#this writer has religious trauma

[contrivedchaos]

So I assume for some reason a rather young Emily ends up falling maybe she asked a few questions she shouldn't have and the elders not wanting another Lucifer just decide to get rid of her before she causes problems. Sera tries her best to stop them from removing her and when that fails tries to jump after her but can't she as High Seraphim has her soul owned by heaven so she can't leave when she tries something like husks chains show up and stop her. Sera desperate and scared for Emily decides to contact Carmilla her ex. They broke up over because they were on different sides when Lucifer rebelled and it was a messy break up both believed very strongly in what side they were on and using paradise lost maybe both were involved in the fighting. Even if Carmilla didn't end up in hell after Lucifer lost they probably wouldn't have gotten back together in the aftermath. But Sera is desperate and with no other choices so she contacts Carmilla and after some arguing explains everything and begs Carmilla to take care of Emily she agrees not for Sera but because she doesn't want someone else to suffer because of heaven's injustice she is still bitter. So she takes Emily in and raises her as one of her own. She and Sera stay civil for Emily's sake since Sera calls everyonce and while to see how she's doing and tell her she loves her. Both of their hatred slowly starts to die down over time.

I see a lot of speculative art and fanfic where Emily ends up falling because she tries to support Charlie. I hope that's not the case.

In this specific scenario, Carmilla would still be bitter in the beginning. Her old lover coming out of nowhere to beg for Emily's sanctuary? It's preposterous. She doesn't owe her anything. Carmilla probably feels no obligation at first. Probably hasn't talked to Sera in hundreds or thousands of years; that's been Lucifer's job, to keep the lines with Heaven open and keep them sated. But the fact that Sera is coming to her specifically this time, before even getting Luci involved, telling her she tried to follow Em but couldn't because Heaven has her in its chains, Carmilla can tell she really means it. Can hear the fear and anguish in her voice. She agrees for Emily's sake.

I like to think she'd take Emily under her proverbial wing like she did Vaggie. Eventually, she helps Emily grow back her wings. Emily learns to fight with angelic weapons and defend herself. Maybe Vaggie and Charlie mentor her, and when she's no longer in shock and has overcome some of the trauma of her fall, she moves into the hotel to help rehabilitate sinners.

I'm not sure if she would ever want to go back to Heaven after everything they've done, but eventually when they realize Sinners can be redeemed, things start to change for the better, and she can reunite with Sera again.

[austin-friars]

Short Story Snippet - Of Natural Sin

A conversation in 1542, between a soon to be married woman, and her friend and priest - who is gay and a bastard.

[bellamygate]

the thing that gets me abt religious ppl is they'll demand u respect their religion & that religion hating your existence but they won't respect ur right to be like yea my belief says god isn't real so thats a dumb reason for hating other people or ye ok then ur god is homophobic thats kinda shitty they go APESHIT like. it goes both ways? like they can say i hate gay ppl bc of my religion but when a gay person says well i dont respect that religion bc it doesnt respect me its ww3. I'm not walking on eggshells for people who are too quick to condemn me to hell

[yellowocaballero]

I love how your Bruce is traditional but it is also like a mix of different types of traditional. Like he comes across as both "Rich white old money type" traditional AND "member of a marginalized minority group who take great pride in their identity to cope with years of ostracization and going "the world wanted me dead for my culture and religion so i might as well die loud and proud instead of conforming to their unachievable ideals" " traditional

Thank you for this ask, I really love it! I have a shitton to say on this topic, including a lot of worldbuilding decisions on Gotham cultures, immigrant spaces, segregation, how it ended up like 1920s-1930s NYC/Chicago mixed with my own city, Jason "Foil" Todd's Inferiority Complex, but that would make this depressingly long. Long time readers would know that I have, like, really complex and discrete religion headcanons for everybody I write. It's important.

Any decent Batman Story (TM) is about Gotham. It has to be a huge presence. It's like writing Dick Tracy without Chicago, or Cheers without Boston. When he's written well, Batman is a reflection of Gotham, and they metaphorically represent each other.

Most Batman writers get this, so there's always a lot of historical worldbuilding and everything. But I'm a community health person, and I grew up in the inner area of my own very large city, and creating a Gotham that feels real and rich is more complicated than the Court of Owls stuff. For me, cities are the intersection of culture, community, history, oppression/SES/war etc, and the modern day to day lives of people. When I want to make a rich city that was relevant and important to the story, I wanted to focus on immigrants and cultural minorities. You know - the people who create the cities lol. I decided on a history that involved the idea that Jewish families were the oldest in Gotham, and that they were one of the people to help create it and influence its culture.

I read a Daniel Handler quote just now that said "there is something naturally Jewish about unending misery". What is more Batman, Bruce, and Gotham than that, lol. The Jewish diaspora experience - the traditional history just as you outlined it in your ask - is baked into Gotham, it's the foundation. Gotham is a city of unending misery, but it's a city that stands tall. It takes a thousand hits and always gets back up again. People within it experience unending poverty and suffering, but they stand together. Just fucking refuse to die, as a whole. What's more Jewish than that! What is more Batman than that! Gotham should always be allegorical for Batman and Bruce, and through Gotham existing in that traditional Jewish experience, I think that's where you got the impression of Bruce as very traditional too.

Tim and the Drakes are the modern reflection of this. I was extremely explicit that Tim is alone in the world because of the Holocaust. I talk a lot in the story about how war and violence destroy children's lives, and that stretches back to the 1940s. About how war and violence creates violent children, which is what Tim became. His acting out was from the trauma of seeing his family slaughtered in front of him, and like a lot of people he used his religion to justify it.

There's a reason why the very first moment when Tim and Bruce actually connect as a family is when they find kinship and understanding through their shared backgrounds and values. They both saw their families slaughtered, they're both alone in the world - but they found each other, and they'll keep living.

OK BELIEVE IT OR NOT THAT'S THE SHORT VERSION. Seriously, though, I'm not. Uh. Actually fucking Jewish. This is like the fourth time I've talked out of my ass about this. I'm actually really interested in reading about the actual Jewish themes in Batman, because from what little I know they HAVE to be there. Any smart people out there who know about it, or who can link something written about it?

[glimmeringtwilight]

Also re: gilded cage series... i think if I ever do write a part 4 they will be getting along Somewhat but for now I like the thought of them bitching at eachother. Pantalone and Dottore being petty towards eachother is my favorite dynamic and I hope that's how they actually act (if at least to a degree). Harbinger pettiness ...❤️🌟

[itsfennikbitches]

idk if anyone listens to crystal castles but it feels like re realizing your religious trauma and not really being able to decide whether or not you’re aetheist because you grew up with religion so you still fear higher powers and long to achieve heaven but on the other hand it’s crippling to think about praying or the fact that we live just running away from hell

[28ratsinatrenchcoat]

ooooh I love using religious guilt to help tell a story

[etchingsandepitaphs]

perhaps i will have a slutty little mental breakdown before my date tonight. as a treat.

[silhouettecrow]

365 Days of Writing Prompts: Day 156

Adjective: Twisted

Noun: Church

Definitions for those who need/want them:

Twisted: forced out of its natural or proper shape, or crumpled; (of a joint) injured by wrenching, or sprained; (of a personality or a way of thinking) unpleasantly or unhealthy abnormal, or warped

Church: a building used for public Christian worship; a particular Christian organization, typically one with its own clergy, buildings, and distinctive doctrines; the hierarchy of clergy of a Christian organization, especially the Roman Catholic Church or the Church of England; institutionalized religion as a political or social force

[spidermanifested]

another black sails fantheory ive seen around a lot is that silver is jewish, usually specifically sephardic, but despite its prevalence i havent been able to find anybodys actual thesis statements about it. so if there are Essays out there (especially by somebody with more historical-slash-judaism knowledge than i with my meager wiki-crawls) i would love Links

however once again ive pondered a bunch of the stuff ive noticed personally, about mr john "if thats even your real name" silver. and honestly at this point id be kind of surprised if it Wasnt the actual context the writers shaped his character around. everything just seems to come together really neatly

hes impressively literate for his circumstances/time period, and really good at quickly memorizing large amounts of text. a solid religious education could very well explain this

specifically– and this is one of the things that feels like a huge bit of intentional subtext to me– the scene where hes hiding with the lepers and memorizing the urca schedule REALLY seems to evoke someone reading scripture under a prayer shawl

not only does he not know how to cook pork, but does not even seem to know what pork looks like when finished cooking

the pretext flint used to get his crew to hunt down the hamiltons' ship was that it was carrying sephardic riches. this is a completely throwaway detail we learn secondhand, in a story where there are very, very few completely throwaway details

silver speaks at least some spanish. this comes up Once and goes totally unquestioned by everyone around him, likely because they think he just picked it up as a sailor. he almost certainly has not been at sea long enough for this to be the case. speaking ladino as a first language on the other hand would give him a huge leg up (so to speak.) in that department

further point. around the time period of the show, the biggest sephardic community in the world lived in thessaloniki in modern-day greece. it was:

a) one of the most major seaports in the ottoman empire

b) a famous center for learning, which boasted 100% literacy of its jewish population

and c) despite its long and prosperous history under ottoman rule, beginning to decline along with the rest of the empire, for many interconnected reasons, including but not limited to: Problems With the Governments Handling of the Textile Industry (where have we heard that before)

lotta unrest. religious schisms and doomsday prophecies. reactionary groups of overempowered soldiers attacking civilians for stress relief (again. where have we heard that before). people, unsurprisingly, started leaving

so if you did want, against john silvers express wishes. to theorize a backstory for a surprisingly educated stowaway of Mystery Origin, who has Mystery Trauma and doesnt want anybody to know who he is or where he comes from, and which would give a new level of relevance to all the greek stuff that permeates the show (down to the actual name of the thing!), along with containing parallels to several other backstories and events in the show proper,

Well this one make sense i think 👍

[thechaoticcherub]

Cherub

Pairing: Priest!Joel Miller x reader

Summary: Reader is a student teacher at the Catholic nursery school attached to the church she attended growing up. While becoming disillusioned with being a teacher she runs into the church's priest that she has known since he taught her confirmation classes.

Warnings: 18+ please, large age gap, power dynamics, dubcon(?), priests, catholicism, lots of religious imagery, i mean i am GOING TO HELL, blatant blasphemy, violation of holy spaces, joel is a PERVERT, some mentions of him being interested in reader as a underage teenager(no actual underage anything), masturbation, sexual shame, humiliation, embarrassment, innocence kink, virgin reader, fingering, unprotected penetrative sex, light choking(not even really choking), rough sex, pussy pronouns, no use of y/n, religious trauma, i really gotta underscore how much I violate holy things from christianity, smoking, cigarettes, cum play, lots of pet names, no daddy kink but lots of calling him Father

Notes: Okay please bless me lord for I have SINNED. this is FILTH even thought there isn't like constant smut it might be the dirtiest thing i've written? I'm so sorry to Catholics everywhere. And I'm sorry if I fucked up terminology. I tried to do lots of research but you know, liturgical shit is hard to understand. also yeah, i get how much this is more writer insert than reader considering the title. Ahem. I'm sorry this is again not really edited or beta read. sorry. Well I hope you enjoy!

