#and it would make more sense to animate beast to describe the book more

[sad-emo-dip-dye]

🕯️prayer circle that we get beast instead of stormbringer for s5🕯️

#hold hands guys #listen #I knowww I’ve gone on and on abt Adam BUT #stormbringer is so big I don’t trust them with that much Chuuya content to do it justice #and it would make more sense to animate beast to describe the book more #I also want to see akutagawa in the farmer fit it would fix me I think #bsd #bungo stray dogs #bsd season 5 #bsd beast #bsd beast manga #bsd stormbringer #bsd dazai #bsd chuuya #bsd manga #bsd akutagawa

[kenobster]

The more pressure there is on creators to tag/warn (aka rhetoric like "its okay if ppl write [blank] as long as its tagged" rhetoric... discord servers that have heavy CW rules... comments/asks requesting certain topics to be tagged...), the less interest I have in actually tagging anything whatsoever.

Movies are a different beast perhaps, but, as an avid reader, I've never stumbled across anything unexpectedly dark or triggering in a book or a fic. The author's opening passages or chapters have always prepared me for the eventual nature of their story. The style, the tone, the synopsis, the foreshadowing — they have never failed to indicate an oncoming scene descriptive or explicit of something dark or uncomfortable. When I stumble across those preparative breadcrumbs the author has left me, it's true that I sometimes feel temporary discomfort... but I'll hit the back button or close the book or exit the app, and that extremely mild unease is soon forgotten. (If it is not forgotten, then I am grateful for the reminder to schedule my therapy appointment or spend time with a friend or find some other kind of tactic to address such unhealthy rumination. And even if I cannot address it, I'm aware that any attempt to avoid it will only worsen my tolerance for uncomfortable encounters in the long term.)

I can sort of understand the pressure in some scenarios. Perhaps a discord server would like to be inclusive of minors without legal repercussions. Perhaps a user is constantly filling a popular tag with triggering material without any warnings or tags. However, there are times when it makes less sense. A discord server dedicated exclusively to darker themes (especially with a small userbase) needn't mandate the use of trigger warnings. A tumblr user needn't tag every mention of "blood" or "vomitting" just to satisfy the possibility of one or two uncomfortable followers.

I support tags. I support warnings. I support information.

As long as it's voluntary.

The use of warnings and categories and tags and 18+ pages is the solution to any need for censorship. However, when such things become an expectation, rather than a choice, this wonderful solution so easily veers straight back to the slippery slope of censorship. "Fic authors should tag for noncon" so easily becomes "authors who don't tag for noncon aren't allowed to write noncon at all," which so easily becomes "authors who don't tag for noncon are abusers themselves." And throughout the process, the definition of what constitutes "noncon" will expand and expand and expand. In this way, the impetus is shifted right back from the reader (who can curate their fandom experience) to the author (who becomes responsible for reader discomfort). I am hardly the first to talk about this, nor is this the best way I've seen it described — but it is a problem that concerns me deeply.

In our interpersonal relationships, I think most of us do understand the difference and agree on the issue. For example, I am triggered by animal death or harm. If I see too much related to the subject, I will be caught in a depressive episode that can last hours or days or weeks. I avoid movies that involve animals, and I religiously check relevant questions on doesthedogdie.com. However, if my friend comes to me for comfort because her pet cat is dying, I do not shriek at her for not considering my trigger or warning me first. Hell, I don't even ask her to stop. I sit there, and I listen, and I support her, because even though it's a trigger for me, I realize that sometimes in life we can't choose the subjects we encounter. We curate our experiences the times in which we can to make room for the times in which we can't.

AO3's option for "creator chooses not to archive warnings" is not a mistake; it's a feature. And as a creator existing in the current state of fandom, I consider using it more and more every day. Your discomfort with my writing's existence is not my problem, and my writing warns for itself.

#just rambling idk #long post #not SW related #fandom

[esther-dot]

What do you think about song Bear and the Maiden Fair? While the bear is described as brown and black with hairs while the maid described as honey in her hair and pure. Many think that song is about Hound and Sansa because he saved her when other knights couldn't but the bear in song didn't seems to saver as it tastes the honey of maid when she was shrieking and kicking. Seems like forced touching just like Hound forcing on Sansa. Tyrion, Penny and Jorah had played the characters in Meereen.

I also received this ask about the song:

(These are so old, neither of you may be around anymore, but I finally typed up some thoughts on this. Sorry for how belated this is! 😬)

I would assume that the reason so many relationships have a connection to the song is that Martin has an interest in developing relationships between extremes. At one point or another, he’s formed a relationship between youth/age, brother/enemy, beauty/ugliness, life/death, love/hate and I totally forgot the big one and had to circle back to add: ice and fire! Lmao). “Beauty and the Beast” is based on the interest in the juxtaposition of extremes, The Bear and the Maiden Fair offers something similar, so it makes sense to me that he repeatedly utilizes it.

The placement of extremes in relation to each other is an aesthetic thing some find compelling (created via The Hound’s size and scars against Sansa’s remarkable beauty and youth, Dany’s size, eye and hair color contrasted with Drogo or Jorah’s…), but more importantly, a thematic thing. We see the contrast vividly with Brienne and Jaime as well as Sansa and the Hound. Their appearance is at odds, of course, but what really matters are how their values are contrasted. Sansa’s beliefs and her nature are entirely opposed to the Hound’s, and if you think of Jorah as the knight exiled for being a slaver and the shame of his house helping the woman who attempts to end slavery (until she needs it) and restore her house…well, you get a version of that there too.

Being that Martin has stated he played with the Beauty and the Beast angle with Sansa and the Hound, but was surprised people shipped it, we should accept that Martin uses tropes/references for different purposes, not necessarily to signal an endgame romance or mutual interest even if that is the initial thought by the reader. Martin likes the inside/outside view of things, likes to examine ideas from multiple perspectives, and a character occupying different roles throughout the story allows him to extract a lot of meaning. Fans like to focus on how Sansa is wrong about a certain character, but the main intent behind all of this is the author challenging his reader when he forces us to examine and re-examine who characters are and what he is saying with them. The lyrics of the song twists our perception of things, so, even if I reject how it’s often applied, I agree that the concept behind the song is being discussed in these relationships.

We see the same beast/knight ideas with the Hound and Sansa as with Jorah and Dany. Both Dany and Sansa have these guys who are associated with specific animals (bear, hound), who function as protectors at some point even though they also betray them. Jorah’s betrayal is labeled as such in the book, but the Hound going from rescuing Sansa to assaulting her is a betrayal as well. Both men develop loyalty to the girls, they offer some protection, both have a sexual interest in the girls and both sexually harass them (Jorah kisses Dany without permission, the Hound assaults Sansa). I suppose Sansa and the Hound fit a little better with parts of the song because the girl is initially frightened by the bear while Jorah presents quite differently despite all the bear references. The bear-ish description of Jorah isn’t just the bear sigil, we also get all the hair stuff:

"I shall wish to speak with Ser Jorah before the night is done," her brother said. Dany found herself looking at the knight curiously. He was an older man, past forty and balding, but still strong and fit. Instead of silks and cottons, he wore wool and leather. His tunic was a dark green, embroidered with the likeness of a black bear standing on two legs. (AGOT, Daenerys I)

“He had a neck and shoulders like a bull, and coarse black hair covered his arms and chest so thickly that there was none left for his head.” (AGOT, Daenerys III)

and of course, he is referenced as a bear pretty often:

“Ser Jorah, her gruff old bear” (ADWD, Daenerys VI) and he’s referred to as her “bear knight” (ADWD, Daenerys III) and “My bear, she thought, my old sweet bear” (ADWD, Daenerys X).

I selected those from ADWD because to me, that’s when it for sure was deliberately connecting back to the song as Tyrion puts Jorah in the role of the bear:

"That one is part of our show. The bear and the maiden fair. Jorah is the bear, Penny is the maiden, I am the brave knight who rescues her. I dance about and hit him in the balls. Very funny." (ADWD, Tyrion X)

So, we begin the story knowing Jorah is a bear (Mormont), that he’s described as bear/beast, called a bear/bear knight, and then eventually, he’s playacting the bear from the song. Interestingly, the "knight" who fights the bear is acted by someone Martin has called a villain. I could never argue that the author isn’t being intentionally self-referential, he clearly is. However, we do have the fact that Jorah betrayed/molested Dany, and this:

Jorah Mormont's face was dark with anger, but he answered. "To serve her. Defend her. Die for her, if need be."

That made the widow laugh. "You want to rescue her, is that the way of it? From more enemies than I can name, with swords beyond count … this is what you'd have the poor widow believe? That you are a true and chivalrous Westerosi knight crossing half the world to come to the aid of this … well, she is no maiden, though she may still be fair." (ADWD, Tyrion VII)

I’m uncomfortable with the emphasis placed on virginity in the books and hate to use that (or beauty) as a determining factor in which couple the song is “really” about, but we have this line which I see as direct guidance from Martin about interpreting the Dany and Jorah relationship as a straight up version of The Bear and the Maiden Fair. The way it’s presented and challenged indicates that while in a particular dynamic or in a specific scene a character fulfills a certain role, that isn’t necessarily their overall role. To me, looking at the story as a whole, Brienne’s role is true knight, more so than maiden. Just as the idea that Dany is the maiden/damsel is present in her interactions with Jorah, but that isn’t her role in the story as a whole, no more than Jorah is the true knight. (He’s a slaver ffs).

As for the Jaime and Brienne of it, Jaime protecting Breinne from a bear slots him into the knight role, but as they struggle over who is fighting the bear, there’s a play on who is in the knight role and who is in the “maiden” role. Also, Brienne is mockingly called beauty and Jaime is described as a beast, and while those characters are being cruel to Brienne, to the reader, we know Jaime has done horrible things (attempted kid killing = monstrous), and we know Brienne is the purist soul (goodness=beauty), so taking a step away from the superficial, we are getting a layered play on the trope. And yes, Brienne is a virgin and Jaime a knight, we can leave it there, but Brienne is a knight in the truest sense and Jaime is beautiful, so I think the best way to look at this question of who this song is “about” is to accept that the trope being discussed is getting a rotisserie chicken treatment. We’re allowed to see it from every juicy angle, not limited to one. After all, Jorah is a knight and a bear.

Of course, as I already said, since the author likes to reference things without implementing them the way people expect, this doesn’t necessarily mean romantic endgame, but saying that doesn’t mean I’m dismissing Braime because I do think Martin wrote in the romantic stuff deliberately. The whole knights/fools etc is at play in that scene too:

"What are you doing here?"

"Something stupid. Get behind me." He circled toward her, putting himself between Brienne and the bear. (ASOS, Jaime VI)

Brienne is referenced as the maid in this scene, but later she reads like a knight on a quest to save the fair maiden --Sansa. We even get some “The Bear and the Maiden Fair” singing there. If they ever meet, I would expect some beauty/beast discussion to crop up just as part of this continuing conversation about roles, part of the characters revolving through them to allow the author to thoroughly analyze the ideas and evolve what fairytales are/say. In their pairing, Brienne would be the knight to Sansa’s maiden to allow for Martin to contrast Brienne with all of our failed knights.

