the supernatural himself.

Seeing a flash of a monstrous face while they are together, he flings her away. To him, his experience with Orlok is merely traumatic, and he wishes for nothing more than to leave it behind. However, to her, it is something she cannot help but crave; and she continues to wear her lilac perfume.*

All that to say - Count Orlok is, simultaneously, everything Ellen wants and everything she is terrified of being.

That specific dichotomy reaches its climax during their mutual finale. As it is to be expected from a vampire wedding night, they rejoin in a sequence of sex, blood, and renewed vows - and what is particularly notable is that (unlike Murnau) Eggers makes it clear that this Orlok never intended to kill his Ellen, despite his inability to resist her blood. Though he drinks from her through the night, he stops at cock-crow; and she guides his head back down herself, distracting him long enough for the sun to rise. It is a duet of accident and intention. He drains her; and she holds him as the sun drains him. They cling together as they end - on a bed that serves their wedding and their death.

It is romantic. it is unquestionably romantic. However, that does not mean that the horror isn't also present; Ellen's consent, under these circumstances, is highly debatable, and Orlok is cruel, amoral, and murderously possessive. At the same time, the characters are also acting out folkloric archetypes, with precious little adjustment to that framework - which further removes them from a modern understanding of morality. He is Death, a Koschei the Deathless, a monster; she is the Maiden, a Vasilisa, a damsel. I hesitate to liken them to the Beauty and the Beast, largely because in the original premise of that story, the Beauty falls in love with the kindness that the Beast consistently displays; and it is essential to stress that Orlok has none. He does care for Ellen, in his own way, but he admits to being incapable of love as she defines it in human terms;** and, curiously, that seems to be her primary concern when it comes to the idea of accepting his proposal - rather than all the blood and carnage.

What I'm trying to say, I suppose, is that there are multiple ways of following a story, and multiple different stories in a film as nuanced as Nosferatu. Yes, it is about grooming and trauma. Yes, it is about finding love outside of the cage that is "polite society." I'm sure that it is many other things besides, with as many meanings as there are people in the theatres; after all, I am only one person, and the film grossed something over $40M in its first three days. The point is, really, that this is a story in which a rotting vampire is woken from centuries of deathlike slumber by a lonely voice asking him to be her friend; and whatever these two strange and aching souls do with that can go down any myriad of paths. The film trusts the viewer to interpret the narrative they choose.

* LILAC PERFUME - in fact, it is such a consistent favourite of Ellen's that Orlok smells it on her hair in the locket she sends with Thomas to the castle. Thomas never really learns the reason she likes that scent - even though he knows that preference well enough that he gifts her lilacs in the beginning of the film.

** ORLOK'S OBSESSION - this is a side note, but: the vampire wedding sequence reminds me strongly of the third season of NBC's Hannibal. I suppose that was to be expected, considering that Hannibal is also a Dracula offshoot, much like Orlok himself. When Ellen snaps at Orlok that he cannot love, he responds that "no; but only with you, I can be truly sated." Similarly - "Is Hannibal in love with me?" asks Will; and Bedelia responds - "Could he feel a daily stab of hunger for you, and find nourishment at the very sight of you?" I'd say if you liked that series, you should try and see the film. It works with a familiar blend of aesthetic horror.

[writingwithcolor]

How can non-Jewish writers include Jewish characters in supernatural stories without erasing their religion in the process?

Anonymous asked:

I have a short story planned revolving around the supernatural with a Jewish character named Danielle (who uses they/them pronouns). Danielle will be one of a trio who will be solving the mystery of two brides' deaths on the day of their wedding. My concern with this is the possibility of accidentally invalidating Danielle's religion by focusing on a secular view of the afterlife. At the same time, I don't want to assume that Jewish people can't exist in paranormal stories, nor do I want to use cultural elements that don't belong to me. So, how do I make sure that Danielle is included in the plot without erasing their Jewishness?

Okay so to start with I think we need to ask a question about the premise: what is a secular afterlife? I’m not asking this to nitpick or be petty, but to offer you expanded ways of thinking through this issue and maybe others as well.

A Secular Afterlife

What is a secular afterlife? To begin with, I get what you mean. The idea of an afterlife we see in pop culture entities like ghost media owes more to a mixture of 19th-century spiritualist tropes drawn from titillating gothic novels than to anything preached from the pulpit of an organized house of worship. Yet those tropes--the ominous knocking noises from beyond, the spectral presences on daguerrotype prints, the sudden chill and the eerie glow, all of those rely on the idea of there being something beyond this life, some continuation of the spirit when the body has ceased to breathe. For that, you need to discount the ideas that the consciousness has moved on to another physical body and is currently living elsewhere, and that it was never separate from the body and has now ceased to exist. Can we say that this is secular?

More so: Gothic literature, as the name suggests, draws heavily on Catholic imagery, even when it avoids explicit references to Catholicism. Aside from the architectural imagery, Catholic religious symbols permeate the genre, as well as the larger horror and supernatural media genres that grew from it: Dracula flinches from a crucifix, priests expel demons from human bodies, Marley’s Ghost haunts Ebenezer Scrooge in chains. The concepts of heaven and hell, and nonhuman beings who dwell in those places, are critical to making the narratives work. 

The basis also draws from a biblical story, that of the Witch of Endor. The main tropes of Victorian spiritualism are present: Saul never sees the ghost of Samuel, only the Witch of Endor is able to see “A divine being rising” from wherever he rises from, and her vague description, “I see an old man rising, wearing a robe,” evokes the cold readings of charlatan mediums into the present (Indeed, some rabbinic sources commenting on this assert that this is exactly what was going on).

While neither of these views of its origin define the genre as the sole property of Catholicism--or of Judaism for that matter--it would be hard exactly to categorize them as secular.

A Jewish Perspective on ghosts

However, it’s not the case that ghost media is incompatible with Jewishness, assuming that it doesn’t commit to a view of heaven and hell duality that specifically embraces a Christian spiritual framework. 

Jewish theology is noncommittal on the subject of the afterlife. The idea of a division between body and soul in the first place is found in ancient Egypt, for instance, earlier than the earliest Jewish texts. In Jewish text it’s present in narratives like the creation story, in which God crafts a human body out of earth and then breathes life into it once it’s complete. It also appears in our liturgy: the blessings prescribed to be recited at the beginning of the day juxtapose Elohai Neshama, a blessing for the soul, with Asher Yatzar, expressing gratitude for the body, recited by many after successfully using the bathroom. 

Yet it’s not clear that this life-force is something separate than the body that lives beyond it, until the apparition of the Witch of Endor. The words we use to describe it, whatever it is, evoke the process of breathing rather than that of eternal life: either ruach (spirit, or wind) or neshama (soul, or breath): neither is a commitment to the idea that it does--or that it doesn’t--go somewhere else when the body returns to the earth. 

Jewish folklore, however, leans into the idea of ghosts and other spiritual beings inhabiting the earthly plane (and others). Perhaps most famous is the 1937 movie The Dybbuk, in which a young scholar engaging in kabbalistic practices calls upon dark forces to unite him and his fated love, only to find himself possessing her body as a dybbuk. It appears that he is about to be successfully exorcized, but ultimately when his soul leaves her body, hers does as well. 

More relevantly to your story, a Jewish folktale inspired the movie The Corpse Bride. In the folktale version, a newly-engaged man jokingly recites the legal formula he will soon recite at his wedding, and places his ring on the finger of a nearby corpse--a reference to a time when antisemitic violence is said to have gotten worse not only at Jewish and Christian holidays as it does still to this day, but around Jewish weddings as well. The murdered bride stands up, a corpse reanimated complete with consciousness, and demands that the bridegroom honor his legal obligation. 

In the movie, the bride gives up her demand willingly: her claim on him is emotional rather than legal, and she finally accepts that he has an emotional connection with another person, that he doesn’t love her. In the folk tale, the dead woman takes him to court to decide whether their marriage is legal, since he spoke the legal words to her in front of witnesses as is required, and the court rules that the dead do not have the right to make legal demands on the living. In this version, the moral of the story is that a legal formula is an obligation; that when he jokingly bound himself to the corpse, he not only disrespected the dead but also the legal framework that structures society, and by so doing risked being obligated to keep his side of a contract he never intended to enact. 

This speaks to the ways that a Jewish outlook can differ from a Christian-influenced “secular” one. Christian-influenced cultural ideas can often focus around feeling the right thing, while Jewish stories will often center on doing the right thing. Does the Corpse Bride leave because she realizes she is not the one he loves? Because she--or he--learned a valuable lesson? Or because she loses her court case? It’s not that the boy’s emotions are irrelevant to the story--the tension, the suspense, the horror of the story takes place primarily within the boy’s emotional landscape--but emotions on their own are not a solution. The question “should he marry her” can be answered emotionally, but “has he married her” can only be answered by a legal expert, and once it has been the deceased bride may not have changed her emotional attachment to him, but she no longer has legal standing to pursue her claim. 

Centering legal rectitude over emotional catharsis isn’t a requirement for having Jewish characters in your story, but it’s worth thinking about what is and isn’t universal, what is and isn’t actually all that secular. 

Meanwhile, back at the topic:

Where does any of this place Danielle?

Well, unless you’re positing a universe in which Christian or other deities or cosmologies are confirmed to exist (See Jewish characters in a universe with author-created fictional pantheons for more on that topic), there’s no reason why they shouldn’t be perfectly fine interacting with whatever the setting you’re building throws at them. 

My wishlist for this character and setting runs more to the general things to consider when writing fantasy settings with Jewish characters: 

Don’t confirm or imply that Jesus is a divine being. That means no supernatural items like splinters of the cross, grails, nails, veils, etc. There’s nothing particularly powerful or empowering about this one guy who lived and died like so many others.

Don’t show God’s body and especially not God’s face, or confirm that any other gods or deities exist, whether that’s Jesus, Aphrodite, or Anubis, or someone you made up for the context. 

Don’t put Danielle in a position where they’re going to play into an antisemitic trope like child murder, blood drinking, world domination, or financial greed. If you have to, name it and let Danielle express discomfort with or distaste for those actions both because Jewish values explicitly oppose all of those things but also because Danielle as a Jewish character would be painfully aware of these stereotypes as present and historical excuses for antisemitic violence. 

Do consider what Danielle’s personal practice might look like. What does Danielle do on Shabbat? What do they eat or refrain from eating? What are their memories of Jewish holidays and how is their current holiday observance different than their childhood? I know I say “Jewishness is diverse” on every ask, but it is, and these questions--which also underscore how very much Judaism is rooted in one’s actions during this life--will help you develop how Judaism actually functions to inform Danielle’s character, even if you don’t spell out the answers to each of these questions in text. 

Do let Danielle find joy, comfort, and identity in their Jewishness not just in contrast with Christianity but simply because it’s part of the wholeness of their character. I know the primary representation of Jewishness is a snappy one-liner in a Christmas episode followed by the Jewish character joining in the Christmas spirit, blue edition, but make room for Jewishness to inform how Danielle approaches the events of your story, or why they decide to get or stay involved.  

-Meir

Hi it’s Shira with some Jewish ghost story recs written from inside–

When The Angels Left the Old Country by Sacha Lamb (deliriously good queer YA Jewish paranormal, mainstream enough that it’s got a good chance of being at your local library and won all kinds of awards)

The Dyke and the Dybbuk by Ellen Galford (sorry for the slur, warning for a paragraph of biphobia in the book but it’s an older book. I read this right before my divorce so my memories are super fuzzy but it’s about this modern day lesbian who gets possessed by the ghost of a different lesbian from hundreds of years earlier in Jewish history.) Nine of Swords Reversed by Xan West z’L of blessed memory - another queer Jewish paranormal.

The general plot is that two partners are struggling with how to be honest with each other about the effect disability is having on them. It’s got a very warm and fuzzy cozy vibe but kink culture is central to the worldbuilding so if that isn’t your vibe I didn’t want you to go in unaware.

The Dybbuk in Love by Sonya Taaffe. I don’t remember the details but I remember loving it, it’s m/f and romance between possessor and possessed.

I wrote a really short one called A Man of Taste where a gentile vampire woman and a Jewish ghost/dybbuk get together.

~S

[neo--queen--serenity]

The Black Butler revival will, of course, in this day and age, be the complete embodiment of pro-ship vs. anti-ship discourse, given the subject matter.

But for those of you who are watching this for the first time in 2024 (which includes myself!), there are certain things about the show you simply must understand, for the sake of media literacy.

The first is that Black Butler is supernatural gothic romanticism at its core. This genre alone should tell you that the relationships integral to the plot will be complex, messy, and toxic, by default. That is not only a huge part of this genre’s appeal, but very much the point of the story.

The themes are dark, the terrible things that happen to the main characters are dark, and therefore the relationships at the forefront (and in the background) will reflect that.

The gothic genre has been alluringly popular for over a century (longer, if you know your history) because audiences are entranced by the macabre, the tainted antiheroes, the monsters who live inside us all. It’s popular for a reason.

That being said, understand that whether you, the viewer, ship Sebastian and Ciel or not is irrelevant. Their bond doesn’t need to be understood as romantic or sexual, but it sure as hell isn’t normal. It isn’t healthy. And the audience knows that. That’s the draw. It’s what makes them compelling to watch.

Ciel and Sebastian’s relationship mirrors many gothic novels, poems, and penny dreadfuls written in the Victorian Era (the very same time period in which Kuroshitsuji takes place). The Victorian folks who read these tales for the first time ate that shit up, because it was tantalizing. It was shocking. It was inappropriate, and monstrous, and violent, and erotic, and went against societal norms. But that was the point.

A huge part of gothic romanticism is the blatant sexualization of the relationship between the “monstrous” characters and their human counterparts in the story. Sex itself doesn’t need to take place for their bond to be sexually charged. The forbidden nature of their relationship—which typically involves layers of social taboos, moral ambiguity, or simple infatuation—is what makes their interactions erotic. Sexual contact rarely ever actually happens in these stories. It’s the taboo nature of their bond that creates the tension.

One of the many reasons audiences love this genre is the constant question of morality in its themes. Who, between them, is the real monster? Could the human character have ever been saved? This genre is often associated with tragedy, because the bond forged between the characters in these stories are destined to end in death and destruction. The reader knows it can’t end any other way. How can it?

But an integral element of these gothic tales is the catharsis that comes with this tragedy. The corrupted human often gets what they want in the end, even if it’s at the cost of their own life. Whether they regret their choice to foster this monstrous relationship varies on the story, but it doesn’t change the trajectory of their descent.