OH! also: I have a playlist for this if anyone would be interested, let me know!

Word Count: 6.4 K

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It had been a long week at Holy Trinity Catholic Nursery School and you were exhausted, when you had first started your student teaching unit you had been beyond excited to be back at the church you grew up going to. You were familiar with the facilities including the big, beautiful sanctuary and the priest who still presided over the Parish was the priest who had done confirmation with you. Father Joel Miller had always been a slightly off-beat, interesting, yet intimidating choice for priest of a Catholic church. He was known for smoking Marlboro Reds in his office, having a scruffy unshaven face, giving short homilies in his gruff Texan accent and seeming more like a cowboy than a priest. 

There was something about him though that had always sent a shiver down your spine. You couldn’t tell if it was a good shiver, or something sinister. He was handsome, that was a known fact around the church when you were growing up, the other girls in your confirmation class giggled about it and  even now your co-workers at the nursery school often made jokes or teasing comments to each other. He had to be in his mid-fifties now with greying stubble and hair and lines around his eyes and forehead but yes, you did still find him attractive, but it didn’t shake the sense that your tingling sense of something might not have been entirely positive. 

Maybe it was the simple fact that his eyes always had lingered on you for longer than you felt necessary. Even when you were a young teenager in his confirmation classes, learning prayers, handing in your sermon notes, sitting in mass every Sunday, you felt his eyes on you. You never understood what it was about you that made him look for so long but he had. Now that you were working on becoming a teacher like you had always hoped, you found that when he came to visit the classrooms, he spent his time asking you questions about the classroom instead of the lead teachers. That was easy to brush off as maybe he felt like he was helping you learn, but when you brought the children to the main church for their daily prayers his eyes would spark on you and he would come to you first when he gave a blessing to everyone. His hand resting on your forehead as he spoke his short blessing before drawing the sign of the cross on your forehead with his thumb, his eyes stuck on yours as if he would never look away. Eventually he always did, moving on to each individual child and adult from your classroom, but he didn’t linger with any of them the way he lingered with you. 

Now, as the day was coming to a close you had snuck away from the classroom to try and escape the exhaustion that was working with children day in and day out. You had always wanted to be a Nursery school teacher but now that you were experiencing a classroom you understood why burnout was so common. You had made up a bad excuse and snuck down the cool hallway, away from the school portion of the building,  to the candle lit nave, you weaved your way through the pews over to the side aisle lined with stone arches. You took a pack of cigarettes out of the pocket of the cutesy dress you wore because of your ridiculous desire to be the next Ms Frizzle. In your opinion, just under the arches to the side of the pews was the best place to sneak away to and smoke without being in too much danger of being caught. The incense that was regularly burned covered up most of the smell, you could enjoy the view of the sanctuary and the altar while you smoked and it was usually deserted. You tucked yourself under one of the arches, your back pressed into the cool stone and lit up. Taking a long inhale you relished in the fact that you weren’t surrounded by screaming preschoolers. It was allowing yourself these couple minutes away from the chaos of the end of the day that made this week bearable. You smoked and tapped the ash off onto the stone floor, rubbing it into the cracks with your foot as you went. 

“You ain’t sposed to be smokin’ in here, young lady.” The voice came from a few yards away by the priest’s door that opened into the sanctuary by the altar, you jumped and turned to face the man whose voice it was. Father Miller was watching you as he walked across the sanctuary, first past the altar and then the pulpit and down through the central gap between the altar rails. You felt frozen in place, you had smoked here multiple times and no one had ever come in and of course now, it was Father Miller who had found you here. He stood in front of the first pew and crossed his arms over his chest, still watching you. 

“Shit,” you said, unsure of what to do with the lit cigarette. Usually when you were done smoking you’d put it out on the floor and rub out the mark and shove the butt into the pack to get rid of later. Now he was there and the smoke from your cigarette filtered up above you, curling against the stone arch and then dispersing. 

“Got a fresh mouth on you too,” He added with a laugh. “Never knew that about you before,” he crossed in front of the pew, walking towards you. You felt like a small animal caught in a trap and he was some kind of giant predator stalking towards you. He was wearing all black, his shirtsleeves were rolled up and his clerical collar was bright white against the black of the shirt. 

“I’m sorry, Father, I…didn’t think-” You broke off because really you didn’t think you would be caught, not that you didn’t think it would be a problem or anything. Joel’s eyes widened a little as he waited for you to finish your sentence, he turned at the end of the pew to walk along the side aisle to the first arch where you were still trapped. His finger grazed alone the  wood of the pew, 

“You didn’t think…?” He prompted when your voice faltered. You shrugged, 

“I don’t have an excuse, Father.” You admitted. Father Miller walked right up to you in your alcove that you thought would be so secret and stood in front of you. You remembered how intimidated by him you had always been, suddenly you felt fifteen again, having to recite scripture and prayers correctly in your weekly confirmation classes. Your heart thudded in your chest as he looked down at you, he was tall, broad and as he stood so close to you, popping any sort of personal space bubble you thought you had, you realized you could smell him. Tobacco, cool mint, fresh sweat and then underneath it all, an acrid heat, almost metallic. It mingled into something not unpleasant but it did mean he was too close. 

“Go ahead and smoke that, kid.” Joel’s eyes moved from yours down towards the cigarette dangling in your fingers and he nodded slowly, encouraging you. 

“I-I shouldn’t…” You stuttered, still looking up at him, almost transfixed on his face, still frozen there half with fear, half just trapped in his gaze. 

“No, you shouldn’t…but you already are, cherub, may as well finish.” Joel said and you watched as a sly smirk lifted the corner of his mouth. Cherub. Not typically did a priest use any sort of nickname for a parishioner, let alone a pet name like that. If anything they would say “my child” if in confession. Cherub sent that familiar shiver down your spine, a memory surfaced of that word on his lips years before. It had been to you then too,

“Say a hail mary and you will be absolved, cherub.” You must have confessed something to him or done something wrong in class.  Your heart sped at the memory and your eyes flicked up to meet his. He was telling you to smoke, daring you to and there was no reason not to anymore. It wasn’t like he didn’t smoke in the church, Mr. Marlboro Reds in his office. So you held his gaze as best you could and lifted the cigarette back to your lips and inhaled. You blew the smoke away from him and he watched you, like he had so many times before. 

“Aint you supposed to be with the kids?” He asked, still standing to close, his scent still wafting over you, still just watching you smoke. 

“Yes,” You said softly, “But I needed…a minute away,” You didn’t even want to admit how much you needed to get away from your job, your responsibilities but the words spilled out of you before you could stop them. You hurriedly brought the cigarette up to your lips again, as if to silence yourself.

“A minute away…” Joel repeated, “To pray?” He asked, his voice mocked you because even though you were in the church, you weren’t lighting a candle or on your knees asking for peace. You were smoking and feeling bad for yourself. You started to shake your head, the cigarette dangling from your lips now, before you could even complete the motion his hand was on your chin, halting your movement.  His thick thumb dug into one side of your jaw, his pointer finger curled down the other side. Breath, and all thought was knocked out of you. All you could do was look up at the chiseled face above you.  There was grey in the scruff on his cheeks and peppering his mustache and  his chin was tilted up as his eyes looked down on you, examining your face. The old priest shouldn’t have been touching you like this, you knew that but your feet wouldn’t work, your stomach twisted and the shiver running up and down your spine still couldn’t make up its mind about whether it was a good shiver or a bad shiver. “I think you need’ta get on your knees to pray more often,” his voice had lowered slightly but the gruff resonance in it was enough to shake you. You thought for a half second he was about to force your to your knees now but instead he reached up with his other hand and plucked the dangling cigarette from your lips. He put it into his mouth, inhaled and then removed it, taking a step away from you,

“Thanks, cherub.” he said and then he turned on his  nice leather shoes and walked back up through the pews. 

+

You didn’t return to the church to smoke again. You did tell yourself you would go to mass more often. The thoughts you were having about that evening were completely unholy, and you needed to force them out of your mind. You needed to take the Eucharist and try and heal yourself from these sins of the flesh. For the first time in a long time you had been tempted, really tempted to do something you knew was wrong. When you were young you had touched yourself plenty but as you got older you became more and more disgusted by your actions and resisted it, knowing self love was sinful, but that interaction with Father Joel Miller had you thinking things that made your body heat up. The crawling shiver up your spine had been a warning, a warning about feelings that had bubbled up in your tummy and how it would be so easy for those feelings, those desires, wants, needs to take over. It was your own dirty mind that was allowing you to believe it was because of Father Joel looking at you that you got that creeping sensation. He was a priest, a little bit of an unorthodox priest, but a priest nonetheless and you were allowing dirty thoughts to change your opinion of him. So going to mass was a good idea. 

You didn’t allow yourself to look at Father Miller during the service on Sunday, but his gruff voice speaking his homily reminded you vividly of the way he said “cherub”. The way he had told you that you needed to “get on your knees to pray.” You could barely pay attention to his words because simply his voice, that resounding, husky voice did something to you and warmth pooled deep in your belly. It felt like there was a persistent drip of warmth sliding lower down, lower to that place that remained mostly unexplored by you, by anyone. All because of his voice.

You felt like it vibrated through the floor of the church and up into your pew, making you pulse with your disgusting desires.

You kept your eyes down, on your hymnal, refusing to look up at Father Miller because there was a quiet part of you, in the back of your mind, that told you if you looked at him, you’d be meeting his gaze. That would do absolutely nothing to help control that heat that was pooling inside of you. 

When you stood to go to the altar rails and receive the eucharist your legs were wobbly, damn this weakness. There was no reason to sexualize Father Miller’s kindness to you. He hadn’t gotten you in trouble for smoking in the church and in return you were allowing these debased thoughts to happen to you in church on your way to receive the very body and blood of Christ. While you walked up the aisle, the crucifix directly in front of you, a statue of the Virgin Mary staring into your soul, you could feel that drip of heat wetting your underwear. You tried your hardest to tell yourself it was nothing, it was just natural discharge, not what you knew it to be, your body’s reaction to Father Miller’s voice as he spoke holy words, prayers and talked of repentance during his Homily.

At the altar rail you knelt down on the cushion and clasped your hands in front of you to pray while you waited for your turn to receive communion.  You knew you would have to look at Father Miller while he gave you the body of Christ but you were scared, you had forced yourself to avoid looking at him all throughout mass, you hadn’t met his gaze when you knew he was looking at you and you told yourself time and time again that his gaze meant nothing. But your attempts to curb your desires had been in vain something about his voice, about the memories of his hand on your chin, his body so close to you, his smell had caused you to leak arousal into your underwear. Your labia felt swollen against the tight cotton and you were ashamed to be kneeling in church like this, your face was burning much like you would be if you were to be struck down dead right now. You could hear him approaching, speaking to each parishioner as he placed the body of Christ on their tongue and blessed them. You would have to look up at him shortly, your eyes would have to meet his, you would have to take in that face that had been haunting you while he spoke his blessing to you. He was on the person to your right and now was the time to tilt your head up, you almost didn’t but as he moved over, you knew your place as a good Catholic and you looked up at your priest. 