We get a lot of duality with these characters/their roles which means we can ask, who is the knight/who is the bear and come up with many, many answers. All of them true in a certain light, only to then turn them on their head. Sometimes, a failed knight rises to the occasion, and sometimes the maiden saves the knight, and sometimes, the knights are evil, sometimes the knight isn’t a true knight. Sometimes salvation comes from where you least expect it, and sometimes, rescuers are also a threat. The roles are there, but Martin is playing with them, challenging them, so the multiple ways we can read these characters and dynamics is very much intentional. All of that being said, it’s undeniable that there is one maiden for whom the song is particularly relevant.

Sansa fits the maiden role in a much more overarching way than our other contenders. Not only because she’s a virgin, not simply because of her interest in romance or because so much of her story has been driven by various people’s sexual/political interest in her/marrying her, but because she represents certain attributes, foremost of them, mercy. We get in trouble when talking about how beautiful she is, but it can’t be disregarded because she represents hope, innocence, compassion, peace. Martin made her beautiful not just as a physical thing, rather, because she is representative of ideas; she is the beauty of certain ideals.

The Hound who laughs at killing children is moved to protect her, can’t follow through on his own desire to harm her. Dontos tells her,

"A knight?" Joffrey had decreed that he was to be a knight no longer, only a fool, lower even than Moon Boy. "I prayed to the gods for a knight to come save me," she said. "I prayed and prayed. Why would they send me a drunken old fool?"

"I deserve that, though . . . I know it's queer, but . . . all those years I was a knight, I was truly a fool, and now that I am a fool I think . . . I think I may find it in me to be a knight again, sweet lady. And all because of you . . . your grace, your courage. You saved me, not only from Joffrey, but from myself." (ACOK, Sansa II)

Personification is a thing and even though she is a multidimensional character, I think the way Martin has written Sansa makes it clear that he is calling back to old archetypes here which is why, when you hear “maiden fair,” Sansa is the referenced character in an overarching way, not just in a specific dynamic, not just in a specific chapter or one book, but in the series, this is who she is in a way that no other character is.

Her role in the story is notably the tropey damsel in distress/princess in the tower (in a way that Dany and Brienne are not), and even with the revision of what that means by a modern author, even with the idea growing and evolving into something new, with the girl having far more agency and inner life than in older stories, it’s so clear this is who she is that even her haters know it. They call her a princess in a tower to show their disdain, but all they’re doing is admitting that even they recognize who she is in the story.

And of course, there is the fact that Sansa is referred to as a fair maiden, even in her TWOW chapter, that her beauty is often remarked upon, and that she has some parallels with Persephone which seems pertinent due to the Beauty and the Beast/Hades and Persephone/Death and the Maiden connection:

Petyr cut a pomegranate in two with his dagger, offering half to Sansa. "You should try and eat, my lady."

"Thank you, my lord." Pomegranate seeds were so messy; Sansa chose a pear instead, and took a small delicate bite. It was very ripe. The juice ran down her chin. (ASOS,

LF is her uncle (by marriage), he spirits her away from KL and is clearly intent on making her his, and as we know, he’s orchestrated destruction for her family/the realm, so he fits in here as a kind of Hades (death) to Sansa’s maiden which is relevant considering how loosely related death and the maiden is to the beauty and the beast idea.

However, the thing that feels the most like the author directing us to a specific conclusion must be reading her first chapter in ASOS which might as well be called “the Bear and the Maiden Fair chapter” because we finally get the lyrics to the song, and it’s interspersed into a scenario that is kinda telling a similar story. Sansa wants a beautiful knight (Loras), but is offered a stranger instead (Willas). We’ve also just read a speedrun through all the fake knights/bears/suitors/“love interests” Sansa (or fans) have selected for her:

Sansa wondered if Joffrey knew of this supper. For all she knew, it might be his doing. That thought made her fearful. If Joff was behind the invitation, he would have some cruel jape planned to shame her in the older girl's eyes. Would he command his Kingsguard to strip her naked once again? The last time he had done that his uncle Tyrion had stopped him, but the Imp could not save her now.

No one can save me but my Florian. Ser Dontos had promised he would help her escape, but not until the night of Joffrey's wedding. The plans had been well laid, her dear devoted knight-turned-fool assured her; there was nothing to do until then but endure, and count the days.

[…]

Even so, she must accept. She was nothing now, the discarded daughter of a traitor and disgraced sister of a rebel lord. She could scarcely refuse Joffrey's queen-to-be.

I wish the Hound were here. The night of the battle, Sandor Clegane had come to her chambers to take her from the city, but Sansa had refused. Sometimes she lay awake at night, wondering if she'd been wise. She had his stained white cloak hidden in a cedar chest beneath her summer silks. She could not say why she'd kept it. (ASOS, Sansa I)

So, we have the prince who turned out to be a monster (Joffrey), the guy everyone thinks of as a monster who protects her (Tyrion), a knight who she saved but sexually harasses her (Dontos), a man who threatens her but ended up saving her only to then turn around and be a threat himself (The Hound). See what I mean about multiple roles? My gosh, it’s almost like the author has intentionally been writing variations of the song into Sansa’s story all along, or even, dare I say it, he's written Sansa’s story into a song, only, none of these match up perfectly, so we are still waiting for the true(est) incarnation of this song to manifest into her story.

Or, all of that shorter:

"I CALLED FOR A KNIGHT, BUT YOU'RE A BEAR! (ASOS, Sansa I)

"I prayed to the gods for a knight to come save me," she said. "I prayed and prayed. Why would they send me a drunken old fool?" (ACOK, Sansa II)

So, if Sansa is the maiden of the song, the maiden fair of A Song of Ice and Fire, who is the bear, who’s the knight? More importantly, where is this poor girl’s hero?

Y’all, this is getting ridiculously long. Now, I’ve never not done something for a silly reason like not wanting to appear ridiculous, but I can’t post seven thousand words all at once. tumblr staff will deactivate my account to save me from myself! I will get to Jon and the Jonsa of it all in part two.

#dot chat #jonsa #and all of these for filtering: #anti the hound #anti sansan #anti jorah #anti jorleesi #anti Tyrion #anti Littlefinger

[analytic-daemons]

Introduction & Info

If you've stumbled on this blog at random, I suggest having a read of this!

Reason being, the topic of this blog is related to a very niche community and probably won't make any sense at all without context. :P

First thing's first, a quick introduction to me: I'm Rook, a queer agender adult. I use they/them pronouns, thanks!

I'm a daemian, and have been for over a decade. ^u^ I'm going to be crossposting modified versions of my analytic interpretations from TDF to here!

~~~~~

Right, before I get into explanations, some blog info!

I categorise analyses posted here with tags for different groups they belong to. So an ant analysis might be tagged with #invertebrate, #insect, #hymenoptera, and #ant.

Important note: posts here will likely contain images of animals, and that includes animals that may be triggers for those with phobias (such as spiders and snakes)! I will always tag these with the animal for categorisation purposes (e.g. spiders will be tagged with #spider) and I'll try and remember to tag them with trigger warnings too (e.g. #tw spider).

I don't prioritise writing analyses for well-known or iconic animals. You can expect a bit of a mixture!

Yes, you can request an analysis! Bear in mind these things take a big chunk of time to research and write, so please be patient with me. I'll edit this if my inbox gets too full. '^^

I'll be posting shortened versions of my analyses on this tumblr, but I'll also link to the full version on TDF (which has info on how I interpreted the traits I list) in the post!

~~~~~

Okay, Q&A time~

Wait, wait, you lost me. Daemian?

Right, context time! A daemian is a person who practices daemonism. Despite how it might sound, this isn't a spiritual practice or a religion -- more of a psychological thing for most of us!

Daemonism has its roots in the fan community for His Dark Materials (HDM), a book series by author Philip Pullman.

In HDM, every human has a sapient companion called a "dæmon" that represents their inner nature. Dæmons begin their lives as animal shapeshifters, but when their human reaches a certain age they settle into a permanent animal form which represents their human in some way.

Daemians took this idea and built a community and practice around it! Daemonism has two sides: one is to learn to communicate with your daemon, who is usually a psychological aspect of yourself or your mind; the other side is to find a fitting form. The latter is what this blog is concerned with!

The daemian community is a pretty old one by internet standards -- about two decades old now, if I'm remembering correctly! It's always been niche, but we're super welcoming to those wanting to learn more or give it a try. c:

So what's an "analytic interpretation"?

Within the daemian community, a few different ways have emerged to find what form your daemon might take to represent you.

Some of these align closely with the way daemon forms work in HDM -- they use cultural associations and animal symbolism. So, a lion might be proud, bold and lazy!

Analytic is a bit of a different beast. The analytic system was thought up by the daemian community, who wanted a system which more aligned with real animal behaviour rather than anthropomorphisation.

Analytic is a system that translates animal behaviour into human personality traits. There are conventions for how this is done, which give the system a bit of consistency -- but ultimately it's still more of an art than a science, and not everyone would interpret an animal in exactly the same way. That's okay, though! It's just part of the fun. :P

Analyses are write-ups which describe how the author interprets the animal's behaviour. That's mostly what I intend to post on this tumblr!

Analyses are written as resources for the daemian community, to help them find a form which they feel fits who they are. ^^

How does someone find what animal fits them?

Analytic form-finding is a big, big topic! There's a lot of depth to it, really.

Most people start their analytic journey by making a list of their personality traits. They can then compare this list against existing analyses, find animal behaviours that may align, or share the list with the daemian community so others can make suggestions!

If you're interested in getting involved, I highly recommend joining the daemian community!

There's two main, active centres for the daemian community online. The oldest is The Daemon Forum (TDF), which -- given it's a forum -- isn't the busiest place, but there's still folks around!

TDF also has a Discord server, which is a bit more lively! It's a good place to ask questions and interact with members of the daemian community.

Can I ask questions about daemonism / analytic forms / etc. here?

Yes! Absolutely feel free! Daemonism is my special interest of all time, I love talking about it. :D You can ask stuff about general daemonism too, not just forms or analytic stuff!

So... what's your analytic form? >:)

I'm an analytic European hornet and proud! 🐝🐝🐝

#daemonism #daemons #daemon forms #tdf #teadeef

[burnsopale]

I like your analysis of how Chauvelin's high-born status might be just a rumour in SPHB! I want to cling to that idea because I haaaaaate aristocratic Chauvelin, but we do get explicit confirmation of him being a marquis in The Elusive Pimpernel :( He dates a note as the 19th of September and one of the other revolutionaries sneers that "Monsieur le marquis de Chauvelin" is too much of an aristocrat to use the Republican calendar. Which sucks and makes no sense, because Orczy describes him in TSP as fervently hating all aristocrats and wanting them all dead, so... who knows why she went back on it. Then again, she can't even keep hair or eye colour consistent.

Well, fuck me. How am I supposed to write fanfiction work in these conditions?

Thank you so much for letting me know! Again, this why reading these books has me in such agony. Usually I would put all the characters and descriptions and actions into the tumbledryer in my head and tumble and spin it all around until my hot takes and headcanons come out, but how do you do that when canon is a mess?