Sebastian and Ciel’s relationship is the whole plot of Black Butler. Their closeness bears a grotesque ick factor, but it is deliberate. It is a constant reminder of how unnatrual their bond truly is. Rationalizing or watering down how abnormal they are about each other misses the point entirely. They will never have a normal, healthy relationship, and that’s what moves the plot forward.

That’s why you’re watching it.

[apoloadonisandnarcissus]

“Nosferatu” (2024) and the Female Gothic Genre, Paganism and the Occult

The Gothic novel genre is deeply connected with female authors like Ann Radcliffe, Mary Shelley, Brontë sisters, Mary Robinson, and Charlotte Dacre, because it allowed them to explore themes that were “off limits” to women at the time (19th century) especially sexuality and women’s place in a patriarchal society. Hence the “Gothic female” genre was created, as a way for female authors and readers to digest their mixed feelings about these topics. This is the world Robert Eggers transports his audience in “Nosferatu” (2024).

This film checks every box of the Gothic genre: claustrophobic atmosphere, environment of fear, the threat of the supernatural, ruined buildings (usually from the Medieval ages), dreamlike states, nocturnal landscapes, demonic possession, blend of “high culture” and “low culture” (folklore), superstitious rituals, melancolia, melodrama, decay, fate, the macabre, the intrusion of the past into the present, stories of persecution, imprisonment and murder as metaphors for social conflict.

Indeed, the audience can’t analyze this story through contemporary lenses or bias, because it’s suppose to be an immersive experience into the Gothic genre and the Victorian era. The terms “gothic” and “romantic” exist in their historical context; “gothic” as in the literature genre (gothic novel), and “romantic” as in the 19th century artist movement (Romanticism).

No, this is not a story about grooming nor abuse... it can be, but not in the way many are interpreting it. Folks also need to let go of previous adaptations and their meanings, because this is Robert Eggers take on this story. And, it’s everything a remake (or retelling) should be, because its not a rehash, it’s a new interpretation of a old story, “Dracula”.

Robert Eggers tells us that the themes of sex and death are at the core of his story, it’s a “demon lover story”, and it’s Count Orlok and Ellen psychosexual connection that makes his adaptation different from the rest.

Ellen is our female gothic protagonist, and, like similar characters of the genre, she’s a persecuted heroine fleeing some a villainous outside force, personified by Count Orlok, the archetypal Death. Metaphorically, she’s a young woman haunted by her own mortality, by Death itself. She also has a sense of Doom looming over her, the heavy hand of Fate; can we outrun our destiny? “Providence!” Herr Knock screams throughout the film; as in a supernatural force, commonly God, guiding humanity destiny.

Ellen is no typical young woman, though. As she tells Von Franz, she had occult powers since childhood, being able to perceive glimpses of the future and suffering premonitions (knowing the contents of her Christmas gifts and when her mother would die). Her father called her “his little changeling girl”, as in the European folklore of human children kidnapped by supernatural creatures (fairies, demons, etc.) and a substitute being left in their place. Herr Knock also compares Ellen with a “sylph”, when he informs Thomas he’s to travel to Transylvania. “Sylphs” are air spirits from 16th century Germanic folklore and alchemy, a sort of nymph connected to air element in hermetic literature; throughout the centuries they have been culturally associated with fairies, too. We have two characters in the story connecting Ellen with a fairy-like creature. Interestingly enough we, the audience, see her floating in the opening scene.

“You are not for the living. You are not for human kind”, Orlok tells her, and calls her “enchantress”. Von Franz also said Ellen could have been a priestess of Isis had she been born in pagan times. Isis is one of the major Egyptian deities, considered the goddess of magic and healing. She was also connected with the Dead and funeral rites, since she was the sister-wife of Osiris, ruler of the Underworld. Pagan priestesses also entered trancelike states as Ellen “hysterical seizures” or “epilepsies” when communicating with the spiritual world, which is what Von Franz, the occult and alchemist student, recognizes in her. Ellen is a supernatural force, too.

Eggers Orlok was a sorcerer in life, a practitioner of Black Magic. He was one of the Solomonari, wizards from Romanian folklore, believed to be students of the Devil, who learned to ride dragons, and control beasts and the weather. In Eastern European tradition, the Solomonari were believed to be recruited among common folk and disguise themselves as beggars, Orlok is a Romanian nobleman who sought to achieve immortality, to conquer Death. As the abbess tells Thomas, the Devil preserved Orlok’s soul that his corpse may walk again in blasphemy, as a vampire feeding off the blood of the living and spreading plague.

However: who was it who awoke Orlok in “Nosferatu”? The Devil or Ellen?

At the prologue, we see Ellen crying and begging for companionship. She prays for a guardian angel, a spirit of comfort, a spirit of any celestial sphere, anything, to hear her call and come to her. She’s summoning some occult force and inviting it into her life. Orlok answers her call. And why is she doing this? She feels lonely, isolated and misunderstood by those around her. As she tells Von Franz, she’s no longer her father’s “little girl” and he recoils from her touch, because she’s no longer a child. As she grows older and enters womanhood, she starts to feel ostracized and put aside by 19th century society who has rigid gender expectations of her.

According to Orlok, it was Ellen who awoke him: “O’er centuries, a loathsome beast I lay within the darkest pit… ‘til you did wake me, enchantress, and stirred me from my grave. You are my affliction.” Which Ellen later confirms to Thomas: “I have brought this evil upon us” because she sought companionship and tenderness. This is a belief Von Franz also shares: it’s Ellen who “wills it”, and she’s the one who unleashed this plague upon the world.

This is very fitting with the Gothic female novel, where the supernatural connects with female societal status of this time period, generally women’s discontent with patriarchal society, difficult and unsatisfying maternal position (in “Nosferatu” we see this with Anne’s character, where she equals being pregnant with being drained of her life force) and their role within society (fear of entrapment in the domestic sphere, their bodies, marriage, childbirth, etc.).

Eggers’ Orlok is a combination of several Romanian folklore creatures, associated with vampirism: strigoi, moroi (these two are the “classic” vampires) and zburător (a ghost-like creature, usually handsome, and only visible to young women, attacks at night, usually newly-wed ladies and does “indecent” things with them). The influence of this legend in Ellen and Orlok story is evident.

Ellen tries to summon a spiritual companion in her teenage years, most likely when she reached puberty and her sexuality was starting to awake. A demon who’s a personification of appetite, devourance, sex and death is the one who answers her calling. They end up in a sexual spiritual connection, as Ellen experiences her sexual awakening with him, as shown in the prologue and later confirmed how Orlok took her as his lover. She also reveals to Thomas it was “sweet” and she “had never known such bliss” at first, until it turned into torture (seizures and nightmares), when her father found her laying unclothed and called her a sinner and it’s implied she might have been institutionalized, as she tells Von Franz. This episode might be a metaphor for masturbation and the historical shame associated with it. Hence her connection with Orlok being her “melancholy” (depression) and her “shame”, symbolic for the sexual urges 19th century society forced women to repress.

Count Orlok is the archetypal Death; which culminates with the “Death and the Maiden” motif at the end. This was a very popular Art History archetype around the so-called “Plague years” (14th to 16th century) in Europe, and it’s often connected with other motifs like “Danse Macabre” and “Memento Mori”. It has several meanings depending on the author intent, usually a reminder of our mortality, but also a meditation on sex and death, as in the French “la petite mort” (“little death”), the post-orgasm sensation, sexual release potentially causing temporary loss of consciousness (fainting) or dizziness. In the Medieval Ages, physicians believed orgasms could lead to death because they drained the “life force” from the body. This was when the term “petite mort” was created, and this belief persisted into the Renaissance and beyond. In “Nosferatu” this probably translates in the sexual pleasure that Orlok imprints on his victims as he drains their life force.

Ellen’s “hysterical seizures” miraculously stop once she meets and marries Thomas Hutter, our tragic romantic hero. This can also be a nod to Gothic Bildungsroman (“coming of age”) genre; where the female protagonists grow from adolescence to adulthood in the face of the impossibility of the supernatural, and come to the conclusion there’s a rational explanation. In Ellen’s case, it’s medical, as she’s diagnosed as a melancholic somnambulist hysteric (in another words, a depressive hyper-sexual sleepwalker).

At the beginning of the story, Ellen and Thomas are newly-weds fresh out of their honeymoon, which means sex (historically necessary to consummate marriages). With Thomas, Ellen is “free of her shame”, as she says so herself. Because, her sexuality is safely contained within marriage, as it’s socially acceptable. But Thomas dismisses her concerns about his well-being, and doesn’t believe her until he experiences the supernatural first-hand, having an homoerotic encounter with Orlok himself, which also causes him great shame. This is probably a Easter egg for Bram Stoker possible closet homosexuality and “Dracula” being a metaphor for that.

Thomas’ main concern, throughout the story, is to fit into the patriarchal ideal of his genre, as a provider for his wife, and he aspires to be like his long-time friend, Friedrich Harding, the “perfect patriarch” with the perfect religious and dutiful wife, Anna, and their precious children. The Hardings are the perfect Victorian family; they are everything society expects them to be. Friedrich even chastises Ellen for her nature, and it’s clear he resents her for what she represents: “otherness” and “deviance” to societal norms.

However, soon enough, Ellen’s seizures return, symbolizing Thomas cannot sexually satisfy her. She’s “too ardent” as Harding calls her. “More! More!” She begs Thomas when they have sex to scorn Orlok. Not only her sexuality is too strong, but Thomas also shares with Friedrich his desire to wait to have children with Ellen because he wants to gain financial stability first. This in a time period when contraceptives weren’t widely spread, meaning abstinence.

Symbolically, Ellen’s seizures can also be connected with her fear of childbirth. Her “epilepsies” return while she’s staying in the Harding household, where they are children and Anna is pregnant. Children is what is expected of Ellen next, after all. But it’s sexual pleasure that Ellen seeks, and this causes her great shame and torment, because 19th century women weren’t suppose to known “such things”. “Sin! Sin! Sin!” as Ellen’s father screamed at her when he found her naked.

Fear of entrapment represented as Ellen tries to rip off her corset and “free herself”: this happens during one of her Orlok induced seizures.

As Robert Eggers tells us, Orlok both disgusts and attracts Ellen, she loves and hates him at the same time. He’s repulsive, rotten, animalistic and lustful, both literally and metaphorically. His character design is meant to invoke contradictory feelings in the audience: overall he’s foul and monstrous, but he appears almost handsome in some shots. This is intentional. Not only he’s a personification of Death, but of Ellen’s repressed sexuality by 19th century society. He represents the monstrous and dangerous female sexuality the Victorian era sought to contain. He’s the transgression and taboo theme in this Gothic story, as well: necrophilia. Which is probably Eggers “gotcha” moment to “vampire lovers” everywhere, as he forces his audience to confront their own bias.

Ellen herself is a medicalized character, as we see her being institutionalized, drugged, bound to her bed, forced to wear a corset to bed, and used as a scientific experiment by physicians. She’s not in control of her own body, and has little agency over it, overall. We see her being contained, literally and metaphorically, too. This is probably meant to symbolize women as a whole in 19th century Western European societies. The “disability of being female” is one major theme in Gothic female novels, after all.

And if Ellen unleashed Orlok unto the world and he’s connected with her what does this mean for this story? The obvious interpretation of the ending it’s Ellen sacrificing herself to save Wisburg from Nosferatu’s curse, like every other adaptation. But this appears to be somewhat disconnected from the overall themes of this particular retelling. Here, it’s Ellen who unleashed the curse, and only her can put an end to it.

We see Ellen summoning Orlok in two occasions: at the beginning and at the end of this tale. At first, she did it unconsciously, she dabbled with the occult and wasn’t aware of what she was inviting into her life. However, does this indicate Ellen has some degree of control over him? Orlok himself says she’s “his affliction”, and they are bound to one another. She’s not only a seer, she’s compared with a priestess of a Goddess associated with funeral rites and with the ability of resurrection and looking after the Dead (Isis). We can almost interpret her as a necromancer.

Here, we can have a different interpretation of Orlok unleashing a plague upon the society who ostracizes Ellen for her nature. Symbolically, he’s her reckoning, her vengeance upon society norms and expectations of gender. He’s the “plague carrier” and brings a “blood plague” transmitted by rats (symbolic of the Black Plague; the medieval ages terrorizing the modern world of science and rationality) upon Wisburg, and the “good Christians” who contain and shame “Pagan” Ellen.

Orlok’s most notorious victims are the Hardings, the perfect patriarchal Christian family model Ellen can never fit into; the patriarch Friedrich, the pregnant Anna and the two children. This also fits the Gothic female genre of the supernatural menace as a metaphor for women’s status in 19th century society. Ellen doesn’t want to be married to a patriarch like Friedrich, she doesn’t express any desire to become pregnant nor have children of her own. Consequently, we see Orlok killing all of these archetypes in the narrative.

Interestingly enough he spares Thomas and saves him for last when he should be his first victim once he arrives at Wisburg, because he’s the husband. However, Thomas is a character Ellen loves and cherishes, as he somewhat accepts her nature and represents her chance at a “normal life”. He’s also determined to save her from Death/Orlok, but is unable to. Symbolically, Ellen chooses death over conforming to gender norms and expectations.

However, we can’t forget Ellen’s supernatural nature, nor her connection with Orlok. She weds Death at the end, she’s no longer terrified of him, and she fulfills their covenant, and her dream premonition of marrying Death: “standing before me, all in black… was… Death. But I was so happy, so very happy. We exchanged vows, we embraced, and when we turned round, everyone was dead. Father… and… everyone. The stench of their bodies was horrible. And - But I never been so happy as that moment… as I held hands with Death.”

A “covenant” is a pact, both a religious and a occultist practice. This is a “blood covenant”, as their flesh becomes one and he drinks from her. “Blood is the life” is a quotation from the Bible, where “blood covenants” are also mentioned, because a “blood covenant” has the power to either destroy or redeem. For instance, Christ’s sacrifice redeemed humanity according to Christians. “Redemption” as Von Franz says, because only Ellen, like Christ, can redeem the habitants of Wisburg. He uses the expression “with Jove’s holy light” before dawn redemption will come to them: “Jove” is Jupiter, the “King of the skies”, and its energy neutralizes Saturn’s, connected with “melancholy” (depression).