He was just as entrancing as he always had been, in off white vestments with gold stitching, his greying hair pushed back away from his face, a little long in the back, curling around his neck and his eyes, dark and hungry, staring down at you. Your vagina clenched around nothing and you burned with shame and the memory of his big hand at your chin and jaw. 

Your eyes locked onto his and his gaze held yours, refusing to let you go, there was no choice in the matter, you would gaze up into his eyes until the end of time if he wanted it. He held the body of Christ out to you, your head upturned. At the time you didn’t understand just how reverent you looked, all you could think of was him and the vague worry that your juices might have been dripping down your leg. 

“The body of Christ,” Father Miller’s voice changed ever so slightly when he spoke the words to you. You had been listening the whole time you had been kneeling and now his voice had lost the monotone pitch he had had. There was a lilt in his voice that was only for you. 

“Amen,” You said, you opened your mouth, your tongue very slightly pushed out, resting on the edge of your bottom lip, your eyes still captured in his gaze. Something blazed there, behind his eyes and despite the heat in your cheeks and the heat that was making your wet and swollen vulva pulse with a need you had never felt before, that familiar shiver crawled up your spine. Joel placed the body of Christ on your tongue and maybe you imagined it, maybe it was a split second that felt like it stretched into eternity but you could have sworn the tip of his finger grazed the side of your tongue as he took his hand away. That tiniest touch of his thick, calloused finger against an intimate and sensitive part of yourself made your brow briefly furrow and that deep clench of your sex to take over your body again. You closed your mouth around the wafer that you believed to be the actual flesh of your Savior and your gaze remained on the man granting you that sacrament. You watched his lip twitch ever so slightly as, without taking those dark, burning brown eyes form yours, he took the chalice he was handed and held it before you. 

“The blood of Christ,” he said, you could hear that lilt again, like he was mocking not only you but God himself as he held that chalice out. 

“Amen,” you said and he brought the chalice to your mouth, tilting it back while cupping his hand under your chin in case it spilled over. The proximity of his hand to your chin buzzed something in you. Your eyes remained on him and his eyebrows raised slightly as he fed you the Blood of Christ. When he removed the chalice from your lips, a droplet of the wine dribbled out of the corner of your mouth. You were about to reach up and wipe it when his thumb beat you to it. In one quick motion, he swiped it away, the calloused thumb leaving a trail of heat on your face. You felt him tear his eyes away from you like a punch to the gut and you knew you had to continue on. You made the sign of the cross on yourself, collected every ounce of strength you had and got up from the altar rail. You could feel your slick soaking your underwear, and wetting your thighs as you walked. You knew you had to beg for forgiveness and the only place to do that was Confession. 

+

You knew you had to confess. You hadn’t been able to resist your carnal desires, once you had returned to your apartment after mass on Sunday you had tried your hardest to relieve that mounting pressure between your thighs. You had delicately stroked your folds and experimented with pace and tried to find a rhythm that would relieve you but as if as punishment, you couldn’t. Now, you needed to confess and to make matters worse, the only person you could confess to was Father Miller. You came to confession on a Friday night after school had let out. The hours for confession were set and you knew he would be in the confessional, waiting for perishoners.

Friday was usually silent at the church, the staff had left for the weekend and most people didn’t confess on a Friday. You walked into the church  and down the side aisle to where the confessional was. It was tucked into the side aisle just in front of the very altar rail you had knelt at and drenched your underwear earlier in the week. Your cheeks were bright red as you stepped into the booth and knelt down in front of the partition, there was a screen between you and him but you knew he was there. The smell of him lingered all around you. Tobacco, mint and the acrid metallic scent…what could that be? If you had to guess you’d say gunpowder but that made no sense to you. Your body reacted to his scent as if you were being touched by him again, your body clenched and your heart skipped a beat. 

“Forgive me Father, for I have sinned. My last confession was…” You actually had to think about it for a moment, you had confessed at your church in college but that was over a year ago…was that the last time you had confessed? “Over a year ago,” You mumbled. You paused, unsure if you should just start or if he would say something else. 

“What are your sins, Cherub?” He knew it was you. He’d never say that to someone else. It would have been, “My child”. But no, cherub. You were taken aback by this breach in protocol and you didn’t speak for so long he cleared his throat, “We ain’t gettin’ any younger.” He said. “And your sins aint any closer to absolved,” You needed to speak and speak now, to get all this off of your chest so you could lay it to rest and forget it. 

“I’ve…been plagued with unholy desires, Father.” You said. You could hear him shift in the box next to you and you leaned your head forward, your forehead pressed to the screen separating you. “I’ve been having these intense…” Embarrassment made your cheeks flush, you fiddled with the hem of the skirt you wore today and you knew you had to keep going, “Sexual fantasies,” You blurted it out and you heard him let out a long, slow breath. “I can’t stop them but the thoughts are so intense…and wrong,” You said. You listened to his breathing while your own breathing quickened because the heady scent of him was doing something to you again. Your knees were aching from where they were pressed into the kneeler and your whole body felt tight and tense. 

“You been actin’ on these…fantasies?” He asked. Acting on them? Did an aborted masturbation attempt count as acting on them? In the eyes of the Lord, yes. You needed to admit it to him. 

“Yes, Father…I…I believe I have.” You said it even as you could feel that blooming, dripping heat fill your belly. 

“You believe you have, huh?” He asked, that mocking lilt colored his voice and another shiver crawled up your spine. While the shiver might have been caused by something unholy, it certainly was a good shiver. 

“I’ve touched myself because of these fantasies,” You admitted softly, your fingers still twisting the end of your skirt. “I was never able to…finish but it’s still a sin.” You told him taking a deep breath through your nose, you wondered if he was leaning in towards the screen too. You pulled your head back to look,  you could see bits of him through the latticed wood that created the screen that was supposedly there to protect anonymity.  

“Yea, Cherub, it sure is a sin.” He spoke and the words, his voice was like an injection of heat straight to your core. You had already practically leaked all over the altar rails at communion but now you were going to drip down your thighs in confession. “And I know what your penance should be,” he said. You let out a relieved breath, maybe if you did the penance you would be absolved and God would take the lust from your body. 

“Yes, Father. What should I do?” You asked. You heard Joel lean forward now, his voice was closer to the screen and the seat he was on creaked slightly. 

“You gotta reach your fingers under your skirt and touch yourself again, right here, right now.” His low voice sounded even more gravely than usual and the words burned through you. 

“F-Father?” You questioned, unsure if this could be possible. Your brain was already addled with lust, and this felt wrong but the temptation was so strong. 

“The only way we can absolve you of these sins is to complete them.” He insisted and you knew how wrong he was. Those shivers you felt were warnings of him. But how could you resist this? His voice was like a drug and that scent and the way you remembered the feeling of his fingers on your jaw, the pad of his thumb on your chin at communion, the ridge of his finger on the side of your tongue. “I want you to tell me just how wet you are, kneeling there before God,” Joel’s voice came to you through your lust filled fog and before you could think further you reached your hand up under your skirt and into your underwear. Your fingers immediately slipped over your soaked lips and you let out a gasp at the realization you had been soaking your underwear during the entirety of the confession. 

“Father, it’s…so wet.” You gasped, you heard movement again from his side of the confessional, the rustle of clothing and maybe the clinking of a belt being adjusted. 

“Get those knees nice and wide and stroke your lips for me,” Father Miller said, and you knew he was close to you leaned into the wood lattice screen. You could practically feel his breath. You did as you were told, kneeling a little wider and stroking your lips. You let out a squeak of pleasure, “Nice n’ slow, darlin’” His voice floated through the screen and your fingers slowly, painfully slow stroked along your puffy lips. 

“Oh God,” The words were ripped from you as the tips of your delicate fingers grazed your clitorus and your whole body throbbed. 

“Jus’ your lips, pretty girl, don’t touch that clit of yours.” The filth words coming from your priest's mouth only spurred you on. You wanted to ignore him and touch your clit again, but how had he known you had touched it in the first place? “Stroke down to your hole, cherub,” it was horribly disgusting and lewd to hear him talk like that but it still stoked a terrible fire inside you. You reached your hand farther down, sinking your butt back towards your feet as you knelt. Your finger found your entrance, the source of your wetness and you found yourself longing to push your finger into yourself. As if he heard your very thought Joel chuckled,

“Dont even think about fingerin’ yourself, little girl.” He said. A moan of desperation that matched any of the vulgarity he had spewed to you fell from your lips. “Tell me, cherub, is that a virgin cunt you’ve got over there? Or is there somethin’ else you need to be confessin’ to your Father?” he asked. Your fingers were tracing a circle around your soaked hole, trying to listen to him and not let your finger enter your body. 

“I’m a virgin, Father. Please…” You didn’t know what you were asking for with that please but it felt appropriate. Once you said that, there was a rush of movement and then the door to your side of the confessional was thrown open and Father Miller stood in front of you. You nearly toppled over from where you were kneeling, your hand still shoved into  your underwear.  He made a tsking sound, 

“Oh my little Virgin Mary,” his voice crawled up your spine like the shiver. “I’ve always known you were my good girl,” He reached down to where you were kneeling and wrapped his arm around your upper arm, pulling you up to stand. You gasped and he pulled you out of the confessional, his body moving your weight like it was nothing. His hand tightened on your arm as he pulled you into his body and then it dropped to around your waist and his mouth was on yours, kissing you. It was anything but a chaste kiss, his tongue lavished your mouth, circling yours while his arms wrapped around your waist keeping you locked against his broad, strong body.  When he pulled away from you, you were gasping for breath and he let out a dark chuckle

“Oh, I am going to eat you up, Cherub.” It was a threat, but it made you pulse with need. Joel took your upper arms in his hands again, fingers digging in, “Let’s pray,” he said and he started to pull you over a few feet to the altar rail. In a sharp movement he pushed you down, bent at the waist over the rail, your feet pressed into the kneeler, you squealed in surprise, 

“Father!” You managed to squeak out.

“Let’s see this pretty cunt that’s causin’ you such problems, sweetheart.” Joel growled and with one hand shoved your skirt up and then ripped your undies down, exposing your soaked pussy to him. You whimper in shame and embarrassment. You were so close to the holy altar, staring up at the crucifix while your most private part was exposed to Father Joel Miller. He let out a laugh, as his hand came up to your ass, he grabbed the meat of it, digging his fingers in and spreading it enough to expose more of your pussy to him. 

“Ohhh there she is,” He breathed, he let out a low whistle, “So swollen, so wet.” The fingers of his other hand stroked down your wet lips and in response you spread your legs a little more. “Is that what you want, Cherub?” he asked. You nodded vigorously, completely lost in lust. Joel stroked along your lips up to your clit and he started to flick slow circles around it. Your moans started to echo as he worked you up. “That’s it, enjoy that sin, darlin,” he breathed, leaning over your back to whisper into your ear. You could feel his black button up pressed into your back while his fingers continued to circle around your clit, sending burning pleasure coursing through you. 