Since I got your message I've read a little further in Elusive (I started it recently) and got to the place you mentioned (chapter XX) and also to ... this bit:

"...instinctively Chauvelin shuddered and shrank away from [Citizen Collot]. All through his career there is no doubt that this man, who was of gentle birth, of gentle breeding, and who had once been called M. le Marquis de Chauvelin, must have suffered in his susceptibilities and in his pride when in contact with the revolutionaries with whom he had chosen to cast his lot. He could not have thrown off all his old ideas of refinement quite so easily, as to feel happy in the presence of such men as Collot d'Herbois, or Marat in his day—men who had become brute beasts, more ferocious far than any wild animal, more scientifically cruel than any feline prowler in jungle or desert."

I see Baroness is back on her silly nonsense. Oh no, the refined and elegant aristo has to spend time around the filthy, smelly, brutish lower-class people. *sigh* (Although, I am happy that killing every single bread-winner in town if Percy doesn't submit wasn't his idea. He's a horrible little gremlin, but he's not as far gone as that.)

Anyway, guess he's a marquis. Well, while I would absolutely have preferred the other option, I am not adverse to playing with this. His history is pretty obscure still, I believe, so there's lots of options for how he got to where he is.

Thank you again for letting me know about the mentions in Elusive. I'll finish reading it and see if I find anything more.

#The Scarlet Pimpernel #The Elusive Pimpernel #Armand Chauvelin #Judin answers #I have been blessed by Helpful Anon! #How now to explain Chauvie's hatred of his fellow aristos? It was so much easier when he was not one of them.

[wonderandwanderinginmexicocity]

The Grasshoppers of Oaxaca

I have always been interested in the connection between food, history, and culture. I previously wrote about how the food of today can be a road map of past migration and cultural fusion, and how it can explain the evolution of a place like modern Mexico. Like communion in the Catholic Church, food can be a connection to our ancestors, a process and ritual that transcends time and generations. Food can be a bridge to the past…if we can find it. 

Unfortunately we do not know a whole lot about what was eaten in Mesoamerica before the arrival of the Spanish. This is due in part to the great devastation brought by war, genocide, and disease during the Spanish Conquest, and approximately 90% of the population died by 1530. So much cultural knowledge and insight was lost. Another factor is that much of what the Spanish brought with them to the New World became common and integral to contemporary Mexican cuisine: Lime, honey, meat, and cheese. 

We do have a few Spanish sources that wrote about what the Mexica ate before the Conquest. Hernán Cortés wrote in letters that Emperor Moctezuma’s feasts could be all day affairs, and Bernal Díaz del Castillo wrote in his book, The Conquest of New Spain, the following: “Every day they cooked fowls, turkeys, local partridges, quail, tame and wild duck, venison, boar, marsh birds, pigeons, hares and rabbits, also many other kinds of birds and beasts native to their country, so numerous that I cannot quickly name them all.” But this is of course describing how the most powerful man in the Triple Alliance ate on special occasions. The Great Speaker was hardly the common man. While Moctezuma may have eaten well, people had to do their best catching wild game like duck or raising the only two domesticated animals, turkeys and chihuahuas (which were considered food). How did the common people get enough protein to survive? 

On a recent trip to Oaxaca, I was shocked by how common it was to eat grasshoppers (in Mexican Spanish chapulin, which comes from the Nahua word chapollin). They would sell them in large quantities on the street, or you could order them in dishes like quesadillas and omelets. From the U.S. perspective, eating insects seems strange, but is common in many parts of the world. They are quite common in a warm place like Oaxaca and not hard to find. People enjoy the crunch they provide, like one would from a potato chip. In Mexico City, you can order guacamole with chapulines. Many Mexicans are proud of the cultural heritage this food provides, and there is a sense it connects them to their culture and history and land. It may seem like a bizarre food to a foreigner, but it has some merits. 

While eating grasshoppers in Mexico is both a thing of the past and the present, it may well be a thing of the future. Insects are a bountiful natural resource of animal protein in the world today, in part because there are a lot more insects than people. They do not have the carbon footprint of cows, chickens, and pigs, and do not require the time, space, or resources  those animals require. In his collection of short stories Brief Encounters with Che Guevara, Ben Fountain writes the story of a PHD student that came to the jungles of Colombia to study a rare colony of parrots only to be kidnapped by a Marxist rebel force clearly based on FARC. At one point, the graduate student, John Blair, makes the case to his captors that eating insects is the future, because they are affordable and sustainable. The heavily armed rebels laugh in his sunburnt face. “We are not fighting for the revolution to eat bugs, cabrón,” they say dismissively. 

And yet, here in Mexico, the future may already be here. 

#grasshoppers #mexicanfood #mexicanhistory #mexico #mexicocity #oaxaca #cuidaddeoaxaca #travelgram #culturamexicana #mexicanculture #mexicancuisine #cdmx #comidaprehispanica

[thecreaturecodex]

Stoa

“Dinosaur hybrids: Bunyip” © Richard Kuulme, accessed at his ArtStation page here

[I’m wrapping up my coverage of monsters based on hoaxes, and transitioning to monsters from literary sources. So here’s one that’s both. The stoa originally appears in The Lost World by Sir Arthur Conan Doyle, where it’s depicted as being some sort of giant toad-like creature. It’s not well described, but I suspect it’s intended to be a reference to the “labyrinthodon” sculptures at the Crystal Palace.

As Karl Shuker discusses, the Czech cryptozoologist Jaroslav Mareš claims that the stoa is a creature native to the Kurupira tepui, described by the native people as being much like a modern day Carnotaurus. This is, to me, incredibly suspicious. First off, naming a tepui Kurupira is essentially calling it “Mount Monster”, and the landform is described or discussed nowhere except for in Mareš‘ books. Secondly, Mareš claims that his expeditions occurred in the 1970s, but he only published them in the 1990s... late enough for him to just copy and paste a description of a Carnotaurus, which wasn’t described until the mid 80s. Thirdly, the only link between the stoa and a Carnotaurus is the claim that its horns are like those of the horned frog, which is a comparison no actual expert would make, since the horned frog’s horns are little triangular flaps of skin and the Carnotaurus’ are bone (and probably covered with a keratinous sheath in life). And the stoa, which is described by Doyle as being like a toad, doesn’t even have horns!

So this is sort of a hybrid of the Doyle stoa and the Mareš version. I considered making it an actual chimera of a dinosaur and a toad, but I’ve done a lot of chimeras and magical beasts lately. So I made it an animal. My conception is that it’s a capitosaur, the group to which the “Labyrinthodon” fossils have been reassigned, that has convergently evolved a bipedal, dinosaur-like body plan.]

Stoa CR 8 N Animal This creature is larger than an elephant, with enormous jaws and short horns above its eyes. It moves on two legs, its hind legs overdeveloped and frog like and its short forelegs having flabby hands with a single clawed finger. Its skin shines with an iridescent sheen, like an oily fish, and is covered in warts and irregular scales.

Stoas are ravenous carnivores that specialize on eating smaller, man-sized prey. A stoa leaps into the air and lands on its prey, pinning them beneath its feet while tearing at them with oversized jaws. Their nervous systems are simple and resilient, making them insensitive to pain and difficult to kill. Stoas often kill more than they can eat at once, caching prey in bogs to consume later.

Stoas are native to tepuis, strange plateaus sometimes referred to as “lost worlds”. Although they closely resemble dinosaurs, they are actually large, bipedal amphibians. The oversized claw on their stubby forelimbs is used primarily as a grooming tool, but can double as a weapon in close quarters and in battles over mating rights. Stoas spend most of their time wallowing in water, but move onto land in order to hunt in order to avoid competition with crocodiles or other aquatic predators.  Stoas are poor climbers, and people who live near stoa congregations often keep shelters up in tall trees or cliff faces to protect themselves.

Stoas as Animal Companions Starting Statistics: Size Medium; Speed 40 ft.; AC +3 natural; Attack bite (1d8), 2 claws (1d3); Ability Scores Str 10, Dex 19, Con 13, Int 1, Wis 12, Cha 6; Special Qualities immune to pain effects, low-light vision, scent, weak claws 7th level Advancement: Size Large; AC +3 natural armor; Attack bite (2d6), 2 claws (1d4); Ability Scores Str +8, Dex -2, Con +4; Special Attacks crush (Small); Special Qualities ferocity, mighty leaper

Stoa                            CR 8 XP 4,800 N Huge animal Init +6; Senses low-light vision, Perception +9, scent Defense AC 20, touch 11, flat-footed 17 (-2 size, +2 Dex, +1 dodge, +9 natural) hp 104 (11d8+55) Fort +12; Ref +9, Will +5 Defensive Abilities ferocity, fortification (50%); Immune pain Offense Speed 40 ft. Melee bite +14 (2d10+8), 2 claws +9 (1d6+4) Space 15 ft.; Reach 15 ft. (5 ft. with claws) Special Abilities crush (2d8+12) Statistics Str 26, Dex 15, Con 21, Int 1, Wis 12, Cha 6 Base Atk +8; CMB +18; CMD 31 Feats Dodge, Improved Initiative, Iron Will, Mobility, Toughness Skills Acrobatics +10 (+22 jumping), Perception +9, Swim +15; Racial Modifiers +8 Acrobatics when jumping, +4 Swim SQ mighty leaper, weak claws Ecology Environment warm and temperate hills Organization solitary, pair or congregation (3-6) Treasure none Special Abilities Crush (Ex) A leaping stoa can land on Medium or smaller creatures as a standard action. A crush attack affects as many creatures as fits on the stoa’s space.  Creatures in the affected area must succeed on a DC 23 Reflex save or be pinned, automatically taking 2d8+10 bludgeoning damage during the next round unless the stoa moves off them. If the stoa chooses to maintain the pin, it must succeed at a combat maneuver check as normal. Pinned foes take damage from the crush each round if they don't escape. The save DC is Strength based. Mighty Leaper (Ex) A stoa does not suffer a penalty to Acrobatics checks made to jump if it doesn’t take a running start. If it does take a running start, its distance traveled is doubled. Weak Claws (Ex) A stoa’s claw attacks are secondary natural weapons.

#stoa #the lost world #hoax #sir arthur conan doyle #cryptozoology #pathfinder 1e #animal companion

[caffeinatedseri]

Dead Apple Light Novel

Recently, I decided to buy LN 5, Dead Apple, purely because I’m a sucker for all of BSD’s light novels, so this post will revolve around what I took away from this novel. 

Dead Apple is Canon

Since the story jumps around in the timeline a lot, I had originally thought that Dead Apple took place outside of canon (especially with Atsushi’s flashback). 

However, a particular part of Asagiri’s afterword stuck out to me:

Now, allow me a moment to discuss some of the particulars of Dead Apple. Chronologically, the story takes place after the second season of the anime — in other words, after the war with the Guild, which puts Dead Apple somewhere between the ninth and tenth volumes of the manga. 

The novel also ended up affecting the main story in numerous ways, and I’m sure this new experience will continue to influence my future work as well.

It’s not unusual for a light novel to insert itself into the main timeline (see 55 Minutes which takes place in the 10th volume), but it’s nice to have confirmation that the same applies to Dead Apple. 