However, that’s not what’s happening here, because Orlok is a servant of the Devil, and a literally un-dead “warlock”. So, what is Ellen pledging herself to here, exactly? Her covenant with Orlok has nothing to do with God or Jupiter, for these are forces of good, when Orlok is a force of evil and darkness.

Ellen also fulfills her role as “priestess of Isis” at the end, as she guides the un-dead Orlok to his physical death; like Isis, she resurrected him, and is now taking him into the Underworld with her. Because, like Orlok also told her, she’s “not for the living”, that’s her fate, the destiny she accepts at the end; she’s meant for Death, as Isis for Osiris.

“Our covenant is fulfilled. Your oath re-pledged.” Orlok tells her. But what was Ellen’s oath? We have to look into the prologue scene “You shall be one with me ever-eternally. Do you swear it?” And in the ending “As our spirits are one, so shall be our flesh. You are mine.” They fulfill their pact both in the physical and the spiritual worlds, and both make the ultimate blood sacrifice, by physically dying for “self-renunciation” is essential for blood covenants.

And a deity is always summoned to bless such a pact… but who was blessing this one? Ellen and Orlok indeed, died in the physical world, but are joined in the spiritual world forever, as decreed by their covenant, so where did their spirits go?

They are also surrounded by lilacs, their signature flower throughout the narrative, which symbolizes first love, yes, but also renewal and rebirth. Orlok conquered Death and immortality once before, because the Devil kept his soul. Now that Ellen is joined with him in spirit, what does this mean for her, and for them both?

[literaryvein-reblogs]

Writing Notes: Horror

Horror is a genre within creative writing that relies on one thing: instilling a sense of fear in the reader.

The horror genre is multifaceted—there is a kind of horror for every kind of person.

For some, the most effective scare is the idea of being trapped in a haunted house. For others, it’s being chased by a serial killer on Halloween.

Some of the best horror comes from scary things that can manipulate an audience’s feelings, creating a sensation of uneasiness and fear that stretches beyond consciousness and permeates deep within the psyche.

Horror writing is sometimes categorized within the broader category of thrillers, but not all horror follows the thriller structure.

Classic horror fiction—whether expressed as a novel, novella, short story, or film—will tap into topics that reliably frighten most humans.

Common topics include ghosts, werewolves, vampires, zombies, serial killers, murderers, and the fear of the unknown.

These horror tropes can often devolve into clichés.

A downside of horror’s popularity is that many horror books and movies recycle old content in non-creative ways, but when properly executed, horror stories can thrill audiences and even provide commentary on the human condition.

Horror Subgenres

1. Apocalyptic - In this subgenre, the world is ending or society is collapsing. When this happens, it’s usually because of some creature, demon, or religious event (while climate-oriented apocalypses are more sci-fi).

2. Body Horror - Involves the mutilation, experimentation, or violation of the human body. It can focus on disease, dismemberment, infestation, sexual acts, or a complete transformation of the physical form.

3. Comedy - Horror and comedy seem so at odds with each other, but they work so well together (kind of like spice and chocolate). A trademark of comedy horror is how the protagonist somewhat stumbles through the story, arriving at the end through luck and ridiculous happenstance rather than skill or growth.

4. Cosmic/Lovecraftian - With its origins largely attributed to H.P. Lovecraft, cosmic horror makes us feel small against a threat that is ancient, massive, and incomprehensible. Cosmic horror looks at intergalactic entities, ancient gods, the machinations of the universe, and how helpless we are against it all.

5. Dark Fantasy - Another crossover, this time with the fantasy genre. In dark fantasy, you have elements of magic, fictional creatures or worlds, and everything else that makes fantasy great, plus you add in a good dose of scares. This can also involve other subgenres, like body horror.

6. Dark Romance - Another crossover genre, dark romance takes the feel-good romance genre and makes it horrific. While this subgenre can simply include morally questionable characters and a grittier tone than most romance, it can also include kidnapping, forced confinement, BDSM, psychological and physical abuse, and sexual violence or sex where there is no consent. Bear in mind that it still needs to include the tenants of romance stories, though.

7. Extreme Gore - Not for the faint of heart, this subgenre includes books that have detailed torture scenes or otherwise disturbing and depraved acts. This genre is all about shocking your audience with how awful your characters act or are treated.

8. Folk Horror - Embraces urban legends and folktales. These range from old pagan gods in the woods to weird rituals performed by isolated groups or villages. Sometimes there is a supernatural element to them, even if the “supernatural” is simply perceived or believed by some characters (e.g., Midsommar).

9. Found Footage/Documentaries - Though this subgenre is more common in films than books, found footage and documentary horror stories are about a crew of people recording their experiences, usually unaware of the true danger they are about to face.

10. Gothic - The great-grandparent of modern horror, gothic horror is the brooding, atmospheric genre containing what most of us would consider classics (e.g., Dracula and Frankenstein). Sometimes you throw in a dash of romance, but these tales tackle topics like death and mortality.

11. Post-Apocalyptic - After some world-ending disaster, how horrifying have things become? Post-apocalyptic horror shows us a world without rules or structure. It can contain unrealistic elements (zombies, demons, etc.) or realistic possibilities (cannibals, gangs, and so on).

12. Psychological - Places the spotlight on trauma, mental health, manipulation, phobias, and everything else that causes you to become stressed and anxious. Home invasion stories (i.e., The Strangers) fall under this subgenre.

13. Slasher - Involves violent horror that is more about a single killer stalking and eventually killing a group of people (traditionally targeting teens and using a blade). This subgenre isn’t necessarily as violent or gory as others, but uses suspense to make the reader hold their breath.

14. Splatterpunk - Is known for its disregard of limits when it comes to violence—both physical and sexual. Gore and depravity are grossly abundant.

15. Supernatural/Paranormal - Some folks separate these two subgenres into different categories, but there is so much overlap that they’re basically the same. If you have to, think of supernatural horror as stories that involve werewolves, witches, vampires, and other monsters. Paranormal horror, on the other hand, involves ghosts, demons, and haunted houses.

Tips for Writing Horror

1. Read more horror. There’s no better way to understand what a good story looks like than to read one for yourself. Read as much as you can so you are aware of what other horror writers are doing.

2. Focus on your own fears. Much like comedy, horror benefits from authenticity. So get personal: If you can scare yourself, you can probably scare an audience.

3. Create three-dimensional characters. Write characters whose character flaws feed the action of the story. All good literature and film contains well-wrought characters with desires, emotions, and a backstory. The more human you make the characters of your story or screenplay, the more their missteps and bad choices will resonate with an audience.

4. Recognize that the real can be scarier than the surreal. Sure, you can make up an army of googly-eyed bad guys or plant a severed head in your main character’s bed, but will you really scare your reader? Not necessarily. In most cases, psychological horror sticks with audiences far longer than a jump scare or gross-out moment in a slasher film. Toying with people’s real-life fears tends to scare them much more than just grossing them out.

5. Use the environment. Scary movies and television shows can use jump-scares as an easy way to frighten an audience, but writing scary literature requires its own method of manifesting fear. Setup your environment in a vivid way to fully immerse your readers into your setting. Vividly describing an enclosed space can elicit feelings of claustrophobia. A dark and quiet house becomes more frightening when a character suddenly hears the creak of an upstairs floorboard. Being an outsider in an unfamiliar place, like a small town with no cell phone service and where everyone knows each other, is already unsettling—and if you add a malicious paranormal force to such a setting, you can enhance the feeling of isolation and ramp up the anxiety of the scenario.

6. Write longer sentences. You can heighten your readers’ fear by writing paragraphs with longer sentences. Periods provide natural pauses for readers to take a breath, but if you stretch out your sentences, you build anticipation for the reader—which they might not even realize until they reach the end of the sentence. By using tactics like this, you immerse the reader into your horror story, making them feel what the main character feels and creating a heart-pounding connection.

7. Make your readers breathe faster. Whereas long sentences can amplify the intensity of a story, short one-sentence paragraphs can force your readers to take more frequent breaths while following your narrative. Crafting abrupt lines builds tension in your scary story writing, making the readers’ eyes move more quickly down the page searching for the relief that the protagonist is safe. This can make your audience breathe faster, contributing to the feeling of panic and anxiety.

8. Leverage fear of the unknown. Fear of the unknown is a common theme that can be tracked throughout many of the best stories in horror fiction and horror movies. When there is something that negatively affects us that we cannot control or properly identify, it creates a feeling of panic and dread. Teasing your readers with something not quite definable or a bad guy no one knows how to stop can increase the level of tension and fear when writing horror stories.

9. Lean into dark imagery and your readers’ collective imagination. Consider what images might be frightening to a reader (and yourself). How much of a description of a clown do you need in order to make a reader feel uneasy? How large and grotesque does a rat need to be? Leaving some of these images more general than specific will allow a reader to fill in the blanks with what is most horrifying to them. Example: If you read the word beast, what do you see in your imagination? Most words carry connotations and personal connections. Allow your words to work for you to create the maximum scare.

10. Want tension? Sprinkle in some foreshadowing. Foreshadowing is a powerful tool in your writing arsenal, but it is particularly effective in horror, especially when writing in third person. Foreshadowing is when an author alludes to a future event by showing us something now. The key to foreshadowing is to use it sparingly. We want to up the tension and the fear our readers are experiencing while they yell at the oblivious protagonist not to open the door. We don’t want the reader to know every single thing that’s going to happen. 

11. Focus on the moment where things shift. You should consider a pivotal scene in your story idea and try to build around that scene or that moment where the plot actually “shifts.” Sometimes that could be reflected in a realization by the protagonist. Other times it can be represented in some type of ironic twist at the end. By looking at that singular element of your story idea, you cut away the fat so that the reader is left only with the most resonant part of the story.

12. Establish the mundane. Mundane is just a fancy way of saying normal, but the message still rings true. Most story structures tell you to start by establishing the Ordinary World: what our protagonist’s normal life is like. This is important for showing us how important the larger conflict is, because it threatens the protagonist’s normal. In horror, establishing the mundane is arguably more important. In a story where connecting with the character and empathizing with them over the godawful stuff you, the author, put them through, the reader needs to understand just how bad life has gotten. Then you can take both your characters and your reader from a place of comfort and familiarity and plunge them into whatever shadowy hell you’ve concocted.

13. Choosing your POV. By choosing to write your story from a first-person perspective, you are putting the reader exactly where your character is. There are 2 types of third-person POV—limited and omniscient. It is advisable to stay away from omniscient. Part of writing a good horror story is withholding information from the reader, which third-person omniscient doesn’t really allow for. Considering the pros and cons of the different points of view, choose the right one for your story.

14. Avoid clichés. Clichés are boring and predictable, and a horror scene that is predictable is likely to not be scary. A good horror story can still use familiar horror tropes, but a great horror story makes them its own. Look beyond the obvious when trying to write a scary scene—what is something readers wouldn’t expect? How can you surprise them with fear? Use enough of the existing tropes to be identifiable as horror, but make sure you insert your own originality into the mix. One of the reasons people gravitate to genres in general is because they have certain expectations for what should happen in the story. Look for ways to flip archetypes on their heads.

15. Practice. If you’re struggling to get a handle on writing a good story that’s scary, practice with story prompts (see some sample prompts below). Writing prompts can expand your range of thinking and open up new avenues of imagination that you hadn’t thought of before.

Horror Writing Prompts

A scary doll comes to life.

A scene from a nightmare comes true the next day.

Days go by, and your parents don’t come home.

You feel yourself slowly becoming a monster.

Your friends start to disappear, and no one else notices.

You’re lost in the woods, and you don’t know how you got there.

You’re inhabited by a ghost that controls you and makes you do crazy things.

You have no reflection in the mirror.

The teacher is a monster, but no one will believe you.

You hypnotize your brother, and you can’t snap him out of it.

A fortune teller reveals that you are evil.

Someone follows you home, and it’s your exact double.

You find a diary that tells the future.

Every time you wake up, you’re a different person.

Your parents explain that you are actually an alien from another planet.

You know someone is watching you day and night from the house across the street.

You realize you are shrinking.

While reading a scary book, you realize that you’re a character in it.

Someone is living in your mirror.

Everyone knows the new neighbors are vampires, and the kids invite you over for a sleepover.

All the cats in a small town vanish in the middle of the night….and all that remains is a set of big, scary teeth smashed into a car door.

A group of friends takes on the zombie apocalypse.

Strange things start happening after the grandfather clock starts to speak.

You finally meet your child’s imaginary friend. Who turns out to be a serial killer.

When a local police officer goes to investigate the haunted house down the street, he finds a young girl who died decades ago.

Sources: 1 2 3 4 5 6 ⚜ Writing Notes & References

[myersgirlxxx]

Shadows of the occult 01. Whispers of the other side

Wednesday x fem reader

summary: In the shadowy halls of Nevermore Academy, you navigate the delicate balance between reality and the Other Side. As an occultist with a powerful yet unstable connection to the elements, you learn that the Other Side does not come easily. it demands secrets and sacrifices. Caught in the gaze of the enigmatic Wednesday Addams, you must confront the darkness within before it consumes you.

Warnings: Dark themes, mental health, supernatural elements, intense relationships and mature content.

part 2

part 3

01.

The night at Nevermore was always quiet, but tonight the silence felt heavier. You sat in your usual corner of the library, the one where the lights barely reached, leaving the shadows to twist and breathe. The pages of the book before you were worn, the ancient symbols flickering in the candlelight, but you weren’t reading. Your mind was elsewhere—always elsewhere, on the edge of something far darker than the school’s gothic halls.

You had learned early on to embrace solitude. The other students at Nevermore didn’t know who you truly were, and that was how you preferred it. Your life was more intertwined with the Other Side than the real world, and you had grown used to the weight of that secret pressing against your skin, even if it made you feel less human, less here.

The faintest creak of the floor broke the silence, pulling you back to the present. You didn’t need to look up to know who it was. Wednesday Addams had a way of moving that felt both calculated and inevitable, as if she were a shadow herself, always lingering just out of reach until she decided to strike.

• “You’re always here,” she said, her voice cutting through the quiet like a knife.

You didn’t respond right away, turning the page of your book instead. But you could feel her eyes on you, sharp and unblinking. Wednesday had been watching you for weeks now, though you couldn’t say why. Maybe she sensed that you weren’t like the others. That something about you wasn’t…right.

• “And you’re always watching,” you replied finally, glancing up to meet her gaze.

