#warewolff!

[thogdin]

Here’s me thinking around the idea of ‘body horror’ through five books over at Queen Mob’s Tea House:

“Body horror tends to deal with the too-much or too-little; with excesses and scarcity of form that test what our conceptions of the functioning body can be. But central to the idea of it, perhaps, and where the real horror lies, is the exposure of our unwillingness to really look at what our bodies are; how they function and how they degrade. Here, in reality, where the greatest body horror story is perhaps reduced to the two word “palliative care”, literature can do what genre films are generally forbidden from doing — to explore themes in a way that’s ill-fitting with their necessarily simple splattery aesthetic. Here, there’s room for tenderness. I’ve chosen five hopefully lesser-read examples of books that capture the body in its transformation, or flowery grotesqueness, or that simply present us with a point to start considering how the body — as we accept it — is in itself already an incongruous combination of disparate forms.”

[sugarybitterness]

monster - natasha romanoff x werewolf!reader

request; Hello 🙂 Can I request Natasha x warewolfF!Reader. Instead of the whole Bruce and Natasha it's R and her. It can be angst fluff 🥺?

word count; 1,506

warnings; mentions of violence, mentions of red room, mentions of forced sterilisation

a/n; i’m so sorry this took so long.. but i do hope you guys enjoy this, my heart aches for nat everytime i watch that scene in aou and i just wish i could hold her in my arms and comfort her:-( tasha deserves the world. feedback is always appreciated <3!

you curled in on yourself, body trembling lightly under the blanket clint had draped around your shoulders.

you and banner were supposed to stay back, to avoid a code green and code grey. but the brunette got into both of your heads. before you knew it, you were shot down by tony before he flew off to neutralise the hulk.

you don’t remember what you did, but you knew it couldn’t have been pretty. your eyes swept across the jet, everyone seemed pretty shaken up. your gaze lingered on the redhead assassin opposite you. her emerald green orbs flickered up to meet yours and you simply shut your eyes.

you had been doing so good at managing it, your wolf counterpart rarely had the chance to overtake you like they did today. but the things the enhanced had put in your head made the wolf in you angrily protective. not just of you, but also of a certain team member that you saw drop dead in your mind.

you felt like a monster all over again.

the soft patter of feet made you alert of your surroundings once more, the familiar warmth of a certain russian appeared next to you, close but not close enough to touch you.

you waited a minute or so before you shuffled a little closer, holding a breath to see her reaction. when she didn’t move away, you inched closer before stopping once more, in case she changed her mind. this went on for a while longer, up until you were nestled in natasha’s lap, her arms tightly wrapped around you.

a part of you felt guilty that despite the obvious trauma she just went through, she was still making the effort to comfort you. unbeknownst to you, your mere presence was grounded natasha, allowing her to slowly wake up from the nightmares of her past. you were the only person who could anchor her, similarly to how she was the only person that could calm you.

after what felt like hours, the jet touched down on a familiar farm. you slowly climbed off natasha’s lap, your arm snaking around her waist to help support her as the group of you followed clint to the large house that you swore looked like the ones on the front page of those magazines you always saw clint reading.

after introductions were made, you found yourself being led to the bathroom in what you knew was clint and laura’s room. as you were about to step into the shower, a light knock from the door caught your attention.

“got room for one more?” natasha asked, head titled to the side as she analysed you. the two of you had showered together before, it was a common occurrence when hiding in safe houses with limited hot water while waiting for pickup. it was a routine that brought a semblance of comfort and you often found yourself having heart-to-hearts to with the ex-assassin while cleaning each other up. you nodded your head in agreement, a large part of you craving for that feeling only she could bring about.

the two of you were quick to step out of your mission gear and soon you were massaging shampoo into natasha’s scalp, making sure to get rid of all the dust and grime. there was a comfortable silence between the two of you and you relished in it knowing that soon you’d had to break this bubble and head back into reality.

“the enhanced,” natasha’s voice broke the quiet and you were quick to shoo away your thoughts so you could focus on her words. “she brought me back to my past, to the red room.”

your quiet intake of breath did not go unnoticed by natasha. silence settled over the two of you again, as you washed the shampoo out of natasha’s hair. grabbing the conditioner nearby, you gently worked it into her red locks as you started to talk.

“she made me relive my turning night. it was the same as my nightmares at first other than the fact it felt so real. up until i saw the face of the person i killed.” you took in a shuddering breath and natasha was quick to turn around to face you, her hand going to cup your cheek.