Of course, just because a work isn’t canon compliant (see BEAST), doesn’t mean that it has no potential for further analysis or it doesn’t bring any added complexity to the main plot. Regardless, this post serves as somewhat of a precursor to my other posts concerning Dead Apple since I have a tendency to talk about it a lot, and I’d like to establish a basis for a lot of my posts. 

Differences between the Movie and Light Novel

In the afterword of the light novel, Hiro Iwahata (the author of this LN) said:

“Furthermore, I worked on this book under Asagiri’s supervision, meaning there are several lines in certain scenes that differ from the movie. It might even be fun comparing the two!  Nothing would make me happier than the fans enjoying this novel alongside the movie.”

As per Iwahata’s request, I went into the light novel, looking for differences between it and the movie. However, the novel is surprisingly, almost identical to the movie (maybe not surprising considering it is a “movie novelization”).

Because the differences are so miniscule, I believe they hold an even greater significance, since Asagiri must have wanted to change these specific details for a certain reason. 

Some of the differences I talk about might be unimportant, but I did my best to catch everything that was changed from the movie.

1. The movie doesn’t mention SKK as a part of the Dragon’s Head Conflict, but the novel says, “Some fought under the alias Twin Dark.” 

This probably means that SKK became a pair either before the Dragon’s Head Conflict or during (although I’m pretty sure that the “organization” they destroyed over night was Shibusawa’s organization).

2. When Dazai says that he would’ve continued killing people in the mafia if it weren’t for Oda, Atsushi has little to no reaction in the movie; I would describe it as maybe a hesitant or concerned feeling.

In the novel, Atsushi has a more outward reaction.

““Huh...?!” Atsushi was baffled. He had no idea whether that was true. What did Dazai mean by that? (...) The melancholy Atsushi felt from Dazai had disappeared, and Dazai continued to speak in his usual lighthearted manner.”

Not only does he react verbally, but the novel also adds an inner monologue (mainly for Atsushi) that can’t be portrayed as well in movie format. 

To me, this change highlights how Atsushi sees Dazai purely as a good person; he reacts in such a startled manner because he believes that Dazai is too good of a person to be in the mafia killing people (which we know Atsushi hates). This trend reoccurs throughout the story, of Atsushi turning a blind eye to Dazai’s “bad side.”

3. This one isn’t at all the movie’s fault, but the novel gives a lot more clues as to what the “dead apple” and the dagger in the apple motif represents.

The first time it appears is when Kunikida and Tanizaki meet the Special Division’s agent, but they find out that he’s already dead.

“It [the apple] was, without a doubt, a simple fruit... save for the fact that there was a knife sticking out of it as if to condemn the taste of sin. A blade had been driven into the symbol of original sin. A dreary, ominous aura, oozed from the ripe fruit like venom. 

Throughout the novel, it seems to associate the “dead apple” motif with Fyodor pretty strongly, especially since this paragraph ties in Fyodor’s ideals nicely with the symbolism of the apple and dagger.

The apple represents sin, the very first sin — which you could interpret as sin at its purest — while the dagger represents the condemning of such sin. However, the apple can also potentially symbolize life, while the dagger stabbing into life can mean death. 

Fyodor’s ideals revolve around “removing the sin” of ability users (represented by an apple in this case) but he does so through manipulation. The dagger is associated with stealth and deception, which is fitting with what Fyodor does to “remove the sin” of ability users.

However, he’s also taking the lives of ability users in this process, hence stabbing the apple, coincidentally committing another sin in his attempt to relinquish all sin.

4. In the “Snow White” Oda and Dazai flashback, everything is identical to the movie (word for word), but there is some additional narration.

“It was an alarming sight — Dazai sounded like he was in a trance. It was as if he was ignoring all this world had to offer while in pursuit of something else.”

I’ve talked about this particular scene before here, but the gist is that Dazai was discreetly talking about himself while referring to Snow White. 

Dazai joined the mafia because he believed that the violence (or true human nature) would give him a reason to live, but we already know that this kind of thinking was flawed.  Thus, this line most likely means that Dazai was ignoring all of the “good” qualities of the world while pursuing a reason to live, which inevitably wouldn’t work. 

5. Right after the flashback, when Dazai takes the pill, the novel really sells the act of “Dazai walking towards his death and going to the evil side.” 

Personally, this scene in the movie felt more open to interpretation after you’ve seen the ending. You could say that Dazai took the antidote and said “Being on the side that saves people is more beautiful,” because his plan is to continue living to save more people. 

However, the novel throws away any possible double meaning with this paragraph:

“Dazai then reached for the pill with his bandaged hand, neatly picked it up, and slowly brought it to his lips — just like Snow White and the sweet, poisoned apple. The venomous red-and-pure-white-pill disappeared inside his mouth.”

After Dazai’s tangent on how Snow White could’ve committed suicide out of despair, the narration compares him directly to Snow White. With the added venomous pill stated outright, it only further cements the idea that Dazai’s actually committing suicide here.

I don’t particularly like this change, because it feels like this moment was set up entirely just to divert the audience’s expectations, rather than it be a standalone scene that makes sense when considering the rest of the story. (It might not necessarily be a change, possibly just a rough translation from movie to novel). 

6. When Atsushi wakes up from his nightmare, there’s some additional inner monologue:

Everything’s okay. I’m not the same person I was when I lived at the orphanage. I have friends. I have a place where I belong — the Armed Detective Agency. Things are different now.

The anime (and in turn the movie) tends to downplay the effects of Atsushi’s trauma — probably due to the limitations of anime — but regardless the novel portrays it much better with how Atsushi’s trauma affects practically every aspect of his life. 

7. I thought Fukuzawa’s ability only gave his subordinates control over their abilities, but the novel says:

“Yukichi Fukuzawa and his skill, All Men are Equal, a peculiar ability that allowed him to suppress and control his subordinates’ skills.”

Does this mean that Fukuzawa could control and suppress all of the agency’s abilities? It could be a weird translation, but it seems oddly specific.

8. This detail isn’t actually a novel exclusive, but it is an extremely small detail that I missed while watching the movie, so I figured I would add it here too.

“the phantom’s notebook had the word Compromise written on the cover. A copy of himself that didn’t follow ideals but made compromises was an abomination to Kunikida.”

Considering how abilities act as the shadow to every character in this story, this is a nice detail that shows how Kunikida’s inner desire is to compromise, because carrying such heavy ideals is undoubtedly a burden. However, because he holds onto his ideals so strongly, it becomes his biggest weakness AND his biggest strength.

9. There’s a super small detail added to this scene with Dazai, Fyodor, and Shibusawa. When Dazai suggests that Shibusawa could be saved by an angel or a demon, the following exchange occurs:

“Hmm... Maybe an angel?” Dazai picked up the skull on the table. “Or maybe a demon?” “It’s obvious what both of your true intentions are, if you ask me.” The third man mirthfully cackled and took the skull from Dazai’s hand.

In the movie, Dazai doesn’t pick up anything, so as a result Fyodor doesn’t take anything from Dazai either. 

Because Fyodor walked into the scene after Dazai suggested that an angel or demon would save Shibusawa, I strongly suspect that this was foreshadowing future events in which Fyodor does “save” Shibusawa by giving him his memories back.

The novel adds more to this foreshadowing by having Dazai pick up the skull before it’s taken by Fyodor — essentially having Fyodor take the cards out of Dazai’s hands and put them in his favor. 

It’s also worth pointing out that the skull is also the object that Fyodor uses to revive Shibusawa into a supernatural ghost of some sorts at the end of the story.

10. This may be just a difference in translations but in the movie, Shibusawa refers to Fyodor as “Demon Fyodor-kun”, whereas in the novel Fyodor is called “Fyodor the Conjurer.” (Ango uses the Conjurer title as well).

In western esotericism, a conjurer is a person who summons supernatural beings, like spirits, demons, or God.

This slightly changes the connotation of Fyodor’s title from a inhuman being of pure malicious intent to just a human who summons these otherworldly beings. This idea also aligns with Shibusawa’s revival, since he’s some sort of supernatural ghost that was “summoned” by Fyodor. 

11. Skipping past the parts where Kyouka and Akutagawa regain their abilities, and Chuuya talks to Ango in the government facility, (since they have little to no changes between the movie and the novel) there is a somewhat significant detail changed in Draconia once again with Dazai and Fyodor.

In the novel, this glowing ball of energy from the movie is actually described as an apple: 

The two lights melted into one and spun until they formed a juicy sphere. They had produced a single apple — a juicy, poisoned apple red as blood.

It birthed a skill — and an extremely powerful one at that — the ability to absorb. Every last crystal adorning Draconia’s walls was sucked into the apple with intense force. Ten — a hundred — a thousand — two thousand — every last one was greedily devoured by the apple...

The apple swelled as it absorbed the numerous crystals until the red light became hotter than the surface of hell.

Since the “dead apple” motif aligns with Fyodor’s character, we can assume that the apple is representative of sin, and sin is associated with abilities, as Fyodor believes.

This strange poisoned apple is made of abilities and has an ability (the ability to absorb), and it commits a sin (greed) in its devouring of other abilities; it’s also hotter than “hell”, which is a very specific connection that leads me to this idea:

My theory is that a normal apple represents life, while a poisoned apple (or dead apple), indicative of a stained, impure life, represents sin. Fyodor believes abilities are akin to sin (what a clever rhyme), therefore all of their lives are sinful.

12. This is arguably the most insignificant change of this entire post, but I feel obligated to put it here regardless since it was different from the movie. When the Special Division detects the singularity of Shibusawa’s dragon form in the novel, it says:

“Abnormal values for singularity are increasing! They’re twice — no, 2.5 times higher than they were six years ago.”

In the movie, the number is five times higher instead.

Why did this number change? Is it significant? I honestly have no idea (I’m surprised I even caught this), but it’s there and I had to document it anyways. 

13. The novel adds this narration for Shibusawa when he gets his memories back and he’s in the orphanage’s room with Atsushi:

“Shibusawa clearly recalled the events from six years ago. Fyodor had enticed him to go to the orphanage where he tortured a young Atsushi... until Atsushi fought back and killed him.”

There’s two things to take away from this: Fyodor had known Shibusawa for at least six years, and Fyodor had been planning the events of Dead Apple since at least six years ago. 

I find it hard to believe that Fyodor’s plan was thwarted by Dazai, because of how Fyodor demonstrated his ability to plan ahead in the main series, but I’m not sure what the long term effects of this plan could be. If Shibusawa succeeded, then it could’ve aligned with the DOA’s goals, but once again I don’t think Fyodor’s plan was actually foiled.

14. Super minor once again, but right after Shibusawa gets revived, the last sentence of chapter 5 is,

“Nobody would ever see the smile on Fyodor’s face.” 

Honestly, I think this was just added to create an ominous tone, but it’s a nice detail regardless.

15. As the red fog spreads across Yokohama, there’s a good part of exposition that connects the “dead apple” motif to Fyodor once again:

“After the red fog devoured the earth, the planet would undoubtedly look like a floating red apple from space. There would be no humans left on its surface, nor any signs they ever existed. It would be a true paradise, and with that, the Dead Apple would finally be complete. A dead planet covered in red fog — that was what Fyodor had planned and sought out.