Wednesday didn’t flinch. Her expression was unreadable, but there was something in her eyes—an intensity, a curiosity that made her more dangerous than most. She stepped closer, her hands clasped behind her back, her black braids hanging like dark threads down her shoulders.

• “You don’t belong here,” she said matter-of-factly, as if it were the most obvious thing in the world. “Not entirely.”

You raised an eyebrow, but didn’t deny it. It was too soon for that, and you weren’t ready to let her in, not yet.

• “Neither do you,” you replied, your voice low but steady.

Her lips twitched—barely—but it was the closest thing to a smile you had seen from her. She tilted her head slightly, watching you with the same unsettling calm she always carried, like she was waiting for you to crack.

• “You’re different,” she said. “And I want to know why.”

You felt a chill creep down your spine, not from her words, but from the way she said them. It was as if she already knew the answer, or at least pieces of it, and she was simply waiting for you to confirm it.

• “Curiosity can be dangerous, Wednesday,” you said softly, closing the book in front of you. “Especially here.”

She stepped even closer, until the shadows between you seemed to pull tighter, and her gaze bore into yours, unblinking.

• “Danger doesn’t bother me,” she replied, her voice colder now. “But secrets do.”

For a long moment, the two of you just stared at each other, the tension thick in the air. You could feel the familiar pull of the Other Side just beneath your skin, its dark energy thrumming in the back of your mind, but you forced it down. She couldn’t know—not yet.

• “Some things are better left undiscovered,” you said, standing and gathering your things, trying to keep your voice calm, controlled.

Without waiting for her response, you brushed past her, feeling the weight of her gaze follow you as you slipped into the shadows of the library. The air felt charged, alive with the echoes of your unspoken secrets, and you could sense the pull of the Other Side thrumming just beneath your skin.

As you reached the exit, a chill swept through the corridor, sending a shiver down your spine. You paused, glancing back over your shoulder. Wednesday stood unmoving, her dark silhouette framed by the flickering candlelight, her expression a mask of calm determination.

“You can run, but you can’t hide,” she called out, her voice low but steady, a haunting promise that sent a thrill of apprehension through you.

You turned away, your heart racing, the weight of her words echoing in your mind. You knew she wouldn’t give up easily; curiosity was one of her defining traits, and it was only a matter of time before she unraveled the truth.

As you stepped into the cool night air, the darkness of the outside world enveloped you. The stars twinkled overhead, but all you could feel was the thrum of the Other Side, the whispers of the elements brushing against your consciousness. They were restless, longing for release, and the tension within you grew as you fought to keep them at bay.

You walked briskly, the shadows flickering at your heels, each step pulling you deeper into the enigma of your own existence. What had started as a simple encounter with Wednesday had turned into something much more complex—a dangerous game of secrets and truths that would soon threaten to unravel everything you had fought to keep hidden.

“This isn’t over, not by a long shot,” you muttered to yourself, determination hardening your resolve. You had to be ready for whatever Wednesday would uncover next. The balance between your two worlds was delicate, and any misstep could send you spiraling into the chaos of the Other Side.

As you moved further away from the academy, the night closed around you, and the whispers grew louder, calling you back. It was a siren song that promised power and knowledge but came with a cost. You would have to confront your own shadows before facing Wednesday again, and you weren’t sure you were ready for that.

But one thing was certain: she was a puzzle you couldn’t ignore, and the threads of your fate were beginning to intertwine in ways you hadn’t anticipated. This was just the beginning.

[concreteangel92]

The Angel Of The Night

AU Noah Sebastian x female reader

18+

Warnings: smut, PiV, oral (female receiving) praise kink, slight obsessive/stalker elements (this is based off of the ghost of the opera house himself 🤣) talks of the death of loved ones, dark romance, I’m pretty sure that’s it

So this has been in the works since August when I watched the phantom of the opera in Greece on my first night there haha I’ve always loved this show (west end and film!) and I even have a tattoo dedicated to it so it was a no brainer to me that Noah would fit perfectly into this aesthetic!

The mask (especially the new one!!) the glove, his voice all mixed with an old theatre and gothic aesthetic and atmosphere? Hell fucking yes!!

Remember that this is an inspired fic so you’ll see familiar names, themes, etc but it’s not the actual whole story! But if you’re a fan of the soundtrack, you may recognise a few lyrics here and there 🤭

I hope you all enjoy it, it’s a long one so grab yourself a cuppa and I’ll see you on the next fic. Also please let me know your thoughts!! I’d love to know what you all think as this is definitely the longest I’ve ever spent writing one story haha let me know, you can always message me anonymously if you’re shy 🖤

Tags: @triedbimsoblu333 @I00na24 @iluvmewwwww75 @veronicaphoenix @tosoundlessdarkistare @specialstay @dsireland86 @philomenie @clingylittlebun-blog @collisionofyourkissmakesitsohard @lilcrazy011

Masterlist

You’d been with your theatre company since you were a child, having lost your parents at a young age, the opera house is all you have ever really known.

You loved it here, the old theatre was your home. You knew every wing like the back of your hand, every creaky floorboard backstage, how the orchestra pit echoed when no one was in it, you knew the creepiest parts that no one like to venture into. You loved it all, it was your sanctuary.

There was something about the theatre that made you feel at peace, standing up on the stage in front of a huge audience, hearing their cheers and cries that made your heart swell. The heat of the spotlights, the magic you felt as you danced to beat of the live music, everything about it made you feel so alive.

The year was 1870 in Paris and you were currently playing the leading role in the current opera ‘Hannibal’

It was your debut as the leading lady and to say you were nervous was an understatement.

You walked quietly around the empty stalls of the theatre, taking in its musky smell, the beautiful architecture of the building and the huge crystal chandelier that hung high above your head. You ran your fingers across the old red velvet on the chair in front of you and sat yourself down in one of the seats near the pit.

The stage was empty but you could hear the hustle and bustle backstage of the cast and crew getting everything ready for opening night tonight, although there was still hours to go, there was still much more that needed to be set up.

You fiddled with your fingers nervously in your lap, taking a deep breath, you couldn’t help but speak aloud softly.

“Please….please let tonight go well”

You kept your eyes closed as you leant back in the chair, allowing a moment for yourself to process the evening that you knew lay ahead. You were certain you had been alone….until you heard his voice.

From high up above your head, in the gods, you heard his beautiful, ethereal voice humming down to you.

With a small gasp, you opened your eyes and looked up into darkness, and there amongst the ropes and pulleys of the backdrops and lights, you saw his silhouette and instantly a small smile appeared on your lips.

“There you are”

Your words were barely a whisper, your angel of music was right there with you. You should have known he wouldn’t be far away.

“Y/N what are you doing down there? You need to get ready for tonight!”

You tore your eyes away from your mysterious friend and saw your teacher/guardian Madame Giry standing in the wings on stage left.

“Yes Madame”

You casted up eyes up once more to the heavens to see that he was gone, like a ghost who was never there in the first place.

•••••

He was nicknamed the ‘Opera Ghost’

No one in the theatre ever questioned that box 5 was always left empty so no customer could use it, people ignored the eerie echoes of his angelic singing that seemed to come from no where all around the old building. No one had ever seen him fully, only catching glimpses of his shadow in the night.

No one, but you.

You were the only person to have had any interaction with the ghost. He had started visiting you when you were a child, you were 8 years old when your parents had met their tragic end and you were fated to the theatre. It wasn’t long after that you started to hear his voice in the night.

It started off with just singing, he comforted you when you were crying yourself to sleep, not having come to terms with the loss of your parents and the change that was about to happen within your life. You had felt so alone, you hardly knew anyone within the company, the only reason you came to be here was because Madame Giry was a close friend to your mother and she had agreed to take you in when they died.

But in those long, lonely first nights and weeks, his beautiful voice helped you drift off to sleep.

As the years went on, the beautiful voice became deeper and he started to talk to you quietly from within the walls, the mirror, you never knew exactly where he was but you always knew he was there.

In recent years, he had been singing your songs with you, helping you train your soprano skills, a patient teacher and a loyal companion is what you knew him to be.

Although you knew people had dubbed him the ‘opera ghost’ you felt that wasn’t a suitable title for this angelic creature so you called him your very own ‘angel of the night’ which was a nickname you often heard him whispering back to you.

Your angel wasn’t just a teacher to you anymore, he had become a friend. You told him all your hopes, dreams and your darkest fears. You’d talk to him until you heard the faint sound of the birds chirping and saw the first rays of the morning sun rising over the horizon through your window.

He would still sing you to sleep on the nights you struggled, when the past traumas returned in the forms of nightmares, he was always there to help take your fears away.

His voice was like nothing you had ever heard before. He sounded almost like a siren calling out to his awaiting victims and just like one, you felt the pull within your soul every time he called.

Tonight was the opening night, your big debut, but that wasn’t the only reason for your nerves. You knew he’d be there, watching from box 5, hidden within the shadows, but always there.

“Will he be impressed? Will I be everything he hoped for?”

These thoughts plagued your mind as you walked down the corridor, your heels clicking with every step, until you reached your dressing room/living quarters.

You wrapped your hand around the old doorknob and turned it so your door swung open with a creak.

In front of you was your dressing room, your bedroom was through the door at the back of the room, the walls were a beautiful shade of red, almost matching the seats in the theatre stalls out front. There were beautiful paintings in gold frames on the walls of your favourite artwork, a huge mirror that took up one wall, a rail of costumes and props lined another, you had your changing screen next to that and then you also had your beautiful make up vanity, surrounded by candles and all your make up and jewellery that was laid out for you on the counter.

But what caught your attention was the most beautiful bouquet of flowers, roses of the darkest red lay across your chair with a hand written piece of paper on top.

You walked over and picked up your present, inhaling their beautiful scent while you read the note.

‘To my beautiful angel’

You couldn’t stop the smile that spread across your face, you knew it was him, he had left you a good luck token in preparation for tonight.

You felt your nerve’s ease, you knew you could do this, as you knew your angel would be watching over you.

•••••

The sounds of a standing ovation, loud cheers and clapping filled your ears as you took your final bow, flowers of all kinds being thrown onto the stage around your feet.

The show had gone without a hitch, your solo performance had been an absolute triumph that brought the audience to their feet. Throughout the production you had tried glancing up at box 5, hoping to see a glimpse of him but of course, nothing. Just the sight of the curtains moving gently when it was take to take the bows, almost like they had been caught in the non existent breeze.

Your vision was blocked completely as the main house curtain fell to the stage, muffling out the sounds of the audience still cheering from the other side.

You felt yourself being embraced by your fellow cast and crew members, all congratulating you on your performance.

“That what incredible!”

“Bravo!”

“Y/N you were sensational!”

You felt your cheeks go warm at all the compliments, the adrenaline still fully pumping through your body as you tried to catch your breath.

You thanked everyone and helped pick up the flowers littered across the stage to take back to your dressing room.

“He was there, I know he was! I wonder if he liked it?”

You felt butterflies start in your stomach at the thought, you would never want to disappoint him, you craved to know how he felt. You couldn’t wait to get back to your room.

You once again gave everyone your thanks and made your leave, half jogging down the corridors behind the theatre.

Once you entered your room, you put down all your flowers, taking note of even more bouquets that had been sent here from different admirers that were now spread around and all the lanterns and candles were burning beautifully, giving the room a beautiful golden glow.

You walked behind your changing screen and started to remove your heavy dress, a costume you were relieved to be out of, finally feeling like you could breathe normally once the corset was gone. You settled for a simple white lace dress that fell to floor. You removed all the pins from your hair and allowed it to cascade down your back. You were about to remove the make up on your face when you heard a knock at your door.

You called out for them to enter and you looked up into your mirror and saw Madame Giry standing there with another body behind her.

“Sorry to disturb you Y/N but there is someone who would like to meet you?”

You turned around and glanced behind and saw a handsome young man standing almost nervously on the spot with his top hat in his hands. He had short dark hair, was an average height and was wearing a formal dinner suit fit for the theatre.

You nodded and Madame Giry stepped aside so he could walk forward.

“Miss Y/L/N, it’s a pleasure to meet you”

You smiled politely, stood and offered your hand for him to grasp in his own as he bowed his head gently.

“My name is Henry Edwards. Do excuse my intuition miss, I was just so captivated by your performance that I wanted to give my congratulations in person. I’ve actually seen many performances here at this theatre but tonight was by far the best I have ever seen”

You smiled wider at his words, his face definitely looking more familiar now that he’s mentioned he’d been here before. You’d often seen him admiring your dancing in previous productions.

“Thank you Mr Edwards, you are too kind”

“If I was to be so bold Miss Y/N, I would love to be able to discuss your performance further, perhaps over tea or a stroll around the park?”

You were taken back by his proposal, not used to men being so forward with you or even desiring you at all really.

“Oh erm…yes, I…I think that would be a lovely idea”

You panicked, you knew you weren’t particularly interested in the man in front of you but what harm was there to be courted for an afternoon.

Henry looked very pleased as he fumbled over a thank you, his next words were lost on you as you suddenly felt a presence within the room, the presence of someone who wasn’t happy at all.

You turned your head to the big mirror behind you and watched as a few of the near by candles flickered angrily before going out completely, leaving nothing but whips of smoke behind.

“Mine”

The word was whispered so low and dragged out that it almost sounded like the wind, but you knew better, the realisation sending chills down your spine.

You turned back and caught Madame Giry’s gaze, it was as shocked as your own, she knew.

“Well Mr Edwards, I’m sorry but that will be all for tonight, Miss Y/L/N is extremely tired and needs to rest her voice. Come back in a couple days to arrange this meeting?”

Madame had already started pulling gently on his arm and gesturing for him to leave, he looked baffled at first but soon composed himself.

“Oh erm…yes, yes, of course. Goodnight Miss Y/L/N and I’ll pop by in a few days?”

You nodded with a forced smile as you watched as he slipped his top hat back upon his head and walked out of the room, Madame Giry giving you one last look before shutting the door behind her, the sound echoing through the empty room.

But you knew you were far from alone.

You turned around to face the mirror, staring at your own reflection, the sound of his quiet humming started once more and you felt pulled towards the mirror.

Almost like you were in a trance, you stepped forward, your eyes glued to your own reflection until you noticed another pair of eyes staring back at you from over your shoulder.

You should have been afraid, you should have called out for help, but you didn’t.

Dark almond eyes gazed back into your own, his face becoming more clearer the closer you got. But it wasn’t his whole face you saw. It was covered by half of a white mask, almost like he was trying to hide his true identity.