“usually, i would never be able to put a face to the person because my memory of that night stops right before i see their face. but today it showed me you.” you let out a soft whimper at the end of your sentence, the mere idea of you hurting natasha made your heart clench. “then it just showed.. you getting hurt and me not being able to do anything.i tried to fight back, i really did but she just kept projecting these thoughts into my head until i just.. snapped.”

tears were falling now, and you barely registered the feeling of natasha wrapping you in her arms. her hands rubbed up and down your back as she soothed you softly.

“i’m a monster..” you whispered out into her neck, hands clenched into fists at your sides.

after a couple minutes of natasha calming you down, your tears had stopped and your breathing was regulated. stepping back from you, natasha brushed away your remaining tears before turning off the shower. doing her hair was always the last part of the shower routine. you stood there quietly as she grabbed towels for you two, you could practically see her thinking and so you waited for her to speak first. after wrapping the both of you up in towels, she reaches for your hands.

“the red room.. there’s a graduation ceremony every girl must go through before becoming a widow. they.. they sterilize you.” your eyes widened slightly when you realised that the maximoff girl had sent natasha back to that moment with her magic. natsha continued staring at your joined hands, not wanting to meet your eyes. “it’s efficient, one less thing to worry about. the one thing that might matter more than a mission. makes everything easier, even killing.”

she finally looked up at you, her eyes shining with unshed tears. “you still think you're the only monster on the team?”

“you are not a monster natasha.” you stated firmly, frowning when natasha shook her head at your statement.

“i was raised to kill. i was designed to be nothing more than just a trained killer, they did everything in their power to make me the perfect weapon. how does that not make me a monster?” natasha argued, a stray tear rolled down her cheek.

“because you’re more than a trained killer.” you replied, pulling a hand from her grasp to wipe away her tears. “everyday you make the choice to be good, to be better than you were before. it’s not always easy to make that choice, to keep fighting the way you do. you are so much more than your past tasha, it does not define you the way you think it does.”

“does the same not apply for you then?” natasha challenged, raising an eyebrow in defiance. you laugh softly and shrug. natasha shakes her head and continues. “seriously though, you aren’t a monster either.”

“i basically ‘hulked out’ in my wolf form today, i could’ve done a lot of damage to innocent people.” you pointed out, your thumb absentmindedly rubbing against natasha’s cheek.

“but this is the first time it happened in a long time. you’ve gotten better at controlling your wolf instincts and you said it yourself, you were fighting against the magic. plus, tony mentioned that when he got to the jet, bruce was long gone but you were in the beginning stages of after your transformation.” natasha reasoned, her now free hand wrapping around your waist as she looks up at you. you sighed softly, knowing that natasha did have a fair point.

“how about this, we both got dealt shitty cards in life but we’re working on being better.. so that means neither of us are monsters?” you offered, lips curling into a smile as natasha’s melodious laughter fills the bathroom. the redhead nods at your words, gazing at you softly.

you notice natasha’s eyes flickering between your eyes and lips. leaning forward, you catch her lips in a soft kiss. soon, air became an issue, so you leaned your forehead against hers.

“i’m sorry it took so long to tell you about my past milaya.” natasha apologised softly, but you were quick to hush her.

“i know it’s not easy to talk about it so thank you for sharing it with me. but remember, there is nothing you can say or do to change the fact that i love you. so so much.” you whisper against her lips, giving her another soft kiss.

“marry me?” natasha teased and you smile, thinking about the engagement rings you both had left back at the compound, not wanting to face the team’s questions.

“i would marry you in every lifetime.” you promised.

╰(*´︶`*)╯♡ n.r taglist: @zombies1ayea @marvelwomen-simp @natashaswifey

[criminal-delirium]

I am not proud of it, but I do feel improved now that everyone else feels worse.

Gary J. Shipley. Warewolff!