Nothing other than death could wash away the original sin of man, so it was only fitting for the sin, which started with a fruit, to end with one as well. 

It’s pretty long, but I like the way this passage is written, more specifically the last part since it fits well with the sinful poisoned apple idea.

It also aligns with Fyodor’s ideals of creating a true paradise, free of ability users. However, if Fyodor had planned to have the Earth covered in fog, that could mean that his plan was actually stopped by Dazai and Atsushi in the end.

16. Shibusawa has a few additional lines of dialogue when he talks to Atsushi in their final fight.

“The dragon and tiger... I see now why they are called rivals.”

The dragon and tiger have their roots in Chinese Buddhism, but to go further into that topic would make this already lengthy post even longer.

“Don’t get the wrong idea, though. I’m not blaming you for what happened.”

This line is a brief moment of weakness for Shibusawa, which is interesting in contrast to his strong will to kill Atsushi. Just as Atsushi learned to accept the past and the tiger’s ferocity, Shibusawa shares the same attitude by separating the blame from himself to just simply accepting the past for what happened.

17. In the aftermath of the last fight against Shibusawa, Atsushi and Kyouka meet up with Dazai.

Kyouka asks, “Are you sure this is what you wanted?” which prompts two different responses in the movie and novel respectively.

In the movie, Atsushi says, “Just as Shibusawa was able to forget that he’d been killed before, I think Dazai can put his past behind him again. But this is fine.”

In the novel, Atsushi says:

“... I could probably seal away this memory just like how I’d forgotten I’d killed him before. But... I’m okay with this.”

I interpreted Kyouka’s question in the movie to be questioning Dazai’s loyalties, as he did betray everyone, and Atsushi responded in Dazai’s defense because he trusts him.

However, the novel does change Atsushi’s response to focus on himself rather than Dazai, which in turn changes the implications of Kyouka’s question. 

Kyouka seems to be asking Atsushi whether he was okay with killing Shibusawa, and Atsushi responds by acknowledging that he did kill Shibusawa, and that’s okay. (a very clear development from the beginning of the story when he believed it was unnecessary to kill anyone, and he didn’t want to kill anyone)

18. In the epilogue, Ango talks about the underlying motivations behind the “Dead Apple” case. This change could be attributed to translation differences (like many others in this post), but the connotation does slightly differ from movie to novel. 

In the movie, Ango says, “How is a man like Shibusawa, so intelligent that others look like alien creatures to him, to act, to be destroyed, or to be saved?”

In the novel, Ango says:

“Perhaps the two of them [Dazai and Fyodor] just wanted to get a glimpse of someone like them... Perhaps they wanted to see what he would do and how he would meet his demise... or perhaps how he would be saved.”

The movie simply poses a broad question of what would happen to Shibusawa, a person alienated from the rest of society. 

The novel changes this to focus on Dazai and Fyodor’s perspective — two irredeemable aliens from society just like Shibusawa — executing this grand scheme out of curiosity to see what would happen to someone of the likes of them, and if there’s a possibility for redemption.

19. This is the final difference on this list, and it’s quite a large change. In Fyodor’s monologue at the very end of the story, he has a completely different tone from the movie to novel.

In the movie, Fyodor says, “But in order to end this world, rife with crime and punishment, I do need that book.”

The novel says: 

Glittering high-rises and stately brick buildings stood side by side in this port city with its countless citizens who struggled against crime and punishment. “I think I’ve taken a liking to this city myself..”  Fyodor took a bite of the apple in his hand, and the juicy nectar ran down his delicate fingers. “You’d all better be on your best behavior until next time.”

The reference to the book may have been removed for consistency with the main series, as the book is a part of the DOA’s plan (or more specifically Fukuchi). 

It also seems like Fyodor has grown fond of the city, and no longer wants Yokohama to be destroyed, so it’s still possible that his plan deterred from what he had originally intended.

Beyond that, I’m not entirely sure why crime and punishment was mentioned, or why there’s such an ominous tone to his ending statement, but that’s up to personal interpretation. 

That concludes the long list of extremely specific and minor differences between the Dead Apple movie and light novel! 

Overall, I would say it’s worth checking out the light novel if you don’t have a strong grasp of the Dead Apple story, because it definitely presents the small intricacies of the plot in a more comprehensible way. 

On a side note, the manga adaptation has a lot of noticeable differences from the movie and light novel, mostly with the addition of entirely new scenes (which you can read @buraihatranslations​ — what a shameless self plug). I would highly recommend reading it as those extra scenes are very amusing, to say the least without giving any spoilers.

Honestly, this post was a lot longer than I intended, but I hope you enjoyed it regardless. Thank you for reading!

#bsd #bsd dead apple #bsd meta #bungou stray dogs

[sparktls]

Awakening The Legend Of The Chalk Castle Chapter 4 | Event Story Translation

Translation under the cut!

Akira: Where am I…?

A second later, when I open my eyes, I find myself in an unknown place.

Tall cliff walls restrict my field of vision, with countless caves carved into the rock.

And what stands in front of us is a stone building, tree roots wrapped around it.The mossy exterior makes the air damp and heavy.

Snow: …It appears that we have been wrapped up in Oz’s teleportation magic.

Akira: So this is the Lair of Oz…?

Resident of the Lair of Oz: What!? Who are these people!?

Resident of the Lair of Oz: T-they all showed up out of nowhere! Do you work for Oz!?

Hearing all the commotion, we take a look around to find that people are watching us from afar.

Judging from the current situation, they are all probably residents who live close to the Lair of Oz. They seem to be in fear of us, the sudden visitors, and I couldn’t blame them.

Akira: Excuse me…

Resident of the Lair of Oz: HEEEELP! I’M GOING TO BE EATEN!

When I try to speak to one of them, they disperse like baby spiders. The hand I had reached out loses its purpose.

Snow: You must have looked absolutely starved…

Akira: Ahaha… But the people here really are scared of Oz, it’s as if he’s some kind of magical beast…

Shylock: I’m terribly glad that you’ve spared me from an explanation. Anyways, here we have Master Sage, Master Snow, Oz, and myself. Also…

Owen: Are you trying to annoy me? My mission just ended.

Standing there is Owen. His glare is so sharp that I feel as though it would stab me from the gap between my bangs, and I feel a shiver run down my spine.

Akira: (Oh no… He seems seriously angry.)

Unsure of how exactly this anger will be vented out, even more shivers run down my spine.

Akira: Well, uh…

Owen: Oz. I’m asking you.

Oz: …..

Oz stares silently at the Lair of Oz for a while before opening his mouth to speak.

Oz: Arthur and the others are in there, correct?

Shylock: Yes. They are all inside still investigating.

Owen: You dragged me here so you could bring them all back?

Owen: Well, they should be like bugs. If you use some smoke, they should come running straight out. Let’s try it.

Snow: No, Owen!

Akira: (So Oz was worried about Arthur and the others. Even though he trusts them…)

Akira: Shylock, is this the aforementioned building that appeared in the Lair of Oz?

Shylock: It is. It currently has the name of “Oz’s Castle”, though of course it and the real thing are as different as night and day.

Snow: Indeed, it does look to be ruins. A dwelling that prompts us to remember the dignity of ancient times.

Akira: …It’s pretty similar to the castle described in Owen’s book, isn’t it.

The ruins of a castle; old, eerie, strange. It’s accurate to the book, in a sense.

An unpleasant stirring in my heart arises as I continue to look at it. My body starts to shake and I curl my hand into a fist and squeeze.

Shylock: Originally in these lands, there was only the cliff with all of it’s caves. The residents led quiet lives, however…

Shylock: When we first arrived, they informed us that the manager of the Lair of Oz had gone missing.

Oz: …Missing?

Shylock: Yes. When this castle appeared, the wizard with that role vanished.

Owen: Ahaha, just like the book said. I’m sure that stupid manager was killed and eaten by Oz with all his tails.

Shylock: …The residents do not doubt your theory. They say it was punishment for carelessly straying so close to the entrance.

Akira: And you all went in after hearing what they had to say?

Snow: Hm. It appears that the Oz inhabiting this castle has quite the bizarre preferences when it comes to food.

Owen: Oz is just a stupid animal.

Oz: I didn’t eat him. And this is not my castle.

Oz gives a retort. Perhaps he has finally had enough.

Snow: Hohoho, I know. I cannot sense a strong magical power akin to yours from within this castle.

Akira: Really?

Snow: Indeed. Nor can I sense a magical beast. Although…

Snow looks up at the castle again. There is a slight nervousness reflected in the innocent gleam of his eyes.

Shylock: …There certainly is a… strange… ambience to it.

Shylock: The silence is rather disquieting… And I do believe I feel some sort of warm breath, similar to an egg waiting to hatch.

Shylock looks up at the castle and his brow slightly furrows.

Shylock: Prince Arthur and the others went in, deciding that their first priority was to save any and all lives they could.

Shylock: And just in case, I went to go and bring Oz and Master Sage here as well. No matter what happens here, with the two of you, we will be able to handle it.

Shylock: And thus concludes my report of the current situation.

Oz: …..

Akira: (I wonder what it looks like inside of this castle. I hope it’s not dangerous…)

The young wizards that went first do have Lennox with them - but just the outside appearance of the castle is enough to stir up my fears.

Snow: All else aside, our current priority is to find Arthur and the others. Judging from the fact that I can sense their magical power, they seem to be safe.

Akira: I’m glad! So, can you tell where they are?

Snow: Indeed. But they seem to have made their way rather deep into the castle.

Owen: This looks like a pretty big castle. If you get lost in it once, I don’t think you’ll ever be able to get out.

Akira: N-no…

Thinking about their safety, worry threatens to overtake me once again.

There is no guarantee that we won’t become lost when we enter, either.

Shylock: No need to worry, Master Sage. I left a mark on them so that we would be able to swiftly reunite upon my return.

Shylock: Inviebelle.

As Shylock chants his spell, a butterfly flutters out of his magical tool, a pipe.

The butterfly’s wings sparkle and shine and it gracefully leaves a trail of light leading us to the entrance.

Akira: Woah…! It’s really bright too, we can see where we’re going!

Shylock: We will be able to find Prince Arthur and the others if we follow the butterfly.

Akira: Thank you so much, Shylock. Let’s go, quickly!

Owen: Bye. Tell the Oz in this castle that I said hi.

Snow: Bad boy, Owen! Do not act as though you have nothing to do with this. You shall come with us.

Owen: I don’t want to. It doesn’t matter to me if they die here or not. My shoes are going to get all dirty.

Oz: There is no need for Owen. My power is enough.

Owen: Say that again, I dare you.

-

next

[vowled]

Kill Your Darlings: An Analysis of its Twists and Themes

A few days ago, I watched Kill Your Darlings, and needless to say, I became completely mesmerized by it. Naturally credible characters with well-crafted backstories portraying a true story of Love, Obsession and Murder, it's everything a person could ask for in a movie. The colour palette of the movie radiates comfort and the sound track takes you back in time when these two bright young men were falling in love. Right from the start it was apparent that there were many themes in the undercurrent of the movie, and these were such that required some amount of thoughtful contemplation. And I was incredibly sorry to not find any post or review which critically discussed the themes of the movie and did it justice- so after doing some reading and digging up as much as I could, here I am making an attempt to analyze the twists and themes of the story.