You stood frozen in place as your angel came fully into view, it was like he’d appeared from the mirror itself, like he truly was a mystical creature from another world.

His song was hypnotising, the melody causing your head to feel so light and airy, like you were floating on a cloud.

You looked up in your dream like state to see him standing in front of you.

You reached your hand out without a thought and was met with a hard, firm chest, your angel was truly here.

Taking in his appearance, he was even more beautiful than you ever could have imagined. He was tall, extremely tall and towered over your small frame and was just as broad in his chest and back. You could see he had shiny, brown hair that was falling down to his neck, it looked so soft that you felt the urge to run your fingers through it.

Your angel was wearing a black suit with a long black cloak over the top and of course the half mask, you had never wanted to remove something so much in your life, his face was absolutely perfect, why would he hide? His eyes appeared darker now he was in front of you, he had the most intense stare that you’d ever seen, it was like he could see into your very soul and read your every thought.

The last thing you took note of was his tattoos that were peaking out over his collar and on his right hand, his other being covered with a black leather glove. It was unusual to see a man around these parts that had tattoos, you’d never seen any before.

He moved around your body slowly, his hands running up through the air next to your arms, not touching but still your skin felt like it had been set alight. As his hands came up near your face, he gestured for you to look ahead.

“Look at your face in the mirror, I am there inside. I am your angel of music”

You inhaled deeply as you took in the sight of him standing directly behind you, his whole presence was consuming you.

His face suddenly looked angry as he whispered his next words.

“Insolent boy. Does your young suitor really think that he can take what’s mine?”

You turned to face him, the thought of your angel being angry with you was too much to bare.

“Angel my soul is weak, forgive me! Yours is the only one that calls me”

He stood staring down into your eyes, like he was trying to find a lie but he would find none. You knew your heart belonged to him, it always had.

“Hide no longer from me”

Your words were hardly audible but you knew he’d heard. No words were given in return, all you could hear the was sounds of his beautiful song again as it’s filled your mind. He walked back around your body and backed himself up towards the mirror, that was when he held out his hand to you, you took it without hesitation.

Your head light as a feather, you followed him willingly, you hardly paid attention to where you were going or how you got there, all that mattered was that you were with him. His siren song never once stopping as you made your way down the dimly lit corridors heading down to the catacombs beneath the city.

The walls were lined with candles, all lit up, the air was damp and cold against your skin.

You couldn’t take your eyes off of him. Your beautiful angel in front of you, he could have been leading you to the pits of hell and you wouldn’t have cared. He kept looking back at you every so often, as if to make sure you hadn’t vanished.

Coming up to the waters edge, you noticed a small boat ready, he stepped into it first and one again extended his hand out, you took it and stepped into the boat after him.

The foggy feeling never left, you felt so free, so light, like nothing could touch you ever again. It was almost like you’d become a spirit of another realm, not of this earth but not quite moved onto the next.

You continued to listen to his voice, just as he always had done, he soothed away any of your fears. You took note of all the burning candles, the way the water lapped up the sides and casted a beautiful rippling reflection up on the walls.

As you rowed further into the catacombs, you saw your destination. This could only be his home.

It was breathtaking, even more candles lit the area and it was living space in the middle of the caves. Artwork, statues and musical instruments of all kinds surrounded you. And roses, dark red roses everywhere.

You closed your eyes as you felt the inner peace of contentment washed over you, you couldn’t describe it any other way, it was like you were in a dream.

The sound of his voice gently stopped as he got out of the boat and you stood to follow, allowing him to place his hands on your waist and lift you easily onto the floor.

You started to turn your head around to take in your surroundings but you felt his fingers grasp your chin gently but firm and pulled your face back to meet his.

You tilted your head and glanced down at his lips, wondering if he would lean down into you.

Gazing up into his face, you really took in his features, he was absolutely perfect. Your eyes wandered to the mask and your hand reached up slowly to push it off of him before you even truly thought of your actions.

Your hand was stopped by his gripping onto your wrist sharply and tightly, his eyes first the first time showing any sort of vulnerability as he shook his head slightly.

“Why do you hide from me angel?”

He brought your hand back down gently and took a deep breath.

“Because I would repulse you, you’d run from me”

You brought your free hand up and held onto his cheek, the pads of your fingers gently caressing his smooth skin.

“I could never, you’re my guide, my guardian…my friend”

His eyes soften at your words, you watched the candles fire reflecting and dancing deep within his irises as you waited for his response.

Your angel stood slightly straighter, he let go of your hand and he reached up until the base of the mask was between his fingertips. He hesitated for a moment before he ducked his head down and slid the mask off, his hair falling back into place as it was removed.

When he looked back up, the sight that greeted you was a shock. The whole right side of his face and into his scalp was burnt and had deep scaring. You would have believed it to be painful but it was clear to see that these were not fresh wounds.

You gasped quietly but you didn’t recoil. Instead you raised your hand and held the right side of his neck gently and leaned up and kissed his jagged skin softly, not missing the low moan it pulled from his throat as you did.

“Those that have seen your face draw back in fear. I do not”

“I do not frighten you little one?”

You shook your head and continued to gently stroke his scars.

“Never. Please tell me angel, do you have a name?”

“Noah”

His name left your lips in a whisper, your eyes half lidded as you looked up at him. It was a beautiful name that was well suited to the man before you.

His hand came up to brush your hair from your face, you couldn’t help but softy sing his own song back to him, not missing how his eyes darken.

“Close your eyes and surrender to your darkest dreams”

Your eyes fell shut, the next feeling was his lips upon yours, gently moving with you.

It was electric, both of his hands came up to cradle your neck, holding close as he pressed his body into yours.

Pulling away, his hands slowly wandered down your body, your breathing was starting to quicken within your chest.

“Trust me?”

You nodded without hesitation, your eyes never leaving his. Noah then picked you up bridal style and carried you over to a huge king size bed that was covered in red sheets and was surrounded by a black lace canopy.

He set you down onto your feet and moved behind you to start undoing the ties on the back of your dress, letting his fingers trace the skin beneath as he did.

“Where does your soul long to be?”

You turned to face him, your dress loose over your shoulders.

“With you, I belong to you, I have always belonged to you”

He lowered his head down to you and once again captured your lips between his own, this time more passionate than before. Noah slipped his hands into the fabric at the top of your dress and continued to slide it off your shoulders as he moved his head down to start ghosting kisses along your collar bone.

You moved your hands into his hair and finally felt how soft it really was, it was like silk moving between your fingers.

You felt your dress starting to fall off of you, fully aware that your top half was completely bare underneath. You felt the material pool around your feet and his hands settled onto your hips as he continued to kiss and gently bite your skin, moving further down.

Your stomach was starting to tighten, the feeling that was washing over you was like nothing you’d ever felt before.

A soft moan escaped your lips as he started to moved his head lower and gently sucked one of your nipples into his mouth, feeling his warm tongue flicking over the harden bud while his hand came up to caress the other, rolling that nipple between his fingers.

You tried to hold back the noises that your body wanted to make, feeling self conscious of how you must have sounded, something Noah seemed to pick up on easily.

“Savour each sensation my little angel, let me hear you, let your darker side give in to me”

You watched as Noah stood tall and removed the cloak from his shoulders and his jacket and carelessly let them fall to the ground, he then moved you back until your legs hit the bed and he guided you down onto the plush mattress and your body sank into the pillows, his body following yours swiftly after.

You felt his hands running up your bare legs up to your underwear, toying with the waistband teasingly before pulling them off slowly, he was clearly savouring every noise or squirm your body was making under his touch.

“You’re mine my little angel, you belong to me”

You nodded, unable to form any words due to the feeling of him ghosting his lips across your inner thighs, spreading your legs apart slowly.

“Say it”

“I’ve always been yours Noah”

The sound of his name felt so right, he had always been there and you had always been his.

Noah used his hands to push your legs further apart, opening you up for him. A low groan came from deep within his chest as he leant down and licked one slow, long strip up your centre, the feeling sending shock waves through your body and your back to arch off the mattress.

You felt his fingers move to your outer lips to part them gently so he could flick his tongue inside, loving tasting you for the first time.

The sensations that were flooding your body was nothing short of pure ecstasy, Noah continued to eat you out slowly and let his thumb move upward so he could start rubbing firm circles against your clit.

“Oh my….Noah, please!”

You didn’t know what you were begging for, your body felt alive, your stomach was twisting beautifully and your hands found themselves running through his hair, pushing him closer into your centre.

The pleasure that you felt was overwhelming, your thighs were starting to shake, tears were forming in the corners of your eyes as you couldn’t stop the cries that left your mouth.

Noah didn’t stop, he moved his fingers faster and continued to devour you until your legs squeezed around his head and the breath was pulled from your lungs as your orgasm washed over you and you felt like you were floating and falling all at the same time.

Once you started to come back down, you saw that Noah had stripped himself of the rest of his clothes and was settling himself down in between your legs. The sight of how many tattoos he truly had was astonishing.

“I’ve waited so long to feel you around me my little dove”

Noah reached down and gripped himself and ran his head along your folds, your wetness gathering onto him, before he slowly pushed his hips forward, the feeling of him stretching you open was almost sinful.

Your head fell back into the pillows and his head fell into your neck as he growled from the feeling of you. Your hands came and found themselves wrapped around his arms as you adjusted to his size.

“You’re perfect…it’s like you were made for me”

Your cheeks became warm at his words, his praise making your core throb with need.

Noah started moving his hips against yours, it was a torturously slow and deep pace that caused you to feel every inch of him against your walls, your body instantly reacting to his movements.

“You feel incredible around me angel, fuck…you’re so fucking perfect. My perfect little angel”

You moaned loudly, his words mixed with his deep thrusts was intoxicating, your heart was swimming with so many emotions, you never wanted this moment to end.

You reached your hand up and placed it onto his scared skin, wanting to show him that he was beautiful in your eyes. You wrapped your legs around his waist as he started to thrust harder, a layer of sweat had now coated both of your bodies and the room echoed with the sounds of your cries and skin slapping onto skin.

“Noah…I..I feel…”

You couldn’t finish your words, you didn’t need to, Noah knew you were near your end. His hips moved faster, the motion pressing your body into the mattress as your nails dug into the skin on his back as your body wound itself up tighter.

“Cum for me, I want to feel you”

Noah’s own hips started to falter as your body was suddenly convulsing underneath his and you screamed out his name, you squeezed your eyes shut as you rode out the waves of your high, feeling Noah’s release deep inside of you as he groaned loudly into your shoulder.

You felt Noah kiss your skin softly as he slipped himself out, the loss leaving you feeling so empty. He brought you into his chest and wrapped his arms around you tightly as if he was frightened you’d leave.

“Stay with me?”

You looked up with a smile and kissed his lips.

“Forever”

Noah smiled back and he pulled the covers over your naked bodies and he started to hum his song once again, the song that you’d known since you were young.

It was beautiful, it was haunting but most of all, it was comforting. You snuggled into his side and allowed your angel of music to sing you into a beautiful, deep sleep.

[vestaignis]

Коломарес – самый фантастический замок Испании.

Испанский замок Коломарес – недавняя постройка, которую возвели в честь пятисотлетия со дня открытия Америки. Причем, строительство, начавшееся в 1987 году, возглавил доктор медицины Эстебан Мартин, который, как это ни странно, не обладал специальным образованием. Вместе с несколькими помощниками, которым ранее приходилось заниматься только кирпичной кладкой, он соорудил замок за 7 лет и в ходе работы освоил все премудрости строительства, это уникальное сооружение, позволяет проследить путь знаменитого мореплавателя через Атлантический океан. Автор проэкта и его помощники запечатлели в камне «Санта Марию», «Пинту» и «Нинью» – три корабля, которые приняли участие в плавании Колумба. Результатом столь кропотливого труда стал большой ажурный замок, площадь которого составляет не менее 1,5 тыс. кв. м. На сегодняшний день он является наибольшим памятником Колумбу не только в Испании, но и во всем мире. Любопытно, что при создании замка кроме кирпича были использованы мрамор, камень, стекло и даже древесина, из которой выполнили ряд элементов декора.

Это строение стало великим шедевром архитектуры, в смешанном стиле: византийском, римском, готическом и мавританском. И подобное смешение не простое совпадение, оно символично, потому что рассказывает об этапах развития страны и о многообразии культур, некогда населявших ее народов. Доктор Эстебан Мартин гармонично объединил в своем грандиозном сооружении элементы трех основных культур Испании времен Средневековья: христианства, иудаизма и ислама. Красота этой изумительной достопримечательности испанского курорта на Средиземном море в городе Бенальмадена, привлекает на отдых множество путешественников из разных стран мира.

Кроме того, архитектор символически отобразил и другие события испанской истории. Например, «Фонтан влюбленных» посвящен королевской чете – Фердинанду Арагонскому и Изабелле Кастильской. Эти монархи после долгих раздумий одобрили планы Колумба по снаряжению морской экспедиции.Еще одной составляющей Кастильо де Коломарес в Испании является часовня Santa Isabel de Hungria in Colomares, сооруженная в честь Св. Елизаветы Венгерской и числящаяся в Книге рекордов Гиннесса как наименьшая в мире церковь. Площадь этой капеллы составляет не более 2 кв. м, поэтому во время мессы в ней помещается только священник.

Colomares is the most fantastic castle in Spain.

The Spanish castle of Colomares is a recent construction, which was erected in honor of the 500th anniversary of the discovery of America. Moreover, the construction, which began in 1987, was headed by the doctor of medicine Esteban Martin, who, oddly enough, did not have a special education. Together with several assistants, who had previously only had to deal with bricklaying, he built the castle in 7 years and during the work mastered all the intricacies of construction, this unique structure allows you to follow the path of the famous navigator across the Atlantic Ocean. The author of the project and his assistants captured in stone "Santa Maria", "Pinta" and "Nina" - three ships that took part in Columbus's voyage. The result of such painstaking work was a large openwork castle, the area of ​​​​which is at least 1.5 thousand square meters. m. Today it is the largest monument to Columbus not only in Spain, but also in the whole world. It is curious that in addition to brick, marble, stone, glass and even wood were used to create the castle, from which a number of decorative elements were made.

This building has become a great masterpiece of architecture, in a mixed style: Byzantine, Roman, Gothic and Moorish. And such a mixture is not a simple coincidence, it is symbolic, because it tells about the stages of the country's development and the diversity of cultures that once inhabited its peoples. Doctor Esteban Martin harmoniously combined elements of the three main cultures of Spain during the Middle Ages in his grandiose structure: Christianity, Judaism and Islam. The beauty of this amazing landmark of the Spanish resort on the Mediterranean Sea in the city of Benalmadena attracts many travelers from different countries of the world to rest.