“P-please!” You begged, letting yourself go completely to the need for more. “God! Please!” You cried. 

“Please, what?” Joel asked into your ear, you could feel his stubble and mustache against your ear. His scent washed over you, intoxicating you further. 

“Please, I want you inside of me, Father!” You cried, you hadn’t even realized that was what you would say when you opened your mouth but it came tumbling out anyway. His fingers moved from your clit to your entrance where you were clenching on nothing, your cunt was begging for it regardless of what you said. His middle finger circled around your hole, not entering you but noticing how tight you were. Joel pulled back enough to look down at your pussy again, 

“You want me inside of your virgin pussy?” He asked, You nodded before letting your head hang down in shame, the shame of how much you needed it and how much you were willing to sacrifice for it. The temptation of him had been too much. You could feel his eyes on your fluttering sex while he started to ease his finger inside of you. He rocked his finger inside of you and you pressed yourself back against him. 

“Oh cherub, I can see that you’re a virgin.” He said, those greedy, dark eyes on you, still, even now, sending shivers up your spine. His finger had barely made it halfway inside of you when he tugged his finger away. You gasped at the loss and pressed yourself back towards him. 

“Father! No! Please!” You whined, wiggling your hips. 

“If your virginity is gunna be mine, I sure as hell am gunna take it with my cock.” Joel’s molten voice sizzled inside of you and the realization washed over you that you weren’t going to try to stop him, and you were about to be filled with his cock right here in the middle of the church. You heard the buckle of his belt and the shift of clothes, still leaned over the altar railing, legs spread wide, ready to for him to fully know you. 

Joel watched your pussy as he notched his thick cock against your hole, your inner lips were parting for him waiting for your cunt to accept him. 

“Joel,” you gasped his name for the first time as you fully understood what was about to happen. “Is it going to hurt?”You asked. 

“Well it ain’t goin’ to be a walk in the park at first, Cherub.” He said, and you could feel how thick his cock head felt at your entrance“But I think she’ll open up for me,” his voice had that mocking lilt to it again. Before you could say anything else he had started to push into you and the stretch was so much that the breath was completely knocked out of you. You lurched forward as his hips rocked into you. 

“Oh, that looks so good…pretty cunt splittin’ open for me.” He said and you knew he was watching the place where your bodies connected. He pressed himself forward again, forcing his way inside of you, making a spot for his thick cock in your tight hole. You let out a whine and he gripped your hips tugging you back more. “Atta girl, you’re takin’ my cock so well. This pussy was made for me, wasn’t it?” he asked and all you could manage was a garbled moan in response. It did hurt some as he continued to ease himself in inch by thick inch but you were also completely drenched with slick that it was decently quick work to ease you open. 

“Father! Oh, its…so big!” You pressed your hips back, hoping to open yourself more to him. When he was fully sheathed inside of you, he was still for so long that you felt like you might go crazy with the need for friction. “Please…father…fuck me.” You gasped and that seemed to spur Joel on, he started to pull his cock back before shoving it back in, setting a brutal pace. Joels breath started to grow ragged with his own pleasure,

“Is that what you want, little girl?” He asked as his hips snapped forward to fill you over and over. “You want my cock to fuck you?” He asked. You nodded, still dazed. 

“I wanna hear you, Cherub. Confess to me, what do you want?” Joel bent forward over you, one hand snaking around you and grabbing your throat , fingers pressing into your jaw.  You moaned, unable to form a proper sentence as he pulled you back by your neck, making you look up at the altar in front of you. “Come on, let‘s hear that confession,” he said as his cock ruthlessly pummeled against your cervix, splitting you open more and more with each thrust. His other hand, the one not forcing you to look at the image of your savior, trailed down your belly and underneath your skirt. His middle finger found your clit, stroking it in those quick, flicking circles. Your body tensed against the feeling, tightening around his cock. He groaned into your cheek while he held you up with his hand on your neck. “Come on, tell me you want me to fuck your pretty little cunt.” He said. 

“Yes, yes, yes!” You cried, your eyes blurring with tears as you admitted it in front of him, and God all the same. “Yes, I want your cock to fuck me and I want to come!” You cried. 

“You want to come?” He asked, “Is that it, Cherub? You wanna come while confessin’ your sins right here in front of the holy altar?” his voice was strained and you could feel his thrusts becoming messier, harder as he chased his own orgasm. 

“Yes! Father! Please!” his finger stroked across your clit. 

“Come on my cock, Cherub. Let go for me,” He spoke the word into her cheek, your head turned to the side, leaning back into him. Your orgasm burst over you like white light, heat and shivers down your spine. He stroked your clit through it while his hips pumped his thick cock in and out of you, pulling mewls of pleasure out of. Your eyes opened and you watched the statue of the Virgin Mary while his cock pummeled your cervix and he released ropes of his hot spend inside of you. He groaned into your cheek, your body still back against him. Joel’s teeth caught your jaw, biting you briefly. 

As your breathing settled a little, Father Joel Miller pulled himself out of you. You felt his eyes on your completely destroyed pussy and his fingers briefly stroked at your entrance, gathering a generous amount of his sticky come onto his fingers before he lifted your underwear for you, covering you again. 

“Turn around, Cherub.” he instructed and you did, your face burning with the shame of what had just happened. Joel grabbed your jaw with one of his hands, “Open,” he said and you did what you were told, your tongue pressed out just a tiny bit, resting against your bottom lip. He brought the finger coated in his come that had been dripping out of you to your tongue and swiped across it. The salty, heady taste mixed with the scent of Father Joel Miller, Tobacco, mint, fresh sweat and the acrid burning metallic gunpowder smell. Shivers ran up and down your spine as you stood in front of the holy altar, bleary eyed and red cheeked. 

“God the Father of mercies, through the death and resurrection of his Son has reconciled the world to himself and sent the Holy Spirit among us for the forgiveness of sins; through the ministry of the Church may God give you pardon and peace, and I absolve you from your sins in the name of the Father, and of the Son and of the Holy Spirit. Amen.”

[contrivedchaos]

I am imagining Sera trying to talk to Emily via Carmilla but Emily doesn't want too she is still hurt and doesn't trust Sera anymore. Sera keeps trying mostly sending texts or whatever to Carmilla asking telling how Emily is doing and telling her to tell Emily she loves her. Eventually Carmilla talks to Emily about it and tells Emily something along the lines of I can't believe I'm defending Sera and explains that Sera does love her and for all her faults she does care a lot about Emily. Maybe she even tells Emily that Sera tried to fall with Emily but couldn't as she was held back by magic chains. She also tells her how much of a big deal that is because back during Lucifers rebellion she chose Heaven over her friends, and Carmilla her girlfriend and that Sera is incredibly loyal to heaven so for her to without question try to jump after Emily shows how much she cares and that she shouldn't act like Sera doesn't care. This maybe gets Emily to send a message back to Sera letting her know she's fine.

Carmilla, to a frustrated Emily: "You should know by now how nefarious making deals is down here. Well, the same goes for up there. Except in Heaven, they don't do you the courtesy of telling you what the price of owning your soul is going to cost. You don't even have to consent for Heaven to wrap its cold chains around your throat. They weasel and manipulate their way into your heart and then close the lock the moment you give your unquestioning loyalty. Your sister found that out the hard way when she tried to leave."

Emily, surprised: "She did?"

Carmilla: "The moment Heaven decided you weren't worth the cost to rehabilitate, she contacted me begging to help you. There was a time...we...we were very close, once. I hadn't heard the sound of her voice for 2000 years until you were cast out. She didn't even think of her own safety; she just needed to know you would be all right. So I agreed."

Emily: "But why? Why go out of your way? Do that for me?"

Carmilla: "I was one of you, once. I made the choice to disobey, to question that life could be better for Sinners, and it cost me and Lucifer everything. Me and my daughters' safety, as well. So I guess, in a way, I understood how she felt. I understand what it's like to fear for the ones you love. And at the end of it all, I love her...what other choice did I have?"

[papenathys]

What I'm trying to say is, I hate performative and pretentious depth so much. And it's always white authors, especially in the Gothic/dark academia genres. Whatever had to be said has already been said around the late 90s-early 2000s by actually inventive writers, and now white authors are just milking the contemporary fandom fascination with ships like Loustat and Hannigram (that are actually well written and complex in their respective works), stripping them of their essence completely, diluting them to empty hollows like "toxic queerness" and "the intimacy of violence" and "cannibalism as a metaphor for all-consuming desire" with a splash of Catholic imagery and witchcraft and tarot and smut and poetry that is losely marketed as something like "a bloody sumptuous feast of hedonism and queer desire".

It's not even disaffected in a halfhearted way like Donna Tartt, no, every axis of (supposed) oppression milked by these books is 100% serious and self-absorbed. You got the completely unironic Anne Rice and Sylvia Plath and Oscar Wilde worshippers and the tired, FLACCID endless poems about pomegranates and dog metaphors and knives and stigmata like stop stop stop REINVENT RETHINK BE ORIGINAL it's so overdone it's dead it sounds like regurgitated tumblr metaphors it's accumulating flies just stop!!!!!

No wonder we get those tweets fifteen times a day about how "x line sounds like it would be from the Bible but it's actually from tumblr"– followed by a line/quotation that actually sounds exactly like it's from tumblr. STOP overdoing the metaphor to the point of insincerity!!! stop turning once-novel things into edgy marketable words about bloody girlhood and erotic desire and religious passion!!!

And to take a break from negativity, here are a few books I really, really enjoyed that handled a mix of grimdark, gothic, horror and/or queer themes with originality and substance:

**The Wicked and the Willing by Lianyu Tan: a historical sapphic romance set in 1920s Singapore that examines the "Carmilla" vampire motif from a postcolonial lens.

**House of Hunger by Alexis Henderson: a very short, very eerie sapphic gothic romance (?) story, examining race, class and gender discourses through the allegories of vampirism and a centuries-old hunger.

Mexican Gothic by Silva Moreno Garcia: a historical gothic horror story about a 1950s Mexican heiress who discovers the hideous history underlying the family estate of an aristocrat English family; this is a genuinely disturbing but also great work of postcolonial horror (heavy eugenics storyline be warned).

**Providence Girls by Morgan Dante: a Lovecraftian retelling of two women in 1950s New England who discover love while battling the horrors both monstrous, cosmic as well as societal. genuinely beautiful, disturbing and a wonderful exploration of grief in horror.

**Walking Practice by Dolki Min: a shapeshifting alien stranded on earth lures victims via dating apps and seduces people of both genders before killing and consuming them. translated from Korean and a disturbing, funny (but also tragic) and dark satire about trans bodies, queerness in 21st century South Korea, violence and alienation. PLEASE read this.