The Crucial Plot-twist

The Night In Question- why the movie's recounting of the events is fictitious:

When faced with the prospect of writing the deposition for Lucian, Allen tried his best to gather information about the events that led to David's murder. However, it proved to be a difficult feat as Lucien himself would not speak much about it clearly. So he pieced together what he could from the bits of information he got. However, we see Lucian vehemently opposing the deposition written by Allen and claiming it to be false. After some thought, I find that I believe Lucian's claims. Most of the following arguments are rooted in the fact that Lucien's relationship with David was an abusive one, where David basically groomed Lucian and was a sexual predator. I suggest reading my post here to gain more insight about how the abuse affected him.

"You weren't there, you don't know what happened." These words right here- they're the words of a victim. Being subjected to a form of sexual abuse myself, I found these words hitting me like a brick ton. These are words coming from a pained soul that refuses to recount traumatic incidents. He's practically saying that the abuse was so bad he had to kill his abuser to be free from it.

Even after Allen saw first-hand what a total creep David could be, even after knowing the man had stalked Lucian across multiple cities, he had to ask Lucian why the latter killed David when he "could have run". This tells me he couldn't exactly relate to Lucian's situation and wasn't very keen on believing him. Although he displayed a moment of intimate affection, there's still a lingering feeling of yeah but he broke my heart inside him. After learning how Lucian drowned David, he even begins questioning if he should help him at all. At this point, Allen doesn't trust Lucian enough to actually care how accurate the story is. So he wrote what he could, what he felt right. But even he couldn't condemn his friend/first love to such a fate as prison, so eventually he submitted it as his final paper. In all honesty, I thought that turning it in was a brilliant move, and one which also further proved that the "once you loved him too" version was mostly fanciful fiction.

Throughout the movie, sequences have been played in reverse frames (and I found this so pleasing) and from the nitrogen-inhaling scene, we know that these sequences designated memories playing out in Allen's head or his subconscious creating dreamscapes. And here's the catch- the entire scene of Lucian taking a walk with David and eventually killing him began with frames played in reverse order. This gives the absolute proof that the movie's depiction of the events were fictitious.

Allen's P.O.V. of the events mainly relied on the argument that at some point, Lucian genuinely loved and needed David. This couldn't be further away from the truth. When you're 14 and and being groomed and coaxed by an older guy, a lot many things could feel like love because you haven't experienced them before; but in reality, it's never love, it just is another form of violence.

Themes running through the movie

"There can be no Creation before Imitation"

We see Professor Steves saying this at the beginning of the movie, hinting that it would be a theme in the story. This statement is reflected throughout Allen's progression and development as a poet:

In the beginning, we see him being hugely influenced by his father's works and possibly trying to imitate him through poetic devices such as consonance.

Next, we see him imitating Professor Stevens' style of writing in his poem "the rose that scents the evening air, grows from by beloved's hair" which Lucian outright criticizes.

It is only with the poem Allen recites to Lucian on the boat that he starts developing some sort of originality. That poem in particular is directly drawn from his personal experiences and delivers splendidly.

This development continues as he proceeds to write "The Night In Question" wherein he brilliantly describes his opinion of how things went down. It was this streak that would eventually propel him to write his most celebrated poem, "Howl".

The Circle of Life and How Allen Breaks it

We see Lucian telling Allen how "Life is only interesting if it is wide" and about Yeats' "Circle of Life". As displayed by the linked document, turns out the circle of life is quite complex a thing, and the movie displays a lay-man's version of it. As Lucian tells about it to Allen, unbeknownst to them both, Allen also enters the circle and changes the turn of events:

It is obvious that at the party at David's, Allen was a misfit. David even goes so far as to literally call him out and point how unremarkable he was, but says how given the correct circumstances, even Allen could change things. And what's extraordinary is exactly this happens next: the liquor runs out in David's party and Allen suggests they should change the venue of the party- hence hijacking David's party!

We see Allen's life widen as he becomes closer to Lucian and starts doing things he'd never done before. At the same time, he also plays an important role in changing Lucian's life as well. It's Allen who suggests at first that Lucian should break up with David and stop taking his help. Later in the movie, after learning about David's obsessive behaviour, it's again Allen that said "we should get rid of him". Again, here we see some foreshadowing. Allen could have worded it in any probable way, and yet he suggested getting rid of David which subtly implied killing him. I do believe that this happened to become a subliminal suggestion to Lucian and furthered his murderous intent.

Hence, although Lucian radically changes Allen's life, the latter does so too in unlikely and unexpected ways.

Sacrifices (and Rituals?)

Since the beginning of the movie, we know that the characters are all extraordinary men and that they are capable of something revolutionary. But it was apparent that all of them would need a catalyst to set things in motion- a sacrifice of some sort which would help them break their moulds and free their inner poet. Allen's love for Lucian and his wish to impress him did make him work toward become better at writing. It was the fear of completely losing Lucian to Jack that made Allen put all his effort into writing, and made him come up with his best work yet - here, the fear acted as the catalyst.

However, the most significant thing in connection to this happened in this scene where Lucian cuts both of their palms and holds them up together - this can be considered a Blood Ritual.

"A blood ritual is any ritual that involves the intentional release of blood. Blood rituals often involve a symbolic death and rebirth, as literal bodily birth involves bleeding. Basic to both animal and human sacrifice is the recognition of blood as the sacred life force in man and beast. The participants may regard the release of blood as producing energy useful as a sexual, healing, or mental stimulus. In other cases, blood is a primary component as the sacrifice, or material component for a spell."

The fact that this event took place inside Allen's head during a trippy session outlines how Allen had subconsciously taken a blood oath with Lucian to further The New Vision. This process of developing their revolutionary ideas would successfully progress for the rest of the movie; however, before its completion, the oath demanded a sacrifice- and the murder of David became this blood sacrifice.

"With Death comes Rebirth"

In the first half of the movie we see the initiation of this theme; after they've agreed upon to bring up something revolutionary, Allen talks about how rebirth comes only after death, and in their naivety, they play out a pseudo-suicide scene to imitate death. Little did they know greater sacrifices would have to be made. Eventually as events play out, we come to realise that it is David's death that became the cause and medium for their rebirth- both academic and intra-personal. Jack and Bill co-wrote the book "And the Hippos Were Boiled in Their Tanks" about the murder of David Kammerer, and eventually rose to fame, while Allen became popular with "Howl and Other Poems", none of which could have been initiated/inspired without David's death. As for their personal growth, none of them were the same as they were before the affair. I like to think all of them changed for the better. Lucian must have finally felt a sense of relief after getting rid of his abuser, while Allen finally took-off his rose-coloured glasses, saw Lucian under a more critical light, and developed a sense of self-esteem.

A Study in Violence (I was unsure whether to include this point in this analysis or not due to the violent nature of it. But I figure this analysis would remain incomplete should I leave it out. So here it goes..) The sequence from 1:10:00 to 1:12:00 was an in-depth survey of Violence and how it can occur in different forms. In particular, it focused on how any form of penetration is intimately violating.

We see a lonely Allen being so lost that he's about to have sex with a complete stranger. This itself is very unlike him, who in the beginning of the movie was shying away from Lucian kissing an unknown girl. A few sequences later we see how he wasn't very comfortable with this idea (he wanted to turn off the lights but the other guy turned them on) and yet he was made to shift into a position he did not prefer and hence was made to have rough sex.

We see Bill looking very solemn and injecting drugs into his hands.

We see the violent altercation between Lucian and David. We see David forcing himself on Lucian and eventually being stabbed by him.

We see Jack recieving the news of the death of his friend.

In this way, we see every member of the group being exposed to some form of violence, be it sex, drugs, physical altercations or death.

First Love and its aftermath First love is also an important theme of the movie as it shows how one's first love has the capacity to radically change a person from within:

Allen's first love changed him from the shy, people-pleasing always-upright persona to the bold, radical, critical and unafraid person he became at the end of the movie.

Allen's discovery of his own style of writing can also be majorly attributed to Lucian's criticism of his rhyme-schemes.

All in all, it was his love for Lucian that drove him to become a more out-going person and ignited the mischief in his spirit, while the heartbreak of realising Lucian didn't feel the same for him also lent him invaluable insight and allowed him to develop confidence and a sense of self-esteem, which would play a significant role in him eventually becoming his own person.

While Allen's first love furnished him with the overall better things in life, the same could not be said for Lucian, sadly. Lucian's first love reminded us how oppressive love can become if the other person isn't suited-well for us; it showed us how sometimes love and obsession are separated by a thin line, and how dangerous it becomes when the line is crossed.

Lucian's story also showed us how sometimes a relationship can be more abuse than love, and when that happened, how easy it became to confuse violence with love.

The most significant message that the theme of first-love portrays is that there will always be consequences.

With this, I bring my arguments and analyses to a close. I hope a future (or even past) lover of the movie happens to stumble upon this someday and learn something fascinating about the movie (or reignite their love for it). Thank you for reading this far!

[P.S. an uplifting fact: in real life, Lucian, Allen, Jack and Bill each got the type of life they wished for, and remained friends for the rest of their lives :) ]

#kill your darlings #dark academia movies #daniel radcliffe #dane dehaan #movie critique #film analysis #I hope I could word this comprehensibly

[petra-realsnk]

The Logics of Sessr*n: why is it successful within women?

Hi guys! Here’s the post that I promised. I will try to present some thoughts I’ve been having around the infamous ship, and some of the dynamics I think have contributed to its success. The most logical reaction would be to think that most shippers are men, since the dynamics represented do favour them, but that’s not exactly the case. Some of you have also proposed that this could be explained through self-inserting, but I would like to expand this observation a little further. 

This post will be divided in sections so you guys can read the parts you find more interesting if you don’t feel like going through it all. I thought this would make it more enjoyable since it’s going to be quite long. 

DISCLAIMER: I am not claiming that this is the psychological profile of the average shipper, nor do I think that this is representative of the ideology of all of them. These are just some personal thoughts and facts around some aspects that I think have contributed to its appeal. Also I apologize in advance for the quality of my expression since English is not my first language. 

TW: Mentions of p*dophilia and rape. 

Finally, I would like to thank @doombull​ for facilitating me one of the articles that I’ve used to elaborate this thoughts, and which also served as inspiration for this post. 

Grab something to drink and let’s chat...

About the thrive of “Lolicon” 

We are all aware that Japan does have a problem with the permissive sexualization of children.

 “Lolita complex, the sexual attraction to young, pubescent girls, is woven into the fabric of everyday life in Japan. Turn on the TV and you’ll see group after group of scantily-clad teenage and preteen girls singing or dancing to music. Peek in any bookstore and you’ll find a section of photo books featuring children in swimwear. (...) During the six months from January 2016, police turned over 1,023 cases to prosecutors, compared to 637 cases for the same period in 2011 and 831 cases for the period in 2015, according to National Police Agency statistics.”