In addition, the architect symbolically displayed other events in Spanish history. For example, the "Fountain of Lovers" is dedicated to the royal couple - Ferdinand of Aragon and Isabella of Castile. After much deliberation, these monarchs approved Columbus's plans to equip a sea expedition. Another component of the Castillo de Colomares in Spain is the chapel of Santa Isabel de Hungria in Colomares, built in honor of St. Elizabeth of Hungary and listed in the Guinness Book of Records as the smallest church in the world. The area of ​​this chapel is no more than 2 square meters, so only the priest fits in it during mass.

Source: //kidpassage.com/activity/ispaniya/kosta-del-sol/zamok-kolomares?,/alandalus.ru/andalucia/provincia-malaga/benalmadena / castillo-monumento-colomares/,://balttur.spb.ru/countries/spain/ zamok-kolomares.html,/kuku.travel/country/ispaniya /dostoprimechatelnosti-ispaniya/kolomares-samyj-fantasticheskij-zamok-ispanii/,/portal.azertag.az/ru/node/20093, //www.tripadvisor . ru/Attraction_Review-g562812-d669392-Reviews-Castillo _ Monumento_Colomares-Benalmadena_Costa_del_ Sol_ Province_ of_ Malaga_Andaluci.html.

[vermilionsun]

This post translates directly to @musas-sideblog's about how Touchstarved ties with Victorian horror and implicit/metaphorical sex, and I couldn’t stop thinking about it, so here is a lengthy theory. Enjoy :)

Note 1: Victorian era authors used an unholy amount of ways to imply sexual feelings/acts etc, so I here I will include only the ones that are of interest. Note 2: I've highlighted the "most important" parts. Note 3: I'm not an expert at this, so please bear with me and feel free to correct me. Note 4: Do I need to add a TW? I think it's obvious-

Overview: What is Victorian Horror?

Victorian horror refers to the genre of horror literature, art, and culture that flourished during the Victorian era, roughly from the mid-19th century to the early 20th century, coinciding with Queen Victoria's reign from 1837 to 1901. This period was marked by a fascination with the macabre, the supernatural, and the dark aspects of human nature, reflecting the anxieties and societal changes of the time. 

Key Themes and Characteristics

Supernatural Elements:

Ghosts and Spirits: Tales of haunted houses and spectral apparitions were central to Victorian horror. Charles Dickens's "A Christmas Carol" (1843) and Henry James's "The Turn of the Screw" (1898) are notable examples.

Monsters and the Gothic: The era's literature is filled with monstrous creations and gothic settings, such as in Mary Shelley's "Frankenstein" (1818), Bram Stoker's "Dracula" (1897), and Robert Louis Stevenson's "Strange Case of Dr Jekyll and Mr Hyde" (1886).

Science and the Unknown:

The Victorian period was a time of great scientific advancement, but also of fear about the implications of these discoveries. This is evident in works that explore the dangers of unchecked scientific experimentation, like "Frankenstein" and H.G. Wells's "The Island of Doctor Moreau" (1896).

Exploration of the Human Psyche:

Victorian horror often delved into the darker aspects of the human mind, including themes of duality, madness, and the hidden, sinister side of human nature. This is seen in "Dr Jekyll and Mr Hyde" and Edgar Allan Poe’s works, such as "The Tell-Tale Heart" (1843).

Social and Moral Anxieties:

The literature frequently reflected Victorian society's fears and anxieties, including issues related to sexuality, class, and the role of women. Gothic novels often contained subtexts about societal norms and the consequences of transgressing them.

Urban Fear and Isolation:

The rapid urbanisation of the Victorian era contributed to themes of isolation, alienation, and fear of the crowded yet lonely cityscape. This is evident in the settings of many horror stories, such as Arthur Machen's "The Great God Pan" (1894).

Sexual Content: Victorian literature is renowned for its strict moral codes and conservative views on sexuality. Explicit depictions of sexual activity were considered taboo and were subject to censorship. Consequently, authors developed subtle and nuanced methods to imply sexual scenes or themes.

Literary Techniques for Implying Sexual Scenes

✧ Symbolism and Imagery:

Sexuality was often conveyed through symbolic imagery. Objects, actions, or natural phenomena could serve as metaphors for sexual activity or desire. For example, in "Dracula" by Bram Stoker, blood and biting symbolise sexual penetration and the exchange of bodily fluids, infusing the act with a sense of forbidden desire and eroticism.

Clothing and Undress:

Gloves: In Victorian culture, gloves were highly symbolic. The act of a woman removing her gloves in the presence of a man, or a man assisting her in this act, could signify a moment of intimacy or vulnerability. Similarly, a man giving a woman his gloves could be a sign of affection or a deeper connection.

Hats and Bonnets:

Corsets

Objects and Personal Items:

Locks of Hair

Jewellery

Books and Letters

Touch and Physical Contact:

Kissing Hands

Hand-Holding

Food and Drink:

Wine: Sharing wine or a meal in an intimate setting often suggested a prelude to deeper connection. Descriptions of characters drinking wine together in private could imply a romantic or sexual undertone.

Fruit: Certain fruits, like apples, grapes, or peaches, were laden with sexual symbolism. Eating or sharing fruit could represent temptation or indulgence. For instance, in Christina Rossetti’s poem "Goblin Market", the act of eating the goblin fruit is rich with sexual symbolism.

Flora and Fauna

Flowers and Gardens:

Roses: Roses were often used to symbolise love and passion. A red rose might suggest romantic or sexual attraction, while a wilted rose could imply lost innocence or sexual ruin.

Lilies: Lilies, especially white ones, represented purity but could also suggest a contrasting theme when associated with a fallen or tarnished character.

Garden Settings: Scenes set in secluded gardens or amongst lush, overgrown vegetation often hinted at secret or forbidden encounters. Descriptions of characters wandering through or tending to gardens could imply sexual exploration or awakening.

Flowers Blooming or Opening:  The blooming of flowers often represented sexual awakening or the act of losing one's virginity.

Nature Imagery:

Rivers and Water: Flowing water and rivers often symbolised sexual desire and the act of lovemaking. For instance, in "Tess of the d'Urbervilles" by Thomas Hardy, Tess's encounter with Alec d'Urberville is often described with metaphors of nature and fluidity.

Storms and Weather: Storms, with their intense energy and sudden outbursts, were frequently used to symbolise sexual passion or climactic moments.

Birds and Beasts:

Animals, especially those that are wild or predatory, often symbolised primal sexual instincts and desires. The taming or interaction with these animals could imply a character’s grappling with their own sexuality.

Fire and Heat

✧ Phrases and Sayings

Euphemistic Language

Descriptive Phrasing

Dialogue and Confessions

Private Spaces:

Secluded or Dimly Lit Rooms: Scenes set in private, darkened rooms often suggested clandestine sexual encounters. The privacy of the setting allows authors to imply what could not be explicitly stated. In Wilkie Collins’s "The Woman in White", many key interactions happen in secluded spaces, hinting at secrets and hidden desires.

Dreams and Fantasies:

Dream Sequences:

Dreams and fantasies were used to explore a character’s subconscious desires and fears, often revealing their suppressed sexual longings. These sequences provided a socially acceptable way to delve into erotic themes.

Hallucinations and Madness:

Moments of madness or hallucination could serve as a metaphor for overwhelming passion or uncontrollable sexual desire. These states allowed characters to express forbidden feelings in a way that was metaphorically safe.

Physical Interactions and Horror

Touch and Proximity as Menace:

Unwanted or Forced Touch: In horror, touch that is typically a sign of affection or intimacy becomes a source of fear.

Physical Closeness in Horror Settings: Close proximity in dark, secluded places amplifies the sense of claustrophobia and vulnerability, turning what could be an intimate setting into one fraught with terror.

Undress and Exposure in Horror:

Loosening Corsets and Vulnerability: The act of undressing or loosening clothing, which can be a prelude to intimacy, in horror often leaves characters vulnerable to attack or exposure of their deepest fears.

Food and Consumption in Horror

Cannibalism and Vampirism:

Blood as Sexual and Vital Fluid: The act of consuming blood, as in vampirism, blends the themes of sustenance and sexual exchange. The vampire's bite becomes a metaphor for both sexual penetration and the transfer of life force.

Example: "Dracula" is a prime example where blood consumption is deeply eroticized, with Dracula’s victims often portrayed in a state of ecstatic submission as he drains their blood.

Food as a Lure: Food and feasting, typically symbols of pleasure and indulgence, in horror contexts can be used to lure victims into dangerous situations.

Example: In "Goblin Market" by Christina Rossetti, the goblins’ fruit is both irresistibly tempting and dangerous, representing a forbidden and potentially fatal indulgence.

Plot and Character Dynamics in Horror

Power and Domination:

Common Dynamics with a Dark Twist

Predators and Victims: Characters who prey on others are often literal monsters in horror, representing the loss of control or innocence.

Secrecy and Concealment:

Hidden Desires and Monstrous Revelations: Characters who conceal their true identities or desires often find these hidden aspects manifesting as monstrous or terrifying in horror narratives, suggesting that repression can lead to dire consequences.

Clandestine Meetings and Forbidden Encounters: Secret meetings and forbidden relationships, often tinged with sexual implications, add an element of danger and fear, suggesting that transgressing social norms leads to horror.

Common Themes in Victorian Horror

Duality and the Doppelgänger:

Theme: The concept of duality, where a character has a hidden, darker side, or encounters a double (doppelgänger), often symbolises the internal conflict between good and evil within individuals.

Connection: This theme reflects Victorian anxieties about identity, morality, and the consequences of repressing one’s darker impulses.

Gothic and Supernatural Elements:

Theme: Victorian horror is rich with Gothic elements such as haunted houses, dark landscapes, and supernatural beings. These elements create a sense of dread and evoke the mysteries of the unknown.

Connection: The Gothic setting often serves as a backdrop for exploring human fears, isolation, and the impact of the supernatural on everyday life.

Decay and Degeneration:

Theme: The fear of decay and degeneration, both physical and moral, is a recurring motif. This theme often examines the decline of individuals, families, or societies and the consequences of corruption and vice.

Connection: This theme mirrors Victorian concerns about the erosion of social and moral values amidst rapid industrial and social changes.

Madness and Psychological Horror:

Theme: The exploration of madness and psychological horror delves into the fragility of the human mind and the terror of losing one's sanity. This often includes hallucinations, obsessions, and the thin line between reality and delusion.

Connection: This theme resonates with Victorian fears of mental illness, the limitations of medical knowledge, and the impact of societal pressures on mental health.

Forbidden Knowledge and the Faustian Bargain:

Theme: The pursuit of forbidden knowledge and the resulting consequences is a central theme. Characters who seek power, immortality, or forbidden truths often pay a heavy price, reminiscent of the Faustian bargain.

Connection: This theme highlights Victorian anxieties about scientific progress, moral boundaries, and the potential hubris of human ambition.

The Uncanny and the Unknown:

Theme: The uncanny involves the strange and unfamiliar becoming eerily familiar, often unsettling the reader and characters. It blurs the lines between reality and the supernatural, invoking fear and discomfort.

Connection: This theme taps into Victorian fears of the unknown, the foreign, and the otherworldly, reflecting broader anxieties about social and cultural boundaries.

Death and the Afterlife:

Theme: Victorian horror frequently grapples with themes of death and the afterlife, exploring the fear of mortality, the possibility of an afterlife, and encounters with the dead or undead.

Connection: These themes reflect Victorian preoccupations with death, the spiritual realm, and the possibility of life beyond death, often intensified by the era's high mortality rates and interest in spiritualism.

Isolation and Alienation:

Theme: Isolation and alienation are prevalent themes, often highlighting characters who are physically or emotionally detached from society, leading to their vulnerability and descent into despair or madness.

Connection: This theme resonates with the Victorian experience of industrialization and urbanization, which often led to feelings of disconnection and loneliness.

Class and Social Anxiety:

Theme: Victorian horror often explores themes of class and social anxiety, including the fear of losing social status, the consequences of poverty, and the tension between different social classes.

Connection: This theme reflects the rigid class structures of Victorian society and the fears and tensions that arose from social mobility and economic disparity.

Moral Corruption and Hypocrisy:

Theme: Victorian horror frequently critiques the era’s moral standards and exposes the hypocrisy of societal norms. Characters who appear virtuous often harbor dark secrets or engage in morally dubious activities.

Connection: This theme mirrors the Victorian concern with appearances and the underlying tension between public propriety and private desires.

The Five Pillars of Victorian Horror & The Five Love Interests

The Supernatural and the Gothic (Ais)

Essence: Victorian horror often revolves around the supernatural, blending Gothic elements to evoke a sense of dread and otherworldly terror. This includes ghosts, vampires, haunted houses, and curses, which create an atmosphere where the boundaries between the natural and the supernatural blur.

Impact: The use of Gothic settings and supernatural phenomena provides a backdrop for exploring deeper themes of fear, mortality, and the unknown.

Psychological Depth and Madness (Vere)

Essence: Victorian horror delves into the complexities of the human mind, exploring themes of madness, obsession, and the psychological effects of fear and trauma. Characters often grapple with their sanity, facing inner demons as terrifying as any external threat.

Impact: This focus on psychological horror allows for a deeper exploration of character motivations and the impact of societal pressures.

Moral Corruption and the Double Life (Leander)

Essence: Themes of moral corruption and the duality of human nature are central to Victorian horror. Characters often lead double lives, presenting a veneer of respectability while concealing dark, sinful secrets. This tension between outward appearances and hidden truths reflects the era’s social hypocrisy and fear of scandal.

Impact: These themes critique Victorian society’s emphasis on propriety and the dangerous consequences of repressing one’s true nature. The idea of a double life or hidden self adds to the horror by suggesting that evil can reside within anyone, masked by a facade of normalcy.

Decay, Degeneration, and Disease (Kuras)

Essence: The themes of physical and moral decay, societal degeneration, and disease permeate Victorian horror. These motifs symbolise the fragility of human life and the inevitability of decline, reflecting the anxieties of a society grappling with rapid change and uncertain futures.

Impact: By focusing on decay and degeneration, Victorian horror underscores the transient nature of life and the ever-present threat of corruption and decline, whether through ageing, moral compromise, or societal breakdown.