[bbgurl02]

blonde: Peter, human

Blue: Molly, hybrid: human/wolf

Turqoise: Lilly, warewolff

[anarchist-caravan]

“ In the prologue of Gary Shipley’s 2017 novel Warewolff! , the narrator states that he began to hear “one thing’s voice, and from that voice a portrait of itself—of itself made up with other things. It was learning to talk by shaping the stories of its victims.” Later on, the radically alien narrator describes the world he encounters: “Just stuff that isn’t me. And I do not feel like stuff. I feel like this endless faceless seeing. I’m a seamless tracking shot without arms or legs. It’s like I’m blind or have locked-in syndrome when I don’t.” David Roden compares Shipley’s work to Hans Bellmer’s anagrammatic dolls, because :

both have no axioms or rules beyond the hazards of its dispersal. It is its own entirely misleading portrait. It has no people or worlds, only disjointed clones, plucky carcasses and scripts we mistook as our lives. Yet despite this ontological poverty, we can read Warewolff! Something happens, even if we do not understand what. Its dispersal is the horror of biomorphism: a condition somewhat akin to life that, like Shipley’s alien, “discloses its arrangements” through our language centers. And this is the condition of unbinding: we are spoken by something; we pass into something without even the assurance that our hunger is our own.

The Thing does not just come from another world, but from another time: pre-human time, well before“shared time life regression” became a possibility. It does not speak to us. It’s not speaking us. Our hunger is dismissed. The Thing is a transduction mechanism, a system for translating itself into itself across different language-forms, impelled by an ananthropic rather than inhuman drive. The inhuman or posthuman are necessarily defined from human existence; they’re translations from the human into some otherness. Their hyperplasticity is a quantitative increase in plastic force. But The Thing does not actually care about humanity, technology or intelligence. Intelligence becomes completely irrelevant when it freely navigates through living forms, encountering cognition as just another edible formal feature. Purely immanentized “living”, it dismisses thinking because “thinking has interests that do not coincide with those of living; indeed, they can and have been pitted against the latter”. It is what Meillassoux would define as a “contradictory entity”, which 

is always-already whatever it is not: /…/ the introduction of a contradictory entity into being would  result in the implosion of the very idea of determination—of being such and such, of being this rather than that. Such an entity would be tantamount to a “black hole of differences”, into which all alterity would be irremediably swallowed up, since the being-other of this entity would be obliged, simply by virtue of being other than it, not to be ot her than it. 

Accordingly, real contradiction can in no way be identified with the thesis of universal becoming, for in becoming, things must be this, then other than this; they are, then they are not. This does not involve any contradiction, since the entity is never simultaneously this and its opposite, existent and non-existent. A really illogical entity consists rather in the systematic destruction of the minimal conditions for all becoming—it suppresses the dimension of alterity required for the deployment of any process whatsoever, liquidating it in the formless being which must  always already be what it is not.

Aesthetic metaplasticity is evil aesthetics: it is the appropriation of any empty anthropological form to hide the inhuman amorphousness, the reformulation of the cogito “less in terms of an I think and more in terms of an It lives”. As Mark Fisher concedes, “it has seemed as if the deterritorializing impulses of capitalism have been confined to finance, leaving culture presided over by the forces of reterritorialization”. Metaplastic works, such as those by Gary Shipley, Kenji Siratori, Jake Reber and Mike Corrao, explore cultural deterritorialization through contingent abstraction. They’re made of entities which are not only hyperplastic—able to transform themselves into anything existent—but metaplastic: able to morph into anything non-existent, or to counter-morph anything existent. They’re full of bodies that, rather than anticipate an age of cyborgs, enhanced humanoids and intelligent machines, “announce the end of being”, full of “objects that announce the end of meaning”, of “elements that whorl each of their parts containing the end of the cosmos”. In those artworks we find “something akin to Time, but a Time that is inconceivable for physics, since it is capable of destroying, without cause or reason, every physical law, just as it is inconceivable for metaphysics, since it is capable of destroying every determinate entity, even a god, even God /…/ It is a Time capable of destroying even becoming itself by bringing forth, perhaps forever, fixity, stasis, and death.”  

-

GERMÁN SIERRA - Metaplasticity - Šum12

[banduckoot]

The Chimera 3D Model - Crash: Mind Over Mutant DS by warewolff

This Crash Bandicoot boss is The Chimera, who was exclusive to the Nintendo DS version of Mind Over Mutant. On the left is the actual model from the game, while on the right is warewolff’s improved version of said model.

[thogdin]

Performance of Gary J Shipley’s Warewolff! at the estimable Klinker Club, tail end of 2018. Photo courtesy Heidi Heelz.