These portrayals do have impact on reality, and have been used by real life predators. Contrary to what some shippers say, there are experts in Japan speaking against this matter: 

“Masahiro Morioka, a professor of philosophy and ethics at Waseda University, has delved deep into the psychology of men with Lolita complex, widely known as lolicon in Japan. (...) He says the nation’s obsession with puberty-age girls has justified sexual exploitation and crimes against them — though, of course, not everyone with Lolita complex acts on their desires and commits sex crimes. Like many people, Morioka finds the culture that tolerates lolicon problematic and wants to change it.“

Lolicon didn’t become a recognized genre until the 1970’s when fan artists depicted their favorite female characters of the time as underage girls. The reasons behind the success of this type of content is something that’s still being discussed, but some of it probably has to do with the unhealthy relationship with sexuality that some men seem to develop due to the taboo component of sex within the japanese society. Some of it might also be derived from a mismanagement of loneliness, something some of these consumers seem to struggle with. All of this is combined by some misogynistic takes on the ideal of a woman. These men find the interactions with the opposite sex to be difficult, and even menancing to their masculinity, being easier for them to project their fantasies into young girls whom are esier to shape into their needs.

Anyway, it’s not the intention of this post to really argue the reasons behind lolicon, but there’s something important to have in mind, and it’s the fact that its accessibility has made it so that there are children consuming it. Simultaneously, popularizing Lolicon is a message to girls that they are objects for consumer consumption, and that their youth (and innocence) is especially desirable in a sexual setting. This last element has definitely gotten into the way some women want to project themselves. For that matter, it’s not a surprise that some female shippers project themselves into Rin, since she’s an ideal of femininity to them. 

Sources: 

https://bit.ly/39QA18d 

https://bit.ly/3ixPIFn 

Non-offending Pedophiles | SpringerLink

Internalized misogyny: 

Following the last thread, we can conclude that some girls might desire to appeal to this ideal of woman, which is absolutely normal. Gender roles are being pushed on us ever since we are kids, and it’s natural that some of them try to appeal to the male gaze in one way or another, most times even in a subconscious way. This would also explain why some shippers seem to adhere to some beliefs that have been used to justify the control over women’s sexuality. 

For example, we all have seen them argue about how teenagers are more fertile and prone to survive labor. They also tend to use the “historical accuracy” argument to justify these types of portrayals. However, the imaginary of the middle ages as a place where rape and child brides where totally justified is completely modern. Sadly, these types of tropes are perpetuated by almost every historical drama, fantasy series like Game of Thrones or books like The Pillars of The Earth. It is striking how shows whose action is located in the present are reluctant to show this type of things, while when they are located in the past, they represent them in an almost sexualized way and without any scruples. Male directors do use other cultures and past times to justify this portrayals, and is something that has to be called out.  How interesting is that some far right men identify themselves as vikings right? Wonder where that came from...

But why women? 

After all of what I’ve said, you may think that the majority of the shippers might be men, since all of these dynamics seem to favour them. Even so, despite being a shonen manga Inuyasha had a mostly female based audience. Romance played an important part in the story, and the way it was written seemed to cater better to the preferences of girls. This is also why Sessrin is so potentially harmful… It romanticizes a relationship between a teenager and an adult in a way that’s particularly attractive to girls. We can’t lose sight of the fact that a lot of shippers probably were fans of the og series when they were young, and probably  started to ship it as underage kids themselves. When they grew old, some of them left the idea of it behind but for some others it’s already deeply rooted in them. 

Next I’ll explain how Sessrin it’s appealing to girls. 

The polarization of masculinity and femininity: beauty and the beast

In the anime culture (and outside it) girls are represented as passive, while the male incarnates the active. Boys are the heroes, while girls are mostly portrayed as the object of desire through whatever traits the author finds the most appealing. 

In the case of Sessrin we have a typical example of a contrapposition of the hyperfemenine to the hypermasculine. I have talked about this in some other posts, but in the Inuyasha lore the masculine seems to be greatly associated with the “youkai”, that tends to fall in love with a vulnerable woman. It’s also interesting to point out that female demons tend to represent traditionally negative aspects of female sexuality; they tend to lure men to their demise by their attractiveness, and also do usually have a flirty personality. 

Sessrin does adjust to this type of trope that we can define as the classical beauty and the beast, not in a sense of physical attractiveness, but in the sense that it represents an aggressive masculinity that is soothed by the passive femenine.  The evil spirit is incarnated by the male, while the pure girl has the role of being accepting of this nature, often changing it. This type of trope is insanely popular within women, after all, stories like Twilight and basically every other book where a normal girl falls in love with a supernatural creature seem to adjust to this dynamic to some extent. It’s the idealization of a relationship where the man is a protective figure that holds an unbelievable amount of power over their vulnerable, and often infaltilazed, female counterpart. But on the other hand, women have the ability to tame this ferocity...

What’s the appeal of the monster? 

“I think with the monsters, it’s about power and danger and exoticness amped up to the Nth degree,” says Xavier. “One of the big themes in monster erotica truly is the power dynamic. The monster is big, scary, dangerous, dominating, and uses his monsterly qualities to overpower and seduce the maiden. And I think the idea of being seduced by something so wild and animal and dangerous…it’s kind of like being forced to play with fire and finding out that you enjoy it. It’s kind of this warm, fuzzy corrupted feeling.”

Interestingly enough, there have been studies on why the monster boyfriend trope is so successful. This can be somehow linked to “Teratophilia”, a term which describes the sexual attraction towards monsters or deformed people, though in this case we’ll go with the first meaning. 

Among other things, it has been suggested that monsters can function as an escapist fantasy for some women, since the monster is able to embody masculine attributes without presenting itself as a man, which may embody trauma and terror in extreme cases, or aggravating patriarchal arrangements in the least. 

The monster man represents masculinity through the eyes of women: it’s aggressive, unpredictable, and dominant. These stories allow them to give in into a feeling of vulnerability, they’re in control of the beast, they can even change them… It might not be a type of relationship they would desire in real life, but through these fantasies, they can experience some aspects of their sexuality and transgress the fear of man. This is very significant from a sociological point of view, these women might have been raised to desire this type of masculinity, but are aware of the threat it signifies to them. The monster guardian does protect them from the outside world, where they feel endangered, but they also are the incarnation of an “untamed masculinity” which they don’t need to fear. 

All in all, Sess*in allows shippers access to this type of relationship through self inserting into Rin. However, I hope this post has managed to bring something new to the conversation. There are in my opinion more reasons why girls want to be with Sesshomaru that go beyond his attractiveness, and that may have to do with these factors… 

Feel free to comment and add your opinions :) 

Sources:

https://bit.ly/3o6dERh 

https://tgam.ca/39ZADIS 

https://bit.ly/35YH4dO 

#anti sessrin #anti rinsess #anti hanyo no yashahime #anti lolicon #personal #anti-sessrin #antisessrin #anti sesshrin #yashahime

[prurientpuddlejumper]

Don’t Look! [Part 4]

<- Part 3 | Part 5 ->

Frederick Chilton x Reader

@we-are-all-just-a-bit-crazy’s lovecraftian horror AU, with a bit of my own twist on the origin story. Emotional hurt/comfort. Body horror. Hugging your body-horror monster boyfriend. 

3,386 words

Once upon a time, there lived a man who had everything: great wealth (built on the backs of exploited workers), a grand estate, a beautiful wife, and many mistresses waiting in the wings. Yet after years of trying, he failed to produce an heir. Determined that his money could buy anything, the man scoured the world, searching for a solution. One day, his extensive resources brought him to an ancient castle in Lithuania, where the last descendants of a noble bloodline offered him a devil’s bargain—a book, a summoning ritual. He did not ask questions. His wife was finally with child.

The Chilton legacy was secure.

The moment Frederick was born, the life was sucked from his mother—a human sacrifice for his soul crossing into this world. That was what his father told him, at least. Frederick had no memory of clawing his way through the veil between worlds, of being anything other than an ordinary child with a distant father, a young, blonde stepmother, and nannies instead of friends. Until the changes began. Allison (or was it Kayla at the time?) fainted in the living room when he staggered in, screaming as smoke boiled from his skin, begging for help. His father only wrinkled his nose with disgust and calmly explained what he was.

“You must learn to hide this, Frederick. Never let anyone see you this way, or it will destroy the family name.”

And so, he learned the transformation’s schedule. Prepared for it. Knew how to hide it away and never let anyone get close enough to see the real him. But it wasn’t good enough. Try as he might, nothing Frederick ever did met his father’s expectations for the perfect son he had gone through so much trouble to produce.

Frederick grew into a bitter and lonely man with no one to care about, or who cared about him. He kept the world at a distance, hiding his shame behind expensive suits and lavish decoration.

Never once did he consider that he was not alone in this world at all.

 ***

I see him as one of those pitiful things sometimes born in hospitals. They feed it, keep it warm, but they don’t put it on the machines. They let it die. But he doesn’t die. He looks normal. Nobody can tell what he is.

This is how Will Graham describes the Chesapeake Ripper.

Every therapy session with Graham, every conversation overhead, the puzzle became clearer. At first, Chilton merely believed that Dr. Lecter was guilty of unethical practices—manipulating Mr. Graham in the same way he had manipulated Gideon. He felt such kinship with Hannibal. Learning a bit of dirt on him brought the ever-so-superior doctor down to his level, gave him something to lord over him—a little implied blackmail to strengthen their friendship.

They both had secrets to hide.

Dr. Chilton never would have guessed the final puzzle piece to convince him fully that Hannibal was the Chesapeake Ripper would be the one everyone else laughed at.

“I brought you here to bear witness,” Graham said to Gideon through their adjoining cells.

“To tell Jack Crawford that I sat in Hannibal Lecter’s cobalt blue dining room? An ostentatious herb garden, Leda and the Swan over the fireplace. And you, having a fit in the corner.”

Chilton perked up and quickly shared the audio feed to one of the junior therapists assisting him. You were reliable at editing his audio files, clipping and exporting segments he wanted to keep, but he was avoiding you at the moment. This was proof—irrefutable proof that Gideon had met Hannibal Lecter the night he went searching for the Ripper.

After his conversation with Graham concluded, an assistant was sent down to coax more information from him while Chilton’s research team listened in, keenly taking notes.

Gideon was not finished dropping bombshells.

With a casual lilt to his voice as if talking to a friend over dinner, he began to describe the Chesapeake Ripper. Skin like volcanic ash, reflecting no light. A red glow to his eyes. Black claws as long as steak knives. Antlers breaking through the inside of his skull, punching through the skin. All black as night—a form that shifted in the shadows, ever tricking the eye, unwilling to be known.

He’s the Devil, Mr. Graham. He’s smoke.

“Great. Gideon is delusional,” one therapist snorted. “On the bright side, this completely undercuts his malpractice case against you.” She patted Chilton’s shoulder. Chilton flinched.

“We should start him on antipsychotics. What do you think? Doctor?”

Chilton’s face turned ashen white. “Y-yes, certainly,” he muttered, staggering to his feet.

He moved for the door, but crumbled halfway there, pain ripping through his leg as sharp thorns grew beneath the skin. It was daylight. No. No! The transformation should not be starting for hours—he had plenty of time! He gasped out as another shock tore through him, barely containing a cry. His body convulsed.

“Doctor!” A therapist and a guard rushed in to help him to his feet. “Where does it hurt? If this is a complication from your surgery, we need to get you into intensive care right away.”