Isolation and Alienation (Mhin)

Essence: Isolation and alienation are pervasive themes in Victorian horror, often depicted through characters who are physically or emotionally cut off from society. This separation heightens their vulnerability to external threats and internal fears.

Impact: Isolation serves to intensify the psychological tension and sense of dread, as characters confront their fears alone. It also reflects the era’s social and existential anxieties, including the fear of being disconnected or outcast from society.

Generally, I believe each LI connects with a pillair (as seen above). Perhaps by looking at the archetypes we could deduce propable endings and route elements.

Forgive me, for the following part is MESSY;

Ais

Vere

Leander

Kuras

Mhin

[oogles]

I feel like people don’t have the same genre expectations for horror as they do other genres. “Oh I didn’t like that horror movie because it was too horrific” imagine saying this about any other genre. Like, “I didn’t like that romance movie because there was too much romance” its the GENRE. You’re allowed to not like the genre as a whole, but that doesn’t mean you’re allowed to say a movie is bad because it contains the elements of the genre that you don’t like.

Gothic horror by nature contains a lot of themes of abuse, incest, and toxic relationships in general, and its ok to not like those elements. But you can’t demand that gothic horror doesn’t contain any of the elements that define it as a genre. Its like saying you want a cocktail but don’t want to taste any alcohol.

[jhyoos]

REBEL GIRL

Chapter 2 : Aftershock

rockstar! sevika x influencer! reader

summary : (y/n) gets her phone blown up by fans while she’s at a promotional event.

warnings : swearing and a cringy ass band name.

notes: thank you all so much for over 100 likes on chapter 1! im forever grateful 🫶

taglist: @graciebloom @swordfemm4 @m00npjm @sevikasleftarm @moodient @fayecreates (comment a 🎸 if you wanna be in the taglist!)

chapters : one, two, three, four

The morning sunlight streamed through your apartment windows, casting a golden glow on the sleek black furniture and stacks of PR boxes you’d yet to unbox. A sharp knock on your bedroom door made you groan as you finished brushing the final stroke of your jet-black eyeliner.

“Y/N, are you ready? We’re going to be late!” your manager, Lauren, called out.

“I’m coming!” you shouted back, setting down your eyeliner and grabbing your leather jacket.

Today was a big deal: you were modeling for Eclipse Noir, a major fashion brand known for its bold, goth-inspired designs. It was one of the biggest collaborations of your career, and you couldn’t afford to mess it up—not that Lauren would ever let you forget that.

As you descended the stairs, Lauren was waiting by the door, scrolling on her phone. Her sharp suit and stern expression reminded you of why she was one of the best in the business. But when her eyes snapped up to meet yours, there was an unmistakable glint of irritation.

“So, are we going to talk about this?” she asked, holding her phone out to show you the glaring headline:

TMZ Exclusive: Influencer Y/N Spotted at Shattered Souls Concert in LA!

The article was plastered with a photo of you in the VIP section, looking effortlessly cool as you leaned against the barrier. Fans were already dissecting every detail of your appearance, and speculation about your connection to the band was running wild.

“Send me that. My makeup looks really good,” you said in a joking tone.

Lauren looked at you with a raised eyebrow.

You rolled your eyes. “What’s there to talk about? I went to support Caitlyn.”

Lauren sighed, pinching the bridge of her nose. “You know how this looks, right? It’s one thing to go to a concert; it’s another for everyone to think you’re dating a rockstar—or worse, being used for clout.”

You snorted. “Caitlyn and the rest of the members are good friends of mine. Since when do I care about what TMZ thinks?”

“Since your brand is involved,” Lauren shot back. “You’re about to model for one of the most exclusive fashion labels in the industry. We need to make sure your image stays polished.”

“Polished?” You raised an eyebrow, gesturing to your edgy black outfit. “I don’t think anyone’s expecting me to play it safe.”

Lauren shook her head but couldn’t suppress a small smile. “Fine, but keep your head in the game today. No distractions.”

The Eclipse Noir photoshoot was held at an upscale studio in downtown LA, its interior a moody mix of industrial and gothic aesthetics. Chandeliers hung from the high ceilings, casting dramatic shadows against the exposed brick walls.

You were ushered into hair and makeup almost immediately, where a team of stylists worked their magic. Your outfit—a tailored black leather jacket with studded accents, paired with high-waisted pants and knee-high boots—fit perfectly into your aesthetic.

As the cameras started flashing, you felt the familiar rush of being in your element. Each pose was deliberate, every expression calculated. The photographer praised your ability to embody the brand’s edgy but elegant vibe, and even Lauren looked pleased for once.

“Perfect, Y/N. Just one more look,” the photographer called out as a stylist adjusted your jacket.

Between shots, you caught glimpses of your phone lighting up with notifications. Comments flooded your Instagram posts, and fans were tagging you in the TMZ article nonstop.

It wasn’t until you were in the dressing room changing into your last look of the day that a message from Caitlyn popped up:

“Hey, how are you holding up after the TMZ thing? Let’s catch up. Meet me at Sable Café after my gig tonight?”

You smiled, typing back a quick reply:

“I’m fine, just amused. See you tonight.”

Later that evening, after finishing your shoot and grabbing a quick dinner, you found yourself at Sable Café. The small, intimate space was lit by warm hanging lights and smelled of freshly brewed coffee. It was quieter than usual, which you appreciated after the whirlwind day.

Caitlyn was already there when you arrived, seated in a corner booth with a steaming cup of tea and a cup of coffee she got for you. She waved you over, her usual calm demeanor replaced by a faintly amused smirk.

“Hey,” you greeted, sliding into the seat across from her. “How was the gig?”

“Same as always,” she said, leaning back. “Though Vi was even more over the top than usual.”

You chuckled. “Sounds about right. So, what’s up?”

Caitlyn tilted her head, studying you. “You tell me. That article’s got everyone buzzing about you and the band.”

You shrugged, taking a sip of your coffee. “It’s TMZ. They’ll forget about it by tomorrow.”

“Maybe, but you’re not exactly blending into the background.” Caitlyn’s tone was teasing, but her expression softened. “Seriously, though. How are you feeling about it? You’ve been in the spotlight before, but this is different.”

“It’s fine, really,” you said, brushing it off. “If anything, it’s funny. People are acting like I’m dating someone in the band.”

Caitlyn laughed. “Well, you did have that little moment with Sevika.”

You rolled your eyes. “It wasn’t a moment. She’s just... Sevika. You know how she is.”

“True,” Caitlyn admitted, a small smile tugging at her lips. “Still, you’re handling it well. I was half-expecting you to freak out.”

You smirked. “Give me some credit. I’m tougher than I look.”

As the soft hum of café chatter surrounded you, Caitlyn took a slow sip of her tea, her eyes lingering on you thoughtfully. You set your coffee down, arching an eyebrow at her.

“What?” you asked, a small smirk tugging at your lips.

She leaned forward, resting her elbows on the table. “You know, the band’s heading out on tour soon.”

“Okay…” you said, dragging out the word. “And?”

“And,” Caitlyn continued, her tone deliberate, “I think you should come with us.”

You blinked, caught off guard. “What?”

“Think about it,” she said, a spark of excitement in her eyes. “We’ve been talking about expanding our audience online, and your platform is massive. You could help us create behind-the-scenes content, give fans an insider look at the tour. Plus, we’d get to hang out more.”

You hesitated, tapping your fingers against your cup. “I don’t know, Cait. I’ve got my own projects lined up. And after that TMZ article…”

“That’s exactly why it’s perfect,” Caitlyn interrupted. “Lean into it. If people are already talking, give them something to talk about. Show them the real story.”

You sighed, running a hand through your hair. “And by ‘real story,’ you mean what? Taming Jinx? Me babysitting Sevika and Vi while they flirt with half the planet?”

Caitlyn chuckled. “You’re not wrong, but you’d also get to see what it’s like behind the scenes of a tour. Think of the content opportunities—mini vlogs, exclusive interviews, maybe even some collabs. It’s a win-win.”

You leaned back in your chair, considering her words. The idea of touring with the band was tempting—there was no denying that. The exposure could be huge for your brand, and the experience itself would be unforgettable. But you couldn’t ignore the potential chaos, especially with Sevika in the picture.

“I don’t know, Cait,” you said slowly. “It’s a lot to take on.”

Caitlyn smiled, sensing you were warming up to the idea. “Just think about it, okay? No pressure. But I’d love to have you there.”

You sighed, a small smile creeping onto your face. “Fine. I’ll think about it.”

“Good,” Caitlyn said, raising her tea in a toast. “Here’s to adventures—potentially disastrous ones.”

You laughed, clinking your cup against hers. Despite your reservations, the idea of going on tour with Shattered Souls had planted itself firmly in your mind. And something told you that this was just the beginning of a wild ride

The faint hum of an engine greeted you as you stepped onto the tour bus, your suitcase rolling behind you. The space was surprisingly cozy, decked out with plush seating, a mini kitchenette, and bunks lining the narrow hallway. A faint scent of leather and something faintly citrusy lingered in the air, blending with the faint echo of Vi humming a melody from somewhere deeper in the bus.

“Welcome to the chaos,” Caitlyn said, grinning as she leaned against one of the built-in couches.

Vi popped her head out from a back corner, her guitar strapped across her chest. “Hey, rockstar!” she greeted, giving you a casual salute. “You’re brave for signing up for this circus.”

You laughed, pulling your suitcase into the bus. “What can I say? I like a challenge.”

Jinx, sprawled out on one of the couches with a drumstick twirling between her fingers, snorted. “You’re gonna regret saying that when Vi starts her late-night jam sessions.”

“Don’t listen to her,” Vi said, plucking at her guitar strings. “She loves it.”

“Lies,” Jinx quipped, smirking.

Caitlyn nudged you gently. “Come on, let me show you where you’ll sleep.”

You followed her down the narrow hallway, passing bunks stacked two high. She stopped in front of one with a neatly made bed, the bottom bunk open for you. “Here you go,” Caitlyn said, gesturing. “Home for the next few weeks.”

“Perfect,” you said, sliding your suitcase beside the bed. “Thanks, Cait.”

“Settle in. We’ll hit the road soon,” Caitlyn said before disappearing back to the front of the bus.

-

You knelt by your suitcase, unpacking essentials and carefully organizing them into the small shelves above the bunk. The space was tight but manageable, the rhythmic hum of the bus adding a strange sense of calm. You reached up to place your toiletry bag on the highest shelf when you felt it—a bold, unmistakable hand pressing against your ass.

Startled, you snapped around, ready to deliver a sharp retort. Instead, you found yourself face-to-face with Sevika. She leaned in close, one arm lazily gripping the rail of the top bunk above you, effectively caging you in. Her towering frame loomed over you, and her signature smirk was even more infuriating this close.

"Nice view," she drawled, her voice low and rich, dripping with amusement.

You arched a brow, crossing your arms as you tilted your head up to meet her gaze. “Wow, straight to harassment. Do you always skip the foreplay?”

Her grin widened, clearly delighted by your sass. “Foreplay’s overrated. I like to get to the point.”

You let out a dry laugh, leaning casually against the bunk behind you despite the way her proximity made your heart race. “Is that what you call this? Because right now, it’s giving ‘desperate.’”

Sevika chuckled, her gaze flicking to your lips for just a second before returning to your eyes. “Desperate? That’s a bold assumption, sweetheart. Seems like you’re still standing here talking to me, though.”

“Only because you’re blocking the way,” you shot back, nodding pointedly toward the arm she had resting above you. “Or do you think looming over people is some kind of charm tactic?”

She shifted slightly, leaning in closer, her smirk never faltering. “It’s working, isn’t it?”

“Not the way you think,” you replied, your voice steady, even as your pulse betrayed you. “But hey, if this is the best you’ve got, I can see why the fan girls swoon. Low standards must really be your thing.”

Sevika laughed at that, a deep, rumbling sound that somehow sent a shiver down your spine. “You’ve got a sharp tongue, Y/N. I like that.”

“And you’ve got no sense of boundaries,” you quipped, reaching up to tap the arm she still had braced above you. “Mind moving? I’ve got things to do.”

Instead of retreating, Sevika leaned in even closer, her smirk softening into something more challenging. “What if I said I don’t mind staying right here?”

You tilted your head, refusing to back down as you matched her stare. “Then I’d say you’re about to have a real boring time watching me unpack.”

She grinned, finally stepping back and dropping her arm. “Alright, you win—for now. But don’t think I’m done with you, sweetheart.”

“Wouldn’t dream of it,” you replied with a sly smile, brushing past her. “But next time? Try asking nicely. It might get you somewhere.”

As you turned back to your suitcase, you caught Sevika’s low chuckle behind you, her voice floating down the hallway as she sauntered off. “You’re going to be fun, Y/N.”

You smirked to yourself as you resumed unpacking. Let her think she had the upper hand. If Sevika wanted to play games, she’d quickly learn you weren’t one to lose.

This is gonna be a long tour.

[a-kind-of-merry-war]

can you recommend your favourite queer historical/fantasy novels or series for me?? desperate for some new books to read 🙏

Anon I'm so mad, I had a couple of rec lists floating around but what do you know, tumblr has eaten them!! So I'm putting together a new one for you. I should pin this somewhere really.

Queer historical romances

Anything by Cat Sebastian. Seriously. Anything. My personal favourite series is "Seducing the Sedgwicks", and her two most recent 50s-set books are both exceptional.

Equally, anything by KJ Charles. Again, they're all brilliant, so it doesn't really matter where you start. I really liked Band Sinister.

Olivia Waite does lovely f/f historical romances. I really enjoyed The Lady's Guide to Celestial Mechanics.

Sebastian Nothwell (hello @nothwell) writes brilliant historical romances (and also has a couple of fantasy romances too). Planning a re-read of some of his when I've actually got time 😅

Solomon's Crown by Natasha Siegel, loved this one a lot

The Gentleman's Book of Vices by Jess Everlee (there's a f/f sequel coming out soon!)

Queer fantasy romance

I am utterly obsessed with A Strange and Stubborn Endurance by Foz Meadows. I loved it. It's like it was crafted just for me. Also, the sequel just came out!

A Taste of Gold and Iron by Alexandra Rowland, SO indulgent and tropey and fun, I had a blast reading it. (hello @ariaste). Also, Alexandra's next book is about to come out - it's called Running Close to the Wind and its about PIRATES. YES.