[thogdin]

Various press and praise for Gary J. Shipley’s Warewolff

“JG Ballard on crack” — Stewart Home

“Beyond horror or the fictional… these convulsions and reassignments can be thought of as twenty-first century probabilities — those current realities of public dreaming that we accept as our present conditions” — David Toop

ABSENCES AND INHUMANITY: 5 WORKS OF ABSTRACT HORROR at LitHub

Favourite of 2017 — Dennis Cooper

Books I recently Loved — Dennis Cooper

“Warewolff! is a blistering read” — Neon Books

“Shipley has bored a hole into the inner life of a multitude of subconscious minds... The sheer intimacy of strangeness Shipley’s novel conveys is appalling. But it is also uncomfortably familiar... No one likes the sound of themselves on tape" — 3AM

“Shipley is one of the most daring contemporary horror writers, with an enviable command of prose, and has the audacity to go exactly where one doesn’t go... The Warewolff carves itself out with stolen tongues” — Heavy Feather Review

“Horrific and confounding violence. So horrific. So  confounding. So violent. So unique and amazing. All of it” — 11 Amazing Books From 2017, Neon Grisly

“Extraordinary, incantatory fiction in which the contemporary world is both observed and distorted by the feral Lovecraftian consciousness of the book’s own shape-shifting narrator. The more unsettling and uncategorisable the better seems to be the Hexus ethos” — artist Wayne Burrows, Backlit Gallery and Nottingham Writers’ Studio

"Instead of what books can do for me, I’m interested in what books can do to me. And folks, I’m telling you, this shit can be like a drug. I’m talking full-on altered states of consciousness" — Broken River Books

“Its dispersal is the horror of biomorphism: a condition somewhat akin to life that, like Shipley’s alien, ‘discloses its arrangements’ through our language centers. And this is the condition of unbinding: we are spoken by something; we pass into something without the assurance that our hunger is our own” — Enemy Industry

“Shipley's words were cast over us, with the synths growling, initially quietly, underneath... The language and imagery was everything I expected it to be -- vicious, grotesque, transgressive, obscene, and darkly comic” — The Electric Philosopher (review of launch reading)

Readings at Burley Fisher; The Peckham Pelican; The Klinker Club.

Accompanying playlist courtesy of Reckless Records Blog

“This is a book to make a mockery of the Goodreads star rating system, as it's a collection of prose poetry that overturns petty value judgements of 'story' and 'character' and rolls around in the mess on the floor. Warewolff! is experimental horror that's a disquieting read with flashes of sick humour shining through the darkness.” And of course... Goodreads

[sugarybitterness]

Hello 🙂 Can I request Natasha x warewolfF!Reader. Instead of the whole Bruce and Natasha it's R and her. It can be angst fluff 🥺?

i apologise for how long this took for me to post, but i do hope it reaches your expectations!! <3

monsters

[thogdin]

Talking about horror design in out-of-the-way places with AIGA Eye on Design.

[thogdin]

Outer Space: Hexus Journal Pick An Experimental Horror Bakers Dozen at The Quietus

“In grouping films together under stylistic and genre concerns, it’s possible to be gleefully revisionist — if there even is a cannon then it’s one which dispenses the idea of high- and low-brow entirely, positioning the work of Polanski, DePalma and Altman next to the Alan Resnick’s creepypastaish Adult Swim output; Derek Jarman and Maya Deren’s shorts with works that coast on a fizzing layer of subreddit conjecture and ‘midnight movie’ blog posts; Eurosleaze with the Japanese Avant-Garde; Fulci and Bava with Buñuel and Bergman.”

Philippa Snow and I, talking experimental horror.

[banduckoot]

Digger 3D Model - Crash Bandicoot 99X by warewolff

A 3D model warewolff created of Digger from the Crash Bandicoot Tiger 99x game.

[banduckoot]

Digger (Fan Art) - Crash Bandicoot 99x by warewolff

Sprite art and fan art of the third boss from Crash Bandicoot for the Tiger 99x, Digger. He’s a demonic skeleton creature that you find at the end of the Graveyard levels.

[banduckoot]

Thorn Thing (Fan Art) - Crash Bandicoot 99x by warewolff

Sprite art and fan art of the second boss from Crash Bandicoot for the Tiger 99x, Thorn Thing. He is a tree-like monster, and you find him at the end of the Haunted Forest levels.

[banduckoot]

Mr. Crumb 3D Model - Crash Bandicoot 99X by warewolff

A 3D model of Mr. Crumb that warewolff is working on. This is not the final version, and they are considering adding transparency to the ghostly sections of Crumb’s design.