Tender is the Flesh by Agustina Bazterrica: in an alternate history where ethical cannibalism has been legalized globally, and humans are bred as livestock, a narrator grapples with ethics when he rescues a live female "specimen" from his meat factory. super disturbing, satire of the author's experience under the Argentinian dictatorship.

**Chlorine by Jade Song: a Chinese-American girl in 1990s USA grapples with sapphic crushes, adolescence, trauma, racism and her immigrant identity while taking part in competitive swimming and dreaming of mermaids. absolute fever dream masterpiece of a debut novel combining teenage queer sexuality and body horror, with a narrative that challenges norms of beauty and gender a lá Julia Ducournau films.

(?) Bunny by Mona Awad: psychedelic, colorful, pop neon horror satire about an all-female MFA creative writing cohort at an elite arts college, and the lengths they go through to achieve their literary success, as observed by the outsider loner girl. this was such a direct, targeted and brutal parody of dark academia/ femcel unhinged women books lmfao??? but also witty and disturbing without sounding condescending.

**= explicit LGBTQ rep. there is a question mark before Bunny because it has– neither explicit rep nor queerbait– but a secret third thing, schrödinger's representation.

Also first person to write "let people have fun" should donate 30 dollars to my kofi promptly

[manicpixieyandere]

Gushing Over Magical Girls | Confessions of a Rotten Girl

The Journey of Self Accepting Sexuality and Kink

(Censored a bit because boo Tumblr).

More and more lately we have seen people online going on about how they want no more s*x in media, or at the very least no more pointless s*x in media. But trying to say what should and shouldn't be in a story purely because you deem it pointless completely misses the point. If you pay attention to the stories, you'll see when s*x has a meaning.

Usually it's something like showing how close two characters are, or the lust a certain character feels, and yes sometimes it is just fan service, but there is nothing wrong with that either.

Today we wanted to talk about two semi recent (within the last year) pieces of media that have shown s*x in ways that matter to the story. Those medias would be the manga / anime series: Gushing Over Magical Girls, and the song "Confessions of a Rotten Girl.

Both of these works center on the theme of a school aged girl learning about her own kink and sexual identity and coming to terms with the fact. Their ages are important as middle school to high school is exactly when people tend to start feeling these things (sometimes even younger).

Here is where we are gonna split the works into sections! First up is Gushing Over Magical Girls!

Throughout the story Utena finds out she is a sadist who loves to torture magical girls. At first she is disgusted by herself, thinking she needs to stop.

But the more the series goes on, the more she starts to accept this side of herself.

But the thing is; even though Utena is part of an evil organization and is playing the part, she never fully gives in. She isn't evil. She still supports the magical girls and wants to see them thrive with their La Verità forms. Utena is suspicious of Venalita and plans to work against them if things go south (of course this has yet to be seen as the series is on hiatus).

We think it's really cool to show a character come to terms with their kink and even sexual identity (she only ever plays with girls, just saying) through a story. People get so wrapped up in the "rights" of fictional characters that they forget they are just tools for the writer to tell their story. Both manga and anime are visual mediums, you can't just say what a character is thinking, you need to SHOW it. So the easiest way to do so would be having Utena actually preforming these actions on the magical girls. It also just makes it more interesting and action packed.

On the flip side we have Hatsune Miku from Confessions of a Rotten Girl. With music it isn't a visual medium, and thus the song can get away with sharing the character's thoughts through words and not visuals (although the music video does show the content Miku consumes).

In Miku's case we also have a school aged girl coming to terms with her sexual interests and identity. She also is into bondage but she is really into you guessed it, YAOI. Oh Fujo Miku how we love you.

While Utena's version of demonization is more fictional in the sense of being a villain to the magical girls, Miku's is more grounded in realistic depictions of religious guilt and trauma.

At first Miku is at confession and talks about her interests being temptations and that she is burdened by shame. She even goes as far to say she is eating the forbidden fruit.

As most of you probably know, this refers to Eve in the Garden of Eden eating from The Tree of Knowledge. Christians see this event as a tragedy, the birth of original sin. But look what Miku says:

"Could Eve be our idol? Could she lead us through the light? We'd all be disciples of her lemon driven bite".

This isn't someone upset about the bite, she is PRAISING Eve. To me this reads as a little baby Satanist in the making. If you don't know there are two types of Satanists. The first kind do not believe in Satan but instead see him as a symbol of freedom. The second half share those same beliefs but actually believe in Satan. Satanists do not see Eve eating the fruit as a tragedy, they see it as liberation. They see it as the beginning of free will.

Both Utena and Miku chose to live as their own authentic selves. Neither are really evil, but if people see them that way, then so be it.

[lansangprincess]

What I Want to See in HBH S3!⋆·˚ ༘ *

note that this is a list not to be mistaken as things i expect to see in s3

the introduction of a new trans character !

the introduction of a new character who will have a cutesy and fun lovey storyline for quinni <33

harthony uno reverse card—harper starts to realize she has feelings for ant but is scared to confess bc she's still dealing w her trauma and doesnt want to lose him

ant main storyline !! we find out a lot more about his home life (this is for the bitches w religious trauma, it's me im bitches) and find out what his ethnic background is bc i realized that ive been assuming he's wasian this whole time but it's never actually been said

i miss a parent-child storyline actually (like darren and their dad had in s1). i think quinni would be great for this

chook in jail jfc

sasha home life—could be redemption, could be not. im chill either way, i kinda enjoy getting annoyed at her (just no more ableism pls). if she does get redemption tho could she pls tap into more of her succulent chinese meal, dinussy side like she is so hilarious when she's not being a performative activist lmao

less spider screentime im sorry like hurrayy he's been redeemed but i want to highlight the other characters now

missy&darren storyline. i dont even know what kind of storyline but i just feel like theyd be so entertaining together constantly roasting people

verbally canonizing that ant and harper are queer/pan (established) and spider's demi (new revelation)

ca$h/darren & missy/spider double date could be fun and random. maybe they bump into each other at a carnival or smthn and compete against each other at ring toss idk

another classic hbh mystery to be solved BUT THIS TIME, amerie isn't a main character of it

✧˚ ·the entire main group doing karaoke✧˚ ·

A few more thoughts...

i miss malakai already but i think it would be too narratively convenient for him to come back at the start of the season so i dont want to have any expectations for his (and the amerie/malakai) storyline. imma let the writers take me wherever they want me to go

what i dont want to see is a new love interest for my amerie like i feel bad for the new plot device dressed as a white blond boy that will be tossed away once the amerkai endgame is done cooking

no more darren&quinni angst no more darren&quinni angst no more darren&quinni angst no more darren&quinni angst 😭

what i want to hear in a new season of hbh is some chappell roan like imagine HOT TO GO! playing in hbh it would be amazing

[aquilaofarkham]

Dying Has Never Frightened Us: Intergenerational Trauma, Healing, & the Burden of Legacy in Castlevania

An analytical and interpretation essay that discusses how the concept of family legacy and duty can lead to intergenerational trauma in the Castlevania franchise. Focuses primarily on the Belmont who found strength from his pain by honouring his family’s legacy no matter how heavy it felt or the burden that came with it and the Belmont who found his own strength from the ones he loved and who loved him in return.

☽ Read the full piece here or click the read more for the text only version ☽

THE BURNING NEED FOR RETRIBUTION: INTRODUCTION

The world has trauma. It is deep, collective, spanning its roots over centuries and territories dating back to when the borders of today never existed, and it has largely gone untreated—but not undiscussed.

From children’s cartoons to award winning dramas, trauma has become one of the most common topics for media to discuss, depict, and dissect. It makes sense given the sort of physical and mental gauntlet which society has been through in the past five years. Sometimes even in just the past twenty-four hours. From an uptick in disasters stemming from climate change, the rise of publicised policy brutality, genocide as a result of settler colonisation, new developments coming to light after decades of denial regarding the residential school system in Canada, and of course a global pandemic which is still making ripples. Then there is the recent examination of generational trauma which differs from culture to culture. The open wounds we’ve already left and will be leaving for future age groups.

Seeing how fiction reflects reality and vice versa, it isn’t any wonder that movies, television shows, and video games find ways of processing this worldwide sensation of frustrated ennui along with the need to find answers as to how regular citizens can fix things, including ourselves, when politicians and world leaders cannot. When reality cannot provide satisfying resolutions, when we are left confused and even angrier than before due to the apparent shortcomings of institutions meant to provide relief towards the average person, it’s natural to look towards specific media. Whether for coping mechanisms, validation for this collective and personal trauma, or simply for cathartic release so the emotions don’t have to remain bottled up.

Castlevania , both its original 2017 series and the most recent entry of Castlevania: Nocturne (as well as the video games which the show is inspired by), is no stranger to this popular trend of storytelling and characterisation. Yet this trend also comes with its own controversy. When done with a deft writer’s hand and a layer of empathetic critical thinking, trauma in fiction and how we heal from its intergenerational effects can be a powerful tool in raising awareness in regards to something left forgotten by the larger public or it can allow viewers to look inwards at themselves. Done poorly or with a lack of empathy and taste, then the floodgates open.

But beyond the usual discourse surrounding trauma in fiction (how to portray a “realistic” panic attack, what makes a “good” victim, the problematic connotations of forgiving one’s abuser, etc.), Castlevania has its own things to say about the lingering effects of grief, guilt, and pain over the course of thirty-two episodes (now a fourty episode runtime with the inclusion of Castlevania: Nocturne season one). The series—particularly the first which ran from 2017 to 2021—has now gained a reputation for being one of the darker animated ventures tackling themes of religious corruption, abuse, sexual manipulation, and injustice among many others. The value and thoughtfulness of each depicted theme ranges from being genuinely compelling to delving into mere shock value yet the series is also known for its uplifting ending and cathartic release from such dark themes.

One could write entire dissertations on each complicated character and their developments. From Dracula’s suicidal tendencies as a result of unchecked grief to Isaac’s conflicted redemptive journey beginning with his unflinching loyalty to the king of vampires and ending with him forging down his own path in life. How characters such as Carmilla, consumed by her inner agonies and burning hatred towards the world to the bitter end, was left isolated from her sisters until she was forced to choose the terms of her own death, while others like Alucard, Sypha, and to an extent Hector rose above their individual torments in favour of hope and survival. However, this examination will focus on the series’ titular family of vampire hunters. Namely, the Belmont who found strength from his pain by honouring his family’s legacy no matter how heavy it felt or the burden that came with it and the Belmont who found his own strength from the ones he loved and who loved him in return.

Note: this essay will delve into speculations and purely interpretative hypotheses stemming from the author’s own opinions in regards to how they personally read the presented text. It will also discuss heavy spoilers for the majority of Castlevania games and the first season of Castlevania: Nocturne.