The Last Binding series by Freya Marske. Absolute best of the best. Everyone loves them.

(See also, Swordcrossed, also by Freya Marske, coming out later this year)

Silver in the Wood by Emily Tesh. Short, sweet, and engrossing. Finishing this book is like stepping into sunlight for the first time after being lost in the woods for hours.

Song of Achilles by Madeline Miller. It's a classic for a reason.

Queer fantasy/sci-fi with romantic elements, but isn't a straight-up romance

Under the Whispering Door by TJ Klune. I cried.

Legends and Lattes by Travis Baldree, extremely cosy domestic fantasy in the traditional D&D style, about an orc who sets up a coffee shop.

A Botanical Daughter by Noah Medlock. Frankenstein-style horror but with queer people and plants. More horror than fantasty, tbh.

Our Hideous Progeny by C E McGill (waving at @c-e-mcgill) is classic gothic horror/sci-fi, but this one is Frankenstein but with dinosaurs. And queer people. Very light background romance. Loved it.

OH WAIT ETA: What Manner of Man by @stjohnstarling - not sure if this fits your needs as its more horror romance than anything else, but its basically "dracula, but gay", and it's very good.

[xxacademy]

BLOODIED HANDS OF A LOVER'S MISFORTUNE —THRONE OF HIS OWN PART II

Leon Kennedy x Agent!Reader (she/her)

-> READ PART ONE

Summary: Blood, wine, fangs, touch-- his touch. Leon Kennedy made you his princess. He put you in pretty dresses, and put is mark on every part of you. But, it's time to face the reality of your situation. You are not Leon's princess, you are his back up. Now you're forced to do your job, and come face to face with the chaos of the vampire court.

Word Count: 2.5k

Content warnings: blood/gore, reader gets drugged and restrained, weapons, vampires, typical violence and themes associated with resident evil, i shamefully reference one of Leon Kennedy's cringiest one-liner's.

a/n: i had so much fun writing this!! action & horror elements are the best. i think i could write descriptions about blood and wounds forever... it's so strangely fun (?) anwaysss im playing re4r again and i cannot get leon's kicks outta my brain, lol. i hope you enjoy, and as always thank you for your patience. i am a full-time student and i have a full-time job, so writing can take me foreverrrrr.

Leon sits among the vampiric overlords while you sit alone, drinking a cup of tea, wearing yet another tightly corseted Victorian monstrosity.

The servants were undoubtedly kind to offer you clean clothes and breakfast, but that didn't make you want to leave any less. The uneasiness lingers dense in your stomach.

Last night was... Indulgent, to say the least. But the welcome has been overstayed, and you're antsy to leave the vampire's den. Hopefully, Leon will be quick to end their little conclave.

── ･ ｡☆*☽*☆ﾟ.──

You awoke suddenly to a loud clank beside you. To your groggy surprise, your tea cup had fallen and shattered at your feet.

The idle warmth of the fireplace and the cozy living room must have lulled you to sleep. Despite your mind being deep in a heavy fog, you found the strength to look around the room and confirm that you were still, in fact, alone.

You meandered to the heavily draped window and peeked outside. You prepared yourself to be blinded by searing bright snow, but... Oh, dear god.

The sun was setting. You rubbed your eyes in harrowed disbelief. The sun was fucking setting.

How could it be? It was only just morning. You couldn't have possibly slept the entire day.

Your hands were trembling mess as you squatted down to analyze the shattered tea cup. You grabbed a piece of jagged porcelain and brought it to your nose, breathing deeply.

You caught an unmistakably bitter note buried underneath aromatic peppermint. A sedative herb most definitely was used to lace the tea. You felt ashamed; how could you be so naïve, falling for such a novice trick?

But, there was no time to dwell. You scoured the room for a weapon. The only object that stood out to you was a particularly pointy piece of metal off an ornate candelabra. You ripped out the half-melted candles and bent the metal into a makeshift weapon, poking it into your skin to test its sharpness.

This should work, and if it doesn't? Well, It will, you told yourself.

Jaunty candlestick weapon in hand, you headed for the door, which was, unsurprisingly, locked. You analyzed the clunky metalwork and quickly determined it was an old-fashioned skeleton lock. You pulled several pins from your hair, fashioned them into impromptu Allen wrenches, and began picking the lock.

After several attempts and numerous broken pins, you finally jimmied the door open.

You set out into the gothic night-veiled estate, creeping through the labyrinth of hallways. Your heeled shoes and sweeping gown made stealth damn near impossible, but you had no choice but to make it work.

You followed the networking corridors aimlessly, pressing your ear to closed doors in the hope of finding Leon.

You heard pattering footsteps coming towards you, and in a desperate attempt to hide, you angled yourself behind a column of an archway. But as the person passed, a white-gowned servant, she stopped dead in her tracks and turned on her heels to face you.

Glowing red eyes met yours, and a mindless, other-worldly voice flowed from her: "You made a very grave mistake, chérie." The servant lunged at you, unarmed, fangs bared.

The candlestick you weld plummeted to the ground, and you grabbed the servant by the wrists and held her firm, straining to keep her away as she thrashed with all her might.

You threw her down by twisting her arm to the ground and holding her in place by firmly pressing your heel into her sternum. She cried a blood-curdling howl in pain, thrashing under your foot.

"Where is he? Where is Leon?" You demanded, rage filling your wavering voice.

The servant snickered, flashing small, jagged fangs.

"Tell me!" You demanded for the last time.

She was hysterically laughing now-- It was useless to attempt to communicate with a mindless thrall.

You reached for the candlestick and quickly bent over the thrashing servant and slit her throat with the sharp metal edge.

Hot blood spilled down her virgin-white dress, but her glowing red eyes stayed fully conscious. "You're a fool," she mocked, her fingers laced around your wrist.

You sunk your heel back into her sternum, this time with much more force, causing her head to smack against the floor. She hissed in pain. Blood was still pouring from her neck as you forced her hand off of yours. You repositioned the candlestick in your hand, aiming it for her heart.

You held her still by wrapping your hand tightly around her neck and drove the weapon through her chest. Her head lulled to the side limply, and her glowing eyes dulled- she was dead, finally.

You took a moment to catch your breath, staring at the woman's lifeless body. You couldn't recall a single vampiric servant from the previous night, so why now?

As you began to regain your composure, you looked down at yourself, pretty dress all covered in blood. It was an honest reflection of how terrible the last twenty-four hours have gone.

Regardless, you grabbed your blood-drenched candlestick and began creeping through the hallways once more. No one else seemed to be coming for you now. You were utterly alone as you tip-toed through the darkened estate. Utterly alone-- besides the gut-wrenching feeling that you were being watched.

The oil-painted portraits that decorated the looming walls felt like they saw everything. They saw you massacre that servant, they saw you lie to their rulers, they saw you drunkenly court your colleague. Maybe it was your own internalization showing, but you couldn't shake the feeling.

But you felt relief when you spotted a warm candlelit gleam emanating from the crack of a closed door. It had been the first trace of light you'd seen in these gloomy halls.

As you approached the door, you heard overlapping voices talking and laughing. It sounded like a blend of English and French was being spoken, adding to the dissonance.

You ever so gently pressed your ear to the door, attempting to make out what was happening. You couldn't understand a lick of the French being spoken. But you overheard something in English: "When are you going to get the girl?" a mysterious voice asked.

Another more familiar voice replied. “Quand nous en aurons fini avec lui.”

The King.

They must have Leon here. Your stomach dropped.

What could they possibly be doing to him? And the girl, that has to be me, right?

You don't know how it happened or how your cover could have been blown. What if they killed Leon?

There's no way you'd be able to defeat them on your own. Your mind traces all the rational options to go about this, but you conclude there is none. There is only one way.

You draw a quivering breath and open the mysterious door.

To your surprise, you revealed a grand banquet hall swarmed with almost the same lineup from last night's soirée.

The creak of the door caused all of their necks to turn to you instantly. The first thing you noticed was a sea of glowing crimson eyes. All the Lords have been turned now.

The King's stark pale skin and deep blood-red eyes burrowed through your soul. The pointed corners of his mouth raised in an impish smile. At the King's side was Leon, his arms bound and his head hung limp.

He had been draped and displayed at the hands of the merciless creatures that stalked this land. A centerpiece to their dastardly festivities.

"The bunny makes its way to the wolf's den. It's almost commendable." The King squinted, his head reaching forward in his throne to get a better look at you. "It looks like you even found someone in my estate to prey on. How scary."

"How did you find out?" You kept your words steady and firm.

The King laughed, "Ah, this is a good story."

"Go on," you said, taking a step closer.

The King shifted in his chair and took a sip of what was presumably blood from a crystal glass. "I had one of my men doing perimeter control on the south end. He made it all the way to the road, where he saw a car a few meters away-- and chérie, cars do not drive on that road."

Your heart sunk.

"He found a car and stopped it. I could tell you who he found, but I think you might already know. But in case you need a refresher, it was a United States agent with a very detailed file about you and Mr. Kennedy in his car."

You tried to close the gap between you and the King, but two guards restrained you by your arms after throwing your makeshift weapon to the ground.

"You bastard! You bloody bastard! What did you do to him? And what have you done to Leon!?"

"You're going to love this ma chérie. Leon is on the path to grand ascension— he'll become one of us soon. As for the agent that brought you here, he was at lunch the following day. Not exactly my taste, as I prefer the sweet blood of a woman, but he sufficed."

The room erupted in laughter, and long fangs taunted you everywhere you looked. Even the men who held your arms laughed at you.

You tried to break free of their grip, but they outmatched you. The men lifted you by your arms and dropped you before the King's throne. They pushed you down by your shoulders so that your knees crashed to the ground.

You hoped Leon would look up or say something. But he just rested on his knees, head down, in unwavering silence.

Your voice cracked, "And what about me?"

The King clicked his tongue, scanning your blood-soaked figure with heavy lids and a cocky glint in his eye. "You're simply too... Beautiful to just let go."

You rolled your eyes, "Give me a break! You think I'll just go along with you, easy as that?"

His lips formed into a cruel smirk, "I do."

You noticed earlier that the men who restrain you have swords attached to their hips, which could quickly turn the tide of this unlucky evening. The answer is, how?

"Just you wait, little dear." The King arose from his seat and picked up Leon by the collar of his shirt.

The King was tall; he easily towered over everyone in the room. His raven black hair flowed long down his back, extenuating his gaunt appearance.

It appeared that Leon had also been drugged. His body was limp, and he barely resisted as the King pushed him up and threw him into the arms of guards.

The King cleared his throat, demanding the room's attention to himself. "Good evening, everyone. You all know Leon here; He was incredibly loyal and fearlessly dedicated to our cause. But it's recently come to light that he and his darling little girlfriend are federal agents for the United States military."

The crowd murmured their feelings in disgust. "I know, this is very disheartening. But, I have a fitting punishment for the traitors."

The King dragged on about how he planned on turning you both into vampiric slaves, doomed to a life of servitude. But you couldn't care less. He clearly underestimated you.

You notice Leon begin to come to consciousness. It started with his hands forming into fists and then him rolling his neck from side to side.

He lifted his head, sunken blue eyes meeting yours. You were kneeling on the ground, dress blood-soaked and arms forcefully restrained by guards, all before him, to save him.

Leon's eyes darted to the swords the men beside you adorned, and then they darted back to you. He raised an eyebrow as if asking if you saw what he saw.

Yes— you mouthed the words, and Leon nodded.

"Ahh, you're awake." The King forcefully grabbed Leon's neck, digging his talon-like nails into his skin. "Your time has come, Kennedy."

Leon remained silent in the wake of the King's cruelness.

The King yelled for more guards, and they arrived holding a small box upon a velvet pillow. The King opened the box, taking a sizeable, needled syringe between his fingers.

That's how they're doing it, and Umbrella parasite, of course, You thought to yourself.

The guards holding your arms tightened their grip as the King approached Leon, flicking the serum vial menacingly.

"Let the coronation commence!" The King exclaimed to exuberant cheers.

In a quiet voice, he said to Leon only, "I wasn't planning on the girl being here, but how sweet is it that your lover gets to witness your rebirth?"

Leon scoffed, staring at the King directly, sizing up his foe. "We'll see about that."

The King was unphased as he closed the gap, reaching the needle closer and closer to Leon's neck, and when he was in range, Leon charged his leg and landed a devastating kick to the King's chest.

He went flying back and fell to the ground with wind-knocking ferocity. The syringe skidded across the marble floor, far from the King's grasp.

Before anyone could react, Leon freed himself from the guard's grip, flipping one of them over his shoulder and slamming him to the ground. He kicked in the other guard's kneecap, sending him down instantly. Leon stole both swords from either injured guard and pointed them at the King.

Sweat dripped from Leon's brow, and his skin looked washed out and pale. But he stood tall in the wake of the tyrannical leader. The people around began to stir. Some remained frozen in shock, and some readied themselves for a fight.

This was about to get very ugly, and you needed to break free. With your knees pushed into the ground, it was difficult to maneuver against the guard's strength.

You hastily attempted to drive your elbow into the stomach of one of the guards. He deflected it. But you tried again, aiming for his knee. You landed it this time.

"You bitch," the guard grunted as he stumbled back. The other one grabbed you by your arms, lifting you to your feet and placing you into a headlock.

Leon reacted swiftly by throwing one of his swords in your direction. The guard flinched as the sword propelled through the air, seemingly aimed right at his head.

But, you caught the sword by its hilt and wasted no time driving the blade through the belly of the guard who restrained you. The other guard, who was still reeling from his punched-in knee, was next. It was light work for you as you twisted the blade through his chest.

Leon called for you, requesting your backup as he fought off the vampire spawns. They had Leon surrounded, protecting their King like devoted honey bees.

You axed through the crowd, driving your long sword through the hearts of fresh vamplings. Leon held his own impeccably well. He pushed away hungry fangs with ease, kicking and slicing the hoard.

You joined Leon and pressed your back against his as you fought against the opponents from behind.

Through ribbons of blood, chaos, and murder, you gritted through your teeth, "What's the plan?"

"Kill the King and run," Leon grunted.

"Where to?"

"The cabin."

"You got it; I'll follow your lead." You couldn't hide the smirk that formed across your lips. It felt good to finally be reunited and dishing out justice.

Leon chuckled exasperatedly, "Just stay alive, sweetheart, and we'll all be singing kumbaya later."

part three coming soon xx

!! tag list -> @g4ys0n @elijahsprincess