—

WHAT A HORRIBLE NIGHT FOR A CURSE: THE CYCLE OF TRAGEDY IN THE CASTLEVANIA GAMES

This examination begins in the exact same place as the show began with its inspirations and references: the original video games developed and distributed by Konami Group Corporations. It’s easy to get swept up in the notion that because of the technological limitations with video games at the time, the Castlevania games are devoid of story or characterization. Yet even the most bare bones of a story found in the games can still have something to say about the burden of legacy and how trauma left unconfronted has the possibility of tearing down that legacy. The most prominent example being Castlevania: Symphony of the Night , arguably the first game to begin delving into a deeper story and character driven narrative. It follows the events of Castlevania: Rondo of Blood , a game which portrayed its protagonist Richter Belmont as a force of nature in the face of evil, always knowing what to do, what to say, and emerging victorious without so much as breaking a sweat (or candelabra).

In keeping with the time of its release and the landscape of popular media particularly in Japan, Rondo of Blood feels like a traditional 1990s action anime complete with brightly coloured cutscenes and character designs reminiscent of Rumiko Takahashi and Rui Araizumi (despite the usual classic horror elements present in every Castlevania game). This is most evident with Maria Renard, the second playable protagonist who attacks with her own arsenal of magical animals and even has her own upbeat theme music during the credits when players complete the main story in “Maria mode”. Richter also shares many similar personality traits with his counterpart, namely his optimism in the face of danger and the confidence that he will be the hero of this narrative.

Of course all this changed in the direct follow-up to Rondo of Blood , the aforementioned Symphony of the Night . Arguably the new staple of future Castlevania games to come, not only did it change the gameplay and aesthetic, it changed the very core of the characters as well. The game even begins with the same ending as Rondo of Blood where Richter fights and defeats Dracula with the help of Maria. Then during the opening crawl, we discover that during a time skip, Richter has vanished and Maria is searching for him. Surely this will be nothing less than a heroic rescue and the most powerful Belmont of his century will be restored to his rightful pedestal.

Yet for the first half of Symphony of the Night , the player is faced with a sobering realisation—the villain we’re supposed to be fighting, the one responsible for conjuring Dracula’s castle back into existence, is Richter himself. No longer the hero we’ve come to adore and look up to from the previous game. Of course, the player along with new protagonist Alucard both know that something isn’t right; perhaps Richter isn’t in his sound mind or some nefarious force is possessing him to commit evil deeds. But unless the player solves the right puzzles and find the right in-game items, Symphony ends with Alucard putting down Richter like a rabid dog. However, this ending can be avoided and a whole second half of the game is revealed.

Richter’s canonical ending is left ambiguous at best, tragic at worst. He laments over his moment of weakness, claiming the events of the game were his fault despite Alucard’s insistence that confronting Dracula was always going to be inevitable. Still, the tragedy of Richter’s fate and how he is portrayed in Symphony of the Night comes much later, when it’s implied the Belmonts are no longer capable of wielding the fabled Vampire Killer, a leather whip imbued with supernatural properties that has been passed down generation after generation. One mistake and misjudgment left the Belmont legacy in a perpetual long lasting limbo with the titular hunters themselves seemingly disappearing from history as well, leaving others such as the Order of Ecclesia to pick up the fight against Dracula’s eventual resurgence. It isn’t until the height of World War II (the setting of Castlevania: Portrait of Ruin ) when the whip’s true potential is finally set free thanks to the actions of Jonathan Morris, a distant relative of the infamous vampire slaying family. However, the only way in which Jonathan can reawaken the Vampire Killer is by defeating a manifestation of the person who last wielded it and also whom the whip abandoned nearly two hundred years prior—Richter Belmont.

Yet players and fans don’t get to see it in the hands of another Belmont until the events of 1999 when Julius Belmont defeats the latest incarnation of Dracula and seals his castle away in a solar eclipse. Even then, he loses his memory until thirty years pass and he’s forced to do battle with Soma Cruz, an innocent transfer student who is also the reincarnation of Dracula. If the protagonist of Castlevania: Aria of Sorrow succeeds in defeating the cosmic threat that has awakened his supposed “evil” destiny, then Julius can finally lay down the Vampire Killer in peace (until the sequel Castlevania: Dawn of Sorrow , of course). If not, the game ends with Julius keeping his promise to Soma should he lose sight of his human side and let Dracula be reborn once again. In a scene that directly mirrors the beginning of Symphony , Julius enters the castle throne room, Soma throws down his wine goblet, and the screen goes black. The cycle continues anew. Julius has upheld the duty of his family name but at what cost.

The theme of tragedy getting passed down through different generations, permeating from person to person even with those who are not Belmonts, is a staple of later Castlevania games following Symphony of the Night . In some instances, pain and trauma is what jumpstarts the story moving forward. Castlevania: Curse of Darkness begins with its protagonist Hector in a direct parallel to Dracula swearing revenge on the one responsible for the murder of his wife; an ultimatum that follows him every step of the way, fuelling his rage and determination up until the penultimate moment when his goal is within reach. Yet even then he cries out, claiming this “murderous impulse” isn’t truly him—it’s the result of an outside force he himself once aided before defecting before the events of the game.

Something similar occurs in Castlevania: Lords of Shadow , an alternative reimagining of the franchise that while still a topic of division amongst most die hard fans has also seen a resurgence of popularity and reevaluation. It begins with Gabriel Belmont grieving over the death of his own wife (a trope which is unfortunately common amongst the majority of Castlevania titles). This is a wound that follows him throughout his journey until an even more painful and shattering twist regarding Marie Belmont’s demise is revealed to Gabriel later in the game.

However, there is one example from the games that stands above the rest in regards to the sort of damage which generational trauma as a result of familial duty and legacy, upheld to an almost religious degree, can inflict. So much so that even a declaration of retribution can evolve into a generational curse.

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HUNT THE NIGHT: LEON BELMONT & THE MYTH OF FREE WILL

The Castlevania timeline didn’t always have a set beginning. An inciting incident by which all future stories, characters, and inevitable calamities could base themselves off of. Rather it changed from game to game until a definitive origin was settled in 2003 with the release of Castlevania: Lament of Innocence . For at least two games, the starting point was supposed to be with Simon Belmont, making his way through a labyrinth of dark forests and cursed towns, before finally traversing the ever changing fortress in Transylvania to defeat Dracula. He even went as far as to gather the remains and resurrect the eponymous lord of his own choice just to rid himself of another curse entirely. 

Castlevania protagonists are always cursed by something. Whether it be the cause of Dracula’s influence, their own actions as seen in Lords of Shadow , a curse of the flesh like how Simon had to tackle his own ailment in Castlevania II: Simon’s Quest , or something else just as common as Dracula’s curse: the burden of honouring a family duty.

A basic yet iconic 1986 entry followed by a sequel that had potential especially with the first appearance of the now famous “Bloody Tears” track but suffered from a rather confusing and lacklustre end product. Then suddenly the starting point for the franchise timeline changed drastically. Castlevania III: Dracula’s Curse despite the numerical inclusion in its title stands as more of a prequel, detailing the exploits of the Belmont who came before Simon. Not much was altered in the grand scheme of things; the titular vampire hunter still essentially slays Dracula with the help of three other playable characters, said final boss having been driven mad and more violent than ever by humanity’s slight against him. However, not only were the methods by which Dracula is defeated changed but players were given more insight into the sort of burden placed upon the Belmont family name.

When the story of Dracula’s Curse begins, protagonist Trevor Belmont isn’t revered as a legend or hero but rather a blight on larger society who the people only turn to as a last ditch effort against rising evil. The regular god-fearing people of Wallachia now fear the Belmonts and their power (it is also implied that some still feared the barbarian-esque Simon despite his legendary status) so the family is excommunicated. Trevor is forced to enlist three other outcasts—or simply two other fighters, depending on which version of the story you examine—in order to carry out the family business. Even when the rest of the world has shunned them and there are plenty of others just as capable of stopping the forces of evil, a Belmont still has a destiny to fulfil. 

Yet once a series has gone on for long enough, things within the established canon are bound to change—again and again. Whether through re-examination in order to line it up better with present day morals and sensibilities, or through good old fashioned retconning in favour of something more interesting, more thought out, or less convoluted. Other times, it’s simply because either the creator or viewers wanted it to happen. In 1997, this occurred with the release of Castlevania Legends on the GameBoy, a prequel to Dracula’s Curse that was meant to serve as the actual origin for the Belmonts, Dracula, and even his son Alucard. Instead of Trevor, the very first Belmont to fight Dracula is now his mother, Sonia Belmont, seventeen years old and already burdened with the glorious purpose of her bloodline.

Sonia is undoubtedly the protagonist of her own story with agency and drive. However, the game ends with a stark reminder of why the Belmonts have a place in the Castlevania universe. The last we see of Sonia in Legends is in the form of an epilogue where she holds her newborn child and states that one day when he’s grown, he will “be praised by all the people as a hero”. Despite her triumph over Dracula—a monumental feat itself—it seems that her purpose in the end (the purpose of most Belmonts other than to forever fight evil in fact) was to merely continue the bloodline so that descendants can carry out a promise made centuries before by another Belmont—someone that neither Simon, Trevor, Julius, or Richter ever knew.

The inevitability of sudden retcons within long-running media was not as kind to Legends as it was to Dracula’s Curse . Because of how the in-game events conflicted with subsequent entries (for example the implication that Trevor is actually the son of Alucard, thus further tying the Belmonts to Dracula through blood as well as duty), both Legends and Sonia were completely removed from the canon timeline. This is merely one reason why the next attempt at creating the definitive origin for the franchise, now a cult favourite among certain subsections of the fan community, was regarded with some animosity. However, twenty years after its release, Castlevania: Lament of Innocence is considered by many as an underrated entry. It is certainly the darker title where both the hero and villain stumble through their own hardships yet neither emerges completely victorious by the end.

The opening narration crawl of Lament of Innocence describes the lives of Leon Belmont and Mathias Cronqvist. They spend most of their lives as reflections of each other; one grows into more of a fighter while the second is coveted for his intellect and ambition. Both are valorous, honourable, and products of their own respective plights. Despite his service to the church, Leon is soon systematically stripped of everything save for the clothes on his back because he wouldn’t follow their orders blindly. While Mathias is forced to watch as an uncaring god (the very same god he serves) takes away a figure of pure virtue and love. This figure, Elisabeta Cronqvist who appears to be a splitting image of Dracula’s next deceased wife Lisa Tepes, was the last remaining tie Mathias still had to whatever bit of morality he still feels, which he eventually throws away when deciding to drag his only friend and everything he holds dear into hell alongside him.

The difference is how both men react to those personal horrors and how they let it govern their pasts, presents, and futures not just for themselves but for others who follow after the dust has supposedly settled. Two men, two best friends turned hateful enemies because of an interlinked tragedy. Not only that, but also because of their perspectives, morals, and the way they view a world that is unkind to them. Both were spurred by the death of loved ones, both used it as a conduit, or rather a catalyst for the radically opposing directions in which their choices take them and their families. Leon chooses to struggle onwards towards a world free from darkness and horror despite his pain. Mathias chooses to revel in that very same darkness and pain with a fire that would burn for aeons. In the end, one thing is absolute. A single thing the two men can agree upon as they flee down adverse paths: one of them will destroy the other.

Yet the timeline of Castlevania proves that this choice comes at a great cost for the Belmonts in particular. By the end of Lament of Innocence , Mathias has revealed himself to be the great manipulator pulling the strings behind the scenes. Due to the immense grief he felt over losing Elisabeta to a presumably common illness made untreatable because of the time period’s medical limitations (coupled with his own arrogance and narcissism), Mathias finally becomes Dracula. Dominion over death and even god by has been achieved by doing what Leon’s righteously moral mind cannot comprehend: transforming himself into an immortal creature driven by bloodlust. All he had to do was lie, cheat, and cruelly outsmart everyone else around him. That of course includes Leon as Mathias’ manipulation tactics were also the cause of the mercy killing of Sara Tarantoul, Leon’s fiance, to stop her from turning into a vampire herself. After watching his former friend escape before the sun can rise and disposing of Dracula’s constant right hand man Death, Leon finally feels his anger over such a betrayal boil over. He gives one final message to Mathias, now the new king of the vampires: “This whip and my kinsmen will destroy you someday. From this day on, the Belmont Clan will hunt the night.”

This is how Castlevania: Lament of Innocence ends. Unlike other entries like Symphony of the Night, Aria of Sorrow, or Harmony of Dissonance , there is no good, neutral, or bad ending that can be achieved if the player is aware of certain secrets and tricks. There is only one for Leon and Mathias. The inclusion of multiple endings in some Castlevania games versus a singular set ending in others may seem like a small coincidental narrative choice in conjunction with evolving gameplay, but it matters in the case of Lament of Innocence. From the moment Leon enters the castle to rescue his fiance, the wheel has already started turning and his fate is sealed. Mathias has already won and Sara, along with future Belmonts, are already doomed. And Leon’s ultimatum made in the heat of the moment would go on to have repercussions centuries later. “Hunting the night” gave the Belmonts purpose but it also burdened them with that exact purpose. While Dracula deals in curses, so does the Belmont family—a curse of duty that gets passed down throughout the bloodline.

Leon Belmont was of course never malicious or cruel like Mathias was. He never wanted to deliberately curse his family because he suffered and so should they. His choice was made out of anger and retribution. Still, it goes on to affect Simon, Sonia, Julius, and others in drastic yet different ways. Yet in the case of specific Belmonts like Trevor and Richter, we see how this family legacy can have varied consequences in far more detail through the introduction of animation and serialised writing into the Castlevania franchise.

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SOMETHING BETTER THAN A PILE OF RUINS: TREVOR BELMONT & STRENGTH FROM LEGACY

If there’s one thing that Castlevania makes abundantly clear with its four season runtime, it is that trauma does not inherently make people better or more virtuous. We of course see this from the games with Mathias and his personal crusade against god which leads to the complete dissolvement of his closest friendship. Or with Hector and the rage he feels towards his wife’s murderer, who also happens to be his former comrade under Dracula’s employment. Even Leon’s promise to both his friend, now his most despised enemy, and future descendants can also be an example of how gut reactions to pain, grief, and betrayal can have damaging consequences in the long run. This particular dissection of trauma when it affects a survivor negatively and in almost life-altering ways while still giving them a chance at achieving their own method of healing is most apparent with the animated representation of Trevor Belmont.

At its core, the first season of Castlevania airing in July of 2017 with four episodes in total is inspired by the events of Dracula’s Curse with the following seasons taking more from Curse of Darkness along with original story elements. It begins with the brutal execution of Lisa Tepes after she is falsely accused of being a witch. Shortly afterwards, Dracula declares war on all of humanity in an explosion of grief-riddled vengeance (a declaration that is not dissimilar to Mathias’ cursing of god after Elisabeta’s admittedly more natural death). Hundreds of civilians are slaughtered in the capital city Targoviste and hoards of night creatures descend upon more townships across Wallachia. 

This would be the perfect opportunity for a Belmont to stand up and fight back except there is one problem: the Belmonts have been eradicated from this world on false grounds of black magic and aiding the vampire lords instead of hunting them—much like how Lisa was slandered and paid the price with her own life.

The only Belmont left surviving is Trevor himself and his introduction does not paint him in the most optimistic or even heroic light. In the midst of being excommunicated by the church, he’s been wandering aimlessly for the past few years while languishing in whatever tavern he stumbles upon. In one particular bar Trevor finds himself in, he overhears the other patrons cursing the Belmonts and blaming them for Dracula’s siege upon humanity. He tries to stay out of it and not bring too much attention to himself until one glance at the family emblem stitched into his shirt breast is enough to ignite an all out skirmish.

Trevor hides his true identity not because he’s ashamed of it, but for his own safety and self preservation. In fact, the opinion he holds of his family is the total opposite from disdain for the sort of legacy they have saddled him with even in death. He reacts strongly to false accusations directed towards the Belmonts, angrily correcting the bar patrons by stating that his family fought monsters. However, he quickly realises he’s said too much and tries saving face by once again detaching himself from possibly being connected to the aforementioned Belmonts.

It’s only when Trevor is backed into a corner and is fresh out of snappy drunk retorts (thanks to a few hard hits to his nether regions) does he finally admit to his real lineage. As mentioned earlier, Trevor finds himself caught up in the first real brawl of the series not because of the pride he feels in himself but the immense pride he feels for his bloodline. All the while, he’s given up trying to hide what he is—a Belmont—and what he was born to do—fight fucking vampires.

Every time Trevor has the opportunity to bring up his bloodline whether in a fight or in conversation, it’s usually spoken with some bravado and weight even when he’s inebriated. However, when visiting the ruins of the Belmont ancestral home in season two and thus directly confronted with what little remains of his family legacy, Trevor loses all that previous bluster and becomes far more contemplative. He doesn’t reveal much of what it was like to actually live as a Belmont, only that it was “fine” and “no one was lonely in this house”. Even when staring up at the portrait of Leon Belmont, he says nothing and instead firmly  grips the very weapons which his ancestor must have also wielded.

It’s clear that Trevor feels no shame, bitterness, or lack of respect towards his family history despite the hardships that have come with it. Still, it’s difficult for him to truly accept the duty of being a Belmont and Trevor continually struggles with it over the course of two full seasons. Upon arriving at the ruined city of Gresit which is under constant threat of night creature attacks, Trevor doesn’t seem particularly concerned with the people’s plight or with helping them. He inquires about what���s been happening by speaking with a few local merchants but it’s only in order for him to gain a better picture of the situation that Gresit finds itself in. Otherwise, he’s simply passing through on his way to another tavern, fist fight, sleeping spot, or all three. Until he puts aside his own needs for self-protection in favour of saving an elder Speaker (a fictionalised group of nomads original to the Castlevania show who have made it their mission to help less fortunate communities and pass on their histories via oral tradition) from a potential hate crime committed by two supposed men of the cloth.

This moment acts as a representation of the first chip in Trevor’s carefully maintained armour. During the bar fight, he claimed over and over again that he was a Belmont in both skill and purpose. However, Trevor hasn’t done much to prove such a proclamation. Because of his ennui and poor coping mechanisms due to lingering trauma, he’s been all talk and not a lot of action—until this point. At first he tells himself to walk away, this sort of confrontation doesn’t concern him. Then he remembers where he comes from and uses the very same family heirloom to help someone physically weaker than himself.

Yet when he accompanies the elder back to where the other Speakers have found shelter from the monsters repeatedly demanding their heads as well as future night creature attacks, Trevor’s metaphorical walls are erected back up. He won’t take any part in this eradication of humanity whether as a victim or perpetrator and especially not to stop it. The people of Wallachia made their choice in the unjust murder of Dracula’s innocent wife, they made their choice when they decided to massacre what was left of his family, and the church made their choice when they decided to fight Dracula’s armies themselves without the Belmonts. Why should he lift a finger (or whip) to save the masses?

Despite this nihilistic attitude, Trevor proves to be a poor defeatist. He still desperately wants to protect the Speakers and warns them of an oncoming pogrom planned for them. A massive hate crime fueled by superstition and facilitated by the corrupt Bishop of Gresit which will supposedly save the city from night creature ambushes (this can be interpreted as a direct allegory meant to comment on how minority groups such as Jewish and Romani communities were used as scapegoats during the Mediaeval period). However, the Speakers refuse to budge and decide to face the angry and misled crowds head-on. They instead tell Trevor to leave in their place which, in a burst of frustration, spurs him to finally act like a member of his clan should. 

What follows next is one of the most defining moments of the series for Trevor, cementing his place as a Belmont. Another corrupt member of the church demands to know what he could possibly stand to gain from fighting back considering his downtrodden state and the fact that he’s entirely outnumbered. Trevor’s answer is simple: nothing. The Belmonts don’t protect everyday people for any great reward or because of any strong personal ties. They do it because it’s their duty and the right thing to do. Trevor even mirrors something which the elder Speaker told him; a family mantra that encompasses the very purpose of the Belmonts, dating back to Leon: “It’s not the dying that frightens us. It’s never having stood up and fought for you.”

Trevor’s healing journey does not end at this moment. He still has moments of hesitation where someone like Alucard has to forcibly remind him of his place as Belmont, saying he needs to choose whether he’s really the last of a long line of hunters or a drunkard. This leads to a fight sequence that nearly spans the length of an entire episode where Trevor further proves himself by taking on at least three different creatures all with varying degrees of strength, skill, and fortitude. Episode six of season two is the ideal example of not only Trevor’s determination but also his quick thinking. Moments such as him wrapping his cloak around his hand so that it doesn’t get cut while his sword slices through the throat of a minotaur or using a set of sticks to beat against an adversary when his whip is knocked away. Being a Belmont means using one’s intellect (no matter how unconventional it may seem) as well as one’s muscles. 

There is also another albeit less violent instance at the start of season three where he still feels the need to hide his surname while in an unfamiliar village. Then there is the revelation that malicious stories about the Belmonts and their supposed demise still circulate amongst rural Wallachian communities. Yet despite coming from a family of old killers (a term Trevor uses before facing off against Death in the final season) his family name remains his strength and the weight of both the Vampire Killer and Morningstar whip keep him grounded rather than burden him. The Belmont name carries such weight throughout the series that by the end, there is strong consideration from Alucard of naming a new township nestled in the shadow of Dracula’s castle after that family.

Trevor deals with his pain and trauma quietly, almost numbing it with the assistance of alcohol and dodging the harder questions regarding what his family was really like. He still finds strength in remembering what the Belmonts are here for despite the tribulations that come with the family name. Hardships that continue and evolve nearly three hundred years later.

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THE THINGS THAT MAKE ME WHO I AM: RICHTER BELMONT & STRENGTH FROM LOVE

Depending on what sort of mood you might find the author of this essay in, their favourite Castlevania game will vary. At the moment, it’s a three way tie between Symphony of the Night for its artistry, Lament of Innocence for its story and characterisation, and Aria of Sorrow for its evolved gameplay. However, one personal decision remains relatively consistent no matter the mood or time of day: Richter Belmont is the author’s favourite Belmont and the inclusion of him in the latest animated adaptation Castlevania: Nocturne has only cemented that fact.

It makes sense from both a narrative and marketing standpoint as to why we’ve suddenly gone from the events of Dracula’s Curse/Curse of Darkness depicted in the previous series all the way three hundred years later to Rondo of Blood . Narratively, Richter and his companion Maria Renard already have a direct link to Alucard through the events of Symphony , which Nocturne will most likely cover and be inspired by in its second season. Marketing wise while also appealing to the largest demographic possible (even those less familiar with the games), amongst more recurring characters like Dracula and Alucard, Richter is arguably one of the most recognisable Castlevania figures right down to his design.

Certain traits and visual motifs of other Belmonts have changed drastically over the years and with each iteration. Meanwhile, from Rondo and Symphony , to Harmony of Despair and the mobile game Grimoire of Souls , to finally Nocturne and the inclusion of Richter as a playable character in the fighting game Super Smash Bros Ultimate , specific elements of Richter never waver. This includes his blue colour scheme, his tousled brown hair, and his iconic white headband. All of which carry over in the first season of Nocturne which not only expands upon Richter’s character first established in Rondo of Blood but also further examines said character.

For example, Richter’s true introduction directly following the downer cold opening is without a doubt the farest cry from Trevor’s. While Trevor’s first scene acted as a sobering depiction of what happens when physically/mentally damaging coping mechanisms mix with unacknowledged grief, Richter’s first fight gets the audience’s blood pumping, complete with a triumphant musical score and a showcase of his skill with the Vampire Killer. Richter is cocky, but not reckless. He’s sarcastic, but not sullen like Trevor was. Because of his upbringing after the death of his mother, filled with positive affirmations, he values the wellbeing of others along with their fighting experience. Yet his confidence does not overshadow his acknowledgement of the family burden. Richter is well aware of how heavy the Belmont legacy and duty can weigh upon an individual’s shoulders along with how closely it can tie itself around a person’s life and their death—a reminder as well as memory which haunts him for nine years.

When Nocturne begins, its first major fight sequence takes place between Richter’s mother Julia Belmont (an original character for the show) and the vampire Olrox, an enemy taken from Symphony of the Night now reimagined as a seductive, complex Indigenous vampire on his own path towards vengeance against the very person who took away the one he loved most in this world—just one of many thematic parallels to the first series, this time referencing Dracula’s motives and justification for his grief. Just when it seems like Julia has the upper hand thanks to her magical prowess, Olrox transforms and ends her life in a swift yet brutal manner. All of which happens right before ten-year-old Richter’s eyes.

Julia was simply doing her duty as a vampire hunter and her life as a Belmont ended the same as most of her ancestors did: in battle while fighting for the life of another. Why then did it hurt Richter most of all? Why does it haunt him well into his early adult years? And why was it seemingly more so than how Trevor’s trauma haunted him? There are two probable answers to this, one being that Richter was only a child, directly confronted by the cause for his mother’s sudden and graphic death with no way of fighting back despite being a Belmont.

In the case of Trevor, although he was a few years older than Richter when his entire family and ancestral home were burned in front of his eyes presumably by the same people they were supposed to be defending, the circumstances which followed them afterwards are vastly different. For nine years Richter was surrounded by those who loved and cared for him whereas Trevor only had himself and the hoards of average Wallachians who hated him because of superstitious rumours and the church’s condemnation. Trevor had over a decade’s worth of experience in becoming desensitised to his pain and trauma, masking it beneath self deprecation and numbing it with alcohol. He wasn’t even aware of the fact that he was a deeply sad and lonely individual until Sypha pointed it out to him.

Despite his bravado and brighter personality than his ancestor, Richter is also an incredibly sad, hurt person who suffers somewhat from tunnel vision. He obviously has empathy and wants to protect people from monsters, vampires, and the like. More so than Trevor did during his introduction before his moment of self-made rehabilitation. However, he doesn’t seem to care much about the revolution itself or what it stands for. He attends Maria’s rally meetings but he doesn’t take active part in them, opting to stay back and keep a watch out for any vampire ambushes. He admits that he doesn’t really listen to Maria’s speeches about liberty, equality, and fraternity. And in the most prominent example of his disillusionment with fighting for a larger righteous cause, when given a revolutionary’s headband, he shoves it into his pocket and mumbles about how tired he is of everything.

This could be interpreted as defeatist if Richter wasn’t already trying so hard to uphold his family duty and maintain a level head. He needs to have a sense of control and almost achieves it until Olrox so casually confronts him in the middle of a battle which Richter and his friends seemed to be winning until they’re forced to flee close behind him. When Richter runs away and emotionally breaks down the moment he’s finally alone, it isn’t because he’s weak or cowardly. On a surface level, it was due to his fear and panic over not being able to face his mother’s killer (someone who has proven to be much, much stronger and more powerful than any Belmont). Yet it was also a form of harsh admission to himself. He couldn’t maintain that aforementioned sense of control and perhaps he never will, not where he is right now at least.

It isn’t until he’s reunited with his grandfather Juste Belmont (long thought to have died, leaving Richter as the final Belmont) that this negative mindset brought on by unresolved trauma begins to shift. In many ways, Juste is another callback to what happened with Trevor. He suffered an immense tragedy in the past and has since spent his entire life drifting from tavern to tavern, avoiding his own grandson and instead leaving him in the care of people far more capable of raising him and instilling better morals within the youngest Belmont.

Other mentor-esque characters appear in Nocturne such as Tera who raised Richter alongside her biological daughter Maria. There is also Cecile, the leader of a Maroon group which Annette joins after escaping slavery. Despite their individual pains, these two women maintain the hope that humanity can be changed and the evils of the world can be defeated. Meanwhile, Juste has thoroughly lost his own hope. He reveals to Richter that “evil will always win” because of how it permeates everything and is far stronger than any Belmont, even the most magically inclined members. No matter how many Draculas, Carmillas, or Lord Ruthvens are defeated, it will always find a way to creep back to the surface whether through the upper class of France or through the very colonisation that nearly wiped out Olrox’s people or enslaved Annette’s family. 

One of the first things that Juste says to Richter directly references the sheer weight of the Belmont legacy, all of which culminates within the whip itself. This can also be a reference to the Vampire Killer carrying a living soul as Leon Belmont was only able to awaken its true power by sacrificing Sara Tarantoul. The whip has both a metaphorical and literal weight which the Belmonts must come to terms with.

Yet for Richter, family is maintained not through blood ties, which can easily die out or be abandoned because of generational trauma, but through the people we find and attach ourselves to. Under the immediate threat of losing his found family, all of Richter’s pain and anguish explodes when his magical powers violently return to him in one of the most visually impressive and cathartic moments of Nocturne season one, complete with an orchestral and operatic rendition of “Divine Bloodlines” taken straight from Rondo of Blood as he ties the same headband he nearly discarded earlier around his head. Then once the dust settles and Richter is asked by Juste how he managed to tap back into that great power, he simply responds with the most obvious answer he can come up with: there are people who love him and he loves them in return. 

This is reiterated when Richter is reunited with Annette and describes the same revelation when she asks how he was able to regain his magic. Not just a mental revelation but for Richter, it was a physical sensation as well. Just when he believed he had lost everything, something reminded him of all the things worth protecting in his life and all the pain he’s had to endure.

Richter finally donning his iconic white headband is symbolic of not only his decision to actively join the French Revolution but also his revelation that the love he feels for Maria, Annette, and Tera is his own righteous cause. That, to him, is worth defending just as much if not more than the concept of a centuries old curse turned legacy.

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SLAVES TO OUR FAMILIES' WISHES: CONCLUSION

Richter, both his game depiction and his recent Nocturne iteration, acts as a reflection and subversion of what a Belmont is along with what that family duty means to different members. Trevor found healing from his trauma through his duty. Richter found his healing through love. Of course Trevor loved Sypha and Alucard in his own way, but throughout the entire first series, from the moment he removed his cloak at the end of season one to standing up against Death in the finale, his driving motivation was always to preserve his family’s legacy despite his own shortcomings. The Belmonts were all but gone and Trevor had been exiled, excommunicated, and turned into a societal pariah. Had he given into despair and continued with his vagabond ways, who else would wield the Morningstar, the Vampire Killer, or any of the knowledge cultivated by previous Belmont generations?

But for Richter, family legacy is more of a nebulous concept. It gets mentioned in conversations and we see its varying effects on individuals, but even when Richter is reunited with Juste, the immediate priorities of his found family takes the place of his blood family. This, according to him, makes him a Belmont. 

It is also important to consider that we are still only on the first season of Castlevania: Nocturne with season two having been renewed and in production merely a week after its initial premiere. With the reveal of Alucard as a last minute cliffhanger in the penultimate episode, it will be interesting to see how his own characterisation as well as his close tie with both the Belmonts and his own family burden will further develop especially after three hundred years within the show’s timeline. One of the biggest possibilities is that in contrast with his youthful brashness and instability that was the crux of his character in the first series, Alucard might serve as a sort of mentor figure or perhaps his own generational pain will bond him further to Richter and Maria, more so than he was in Symphony of the Night . Then there is the question of whether Richter in the midst of the apparent losses he suffered during the finale of season one will follow down the same path that his video game counterpart did.

In 2020, the author wrote another Castlevania -centric essay which detailed the visual, thematic, and aesthetical shifts of the franchise from its inception during the 1980s all the way to the 2017 adaptation through focusing on how these changes affected Alucard. By the end of that essay, it was mentioned that despite the show being renewed for at least one more season, the overall future of Castlevania remained unknown. This is still the case for now. 

Though one can make educated assumptions and theories, there’s no way of knowing what sort of direction season two of Nocturne will take with its themes and characters. This is doubly true for the games themselves. Despite the anticipated releases of the Silent HIll 2 and Metal Gear Solid Delta: Snake Eater remakes, as of now Konami has not revealed any official decisions to remake, rerelease, or produce new Castlevania titles. One can hope that due to the success of both shows along with the anticipation for Silent Hill and Metal Gear Solid remakes that something new will be in store for Castlevania in the near future.

Castlevania , both its games and animation adaptations, prove that there is a place in this world for every kind of story. In the last episode of season one airing in July 2017, Alucard states what could very well be the thesis of the entire franchise: “We are all, in the end, slaves to our families’ wishes”. Yet even if we cannot escape the narrative we’ve been latched onto or, for dramatic purposes, cursed with, there are ways in which we can combat it and forge our own healing process.

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MEDIA REFERENCED

Castlevania (1986)

Castlevania II: Simon’s Quest (1987)

Castlevania III: Dracula’s Curse (1989)

Castlevania: Rondo of Blood (1993)

Castlevania Legends (1997)

Castlevania: Symphony of the Night (1997)

Castlevania: Aria of Sorrow (2003)

Castlevania: Lament of Innocence (2003)

Castlevania: Curse of Darkness (2005)

Castlevania: Lords of Shadow (2011)

Castlevania (2017—2021)

Castlevania: Nocturne (2023—)