“No,” he brushed them off. “Only… psychosomatic. I need to— ah!” He gritted his teeth, mind racing to the one person he did not want to turn to, but the only one he could, and barked, “Get my secretary!”

 ***

Smoke was rising off of his burning skin by the time you rushed into Chilton’s vacated office. His eyes were wide with panic, but greeted you when you entered with—not relief, perhaps, because he was every bit as terrified as before, but with the anticipation of being rescued. His eyes pleaded.

“H-help. I cannot make it stop.”

You managed to get him into your car. The sun’s orange rays seemed to chase the beast away, clearing his skin and stopping his wracking convulsions long enough to cross the employee parking lot without drawing stares. He insisted on taking the back seat so he could hide—and to put more distance between you in case he lost control.

His chest rose and fell like a rabbit in a cat’s mouth.

“The way he described Dr. Lecter—anyone would think it was a metaphor! That he was crazy!” Chilton’s breath was raspy as you drove, glancing back at him through the rearview mirror. He kept trembling, small patches of scaly skin appearing at random then swirling back inside. One pupil was a pinprick. His tongue occasionally became serpentine and got in the way as he frantically spoke. “But it was too specific, the details. Familiar. I always knew there was a connection between Dr. Lecter and me—a reason we were friends. It all makes sense now!”

“Hey, it’s OK,” you said, trying to sound soothing, though you had no idea what he was talking about.

“Don’t you understand? Lecter is like me!”

“That’s good, isn’t it? That means you’re not alone.”

“Hannibal Lecter is the Chesapeake Ripper!” he shouted, and a spine tore through a seat cushion. “A cannibal, if Will Graham is to be believed, and loathe as I am to admit it, Graham is an excellent profiler. If the Ripper and I are the same… then that means I—”

“You are nothing like that!” Forgetting the damage his demonic tantrum was doing to your faux-leather interior, you had faith in him. He was a little withdrawn and more than a little vain, and it had garnered him an icy reputation around the hospital, but now you understood why. He wasn’t evil or malicious. He was frightened.

“God help me,” he murmured.

 ***

As soon as the garage door closed behind you, he scrambled from the car (scratching the handle), and retreated inside. He didn’t invite you to follow him home. But he didn’t forbid it, either, and you wanted to be there. All you had were panic-scrambled memories from the first time that made his transformation worse in hindsight than it was. Or maybe better. You didn’t know, and you wouldn’t know until you saw it again with clear eyes.

The electric kettle rumbled on its stand, hissing steam as you searched through Frederick Chilton’s surprisingly extensive tea collection for something herbal and soothing. Chamomile, you thought. With honey. Surely that must be good for demon-monster-werewolf things?

The sun was about to set and he was still reeling over Hannibal, and just as much from the premature transformation the revelation had triggered. And every time he cried, “This is not possible. How can this be possible?” the next convulsion was more intense.

He would probably just burn himself on tea.

A painful whimper came from somewhere in the house, and you followed it to a tiny panic room that opened behind a bookshelf. It was only about seven by nine feet with concrete walls and floors, bare except for deep scratches of varying age, like an animal trying to escape. The few chairs inside were metal. Difficult to break. Frederick faced away from you, staring at a hand that was too large for the rest of his body, capped with long black claws.

“Oh no, this will not do at all,” you tutted, shaking your head at the barren space. “How about I bring in some blankets? Let’s get you comfortable.”

His whole body shook. “You should go.”

“No. No way, not after seeing this prison cell. I am not leaving you like this.”

“I do not want to hurt you.” His shoulder jerked. A spike tore through his shirt.

“You won’t.”

“Seeing it again… will not be therapeutic for you,” he hissed, another spike breaking through. “Go before it is too late.”

“No!”

“Damn it! I am a monster—there is proof of that now! The FBI has no idea what it is dealing with!” Chilton began to pace the small cell, thoughts racing, features morphing into something grotesque and alien. “Does Hannibal know about me? Can he sense it? Is that why he confided in me? I always thought it was professional respect—hah! God, what if he…” A painful convulsion halted his pacing and brought him to one knee, gripping his side. His attention snapped back to you. “This is… dangerous,” he warned, then hacked violently. Fleshy, snake-like projections spewed from his mouth, and he quickly turned away again, hiding his face. “You should… you should be nowhere near all of this! You should not be here! Why did I let you inside?!”

A roar of anguish ripped through the air with enough force to push you back through the panic room door, just in time to avoid being impaled on half a dozen spines as they shot from Chilton’s body like lances. Chips of concrete clattered to the ground as they penetrated the walls. He screamed again, writhing to get free, but found himself trapped by his own violent transformation. Like an animal, he struggled and clawed at himself as if his rational mind had been overtaken by raw, volatile emotion.

“Take it easy. You’re going to hurt yourself,” you tried to calm him, but you couldn’t stop your voice from shaking.

This was worse than last time. You were sure his spines weren’t half as long when you saw him in his office—even Chilton seemed surprised to be pinned.

You lifted your hands, palms toward him in a steadying gesture, and took a step back into the concrete room.

“Stay back!” he howled, thrashing. “Get away!”

It was tempting. Every muscle in your body wanted to follow his advice and run far away from the indescribable horror before you. But his eyes were still green. Were still terrified. And you had an inkling of why it was worse this time. Maybe he would hate you later for imposing, but it seemed more important right now not to leave him feeling… like a monster.

“It’s OK.” You took another step closer.

“No!”

“You’re not going to hurt me. I trust you. Shh, shh… I’m not afraid, see?”

Rigid spines sprayed from his back and shoulders in a 180-degree arc, leaving only his front accessible. You ducked under one and followed its trajectory to where it met the wall. It wasn’t just pinned by pressure—it had struck the wall with enough force to dig into it like an iron rod. Sawing through might be the only option for getting him unstuck. You wondered if that would hurt. Were there nerves in his spines? You stepped over the next one as you drew nearer.

“You should be afraid! I am just like him!” Chilton tried to turn his head away as you traversed his network of thorns and stood in front of him.

His face was almost entirely inhuman. Tentacles cascaded down from where a nose should have been, and when he opened his mouth in a snarl, they parted like wriggling eels—each with a life of its own—to reveal a jaw that split his face open vertically, crowded with rows of sharp white teeth. The more agitated Chilton became, the more dramatic the effect. Each time he spoke, you caught a flash of teeth that sent shivers racing down your spine. But you continued to move closer anyway, within snapping range.

“Hannibal and I… we are the same. Please—I do not want to become him. Do not let me hurt you!”

“You are not the same. You’re not a killer.”

Chilton let out a choking cry that was all too human. “I killed that nurse,” he said. Concrete groaned as his spines grew longer. A crooked horn sprouted from his head. “I killed Elizabeth Shell.”

“You… you didn’t kill her.”

His breath quickened again. Tentacles sprouted and died and resprouted from his face in a constant fevered motion. “I knew Gideon would kill! I lowered security! I knew what would happen—what I needed to happen to prove that he was the Ripper! I may as well have plucked her eyes out with my own hands and… and feasted on her organs. God… I am the Ripper,” he wailed.

“No…” It never occurred to you that Dr. Chilton would have done such a thing knowingly. Maybe there was something dark inside him that this creature was reflecting. It hurt to acknowledge, and yet maybe you both needed to. “You made a mistake. You did a bad thing, but… Gideon was already a killer. It wasn’t your fault.”

“I drove him to it, manipulated him… I am just as responsible as he is. I am a monster.”

“A monster wouldn’t feel this guilty! You made a mistake, but you won’t make it again, will you?”

Tentacles and spines stopped sprouting. His form stabilized as his wet eyes looked off thoughtfully. He seemed so pathetic… so innocent, almost. Despite the intimating spines and claws that added danger and height to his appearance, his body had the same mass—leaving his frame gaunt and frail, with ribs sticking out prominently. Hollow.

You wanted to protect him.

You knew that was your job at BSHCI. You knew that was why Dr. Chilton suddenly needed a personal secretary when he never had before. Someone to sit outside his door, take his calls, and warn him when visitors wanted to see him. You’d never met the doctor before he was attacked by one of his patients, but you recognized the signs of trauma—the way he flinched easily, avoided contact at first, then the way he clung to you when you earned his trust. The awkward little smiles. The way his cheeks turned bright red when his fingers brushed yours as you delivered his coffee. You couldn’t help feeling protective. Falling in love, even.

Though it was closed for the moment, his mouth was a dangerous black hole with alien arms ready to pull prey inside. It seemed impossible to get close without being dragged into its teeth by instinct. You couldn’t imagine putting your face anywhere near it.

Another step, and your forehead touched his.

“I... I do not want to hurt you,” he pleaded.

“You won’t.”

You leaned into his arms, a hand reaching up to stroke the side of his face. It was covered in fine scales that glistened as if they should be slimy, but were smooth to the touch, like a snake. Sharper thorns sprouting from his skin seemed to retreat before your caress.

He trembled with inner turmoil, hot breath puffing against your chin. Your eyes darted toward the motion of one of his claws rising behind you, and all you could focus on were the way each sharp talon caught the light. You couldn’t be sure what he was thinking—if he was going to return your embrace, or prove to you that he was a monster. Would he slash you just to drive you away?

“I smell your fear,” his voice hissed accusingly.

For some reason, of all the reactions you could have had, you started to laugh. It was nervous and tight at first, but then building in confidence at the ridiculousness of the situation.

“You’ve got giant claws! Of course I’m afraid! But I’m not running, am I?”

You slid your hand from his cheek and trailed it over his bony neck and the ridges and spines of his shoulders, finding a path for your arms to twine around him. Cuddling closer, you nuzzled into the crook of his neck, hardly bothered by the writhing tentacles that draped down over you.

“I know you would never hurt me. You’re just going to have to keep showing me there’s nothing to be afraid of.”

Shuddering, he breathed in your scent. All his senses were heightened by this form, and he was surrounded by you—your pheromones, your electric field, the radiant heat of your skin. It was like sinking into a warm bath with a glass of fine wine in his hand. He opened his palm and let his predator’s hand sweep harmlessly down your back, holding you close. He could sense the fluttering of your heart in his embrace. It was slower than a creature in terror—slowing the longer he held you. You were not afraid. And he could not imagine hurting you. Whatever he had been worried might happen, whatever awful things he might be capable of, he could never imagine hurting you. You were right. You didn’t have anything to fear.

He exhaled a long, steady breath of surrender. The long spines retracted, pulling out of the walls as they returned to their usual size. He could move again, but didn’t. Not for a long time.

“It’s OK. It’s OK,” you sighed. The scent of your hair was intoxicating.

Eventually, you had to part. Chilton’s eyes darted away as you did—the inky scales on his face emitted a soft bluish starlight, which you were certain was blushing. You could not coax him to leave his concrete prison cell, but he told you where to find some blankets he could live with damaging—linen closet, second floor, third door on the right—and let you make a cozy nest on the bare floors. You made tea, and only cringed a little at his attempts to drink it. It was late, then. You were sleepy, and he was exhausted. Emotionally drained. His mind still raced over everything, still not certain of your presence and inexplicable kindness. You sat in the pile of blankets and had him rest his head in your lap.

“Give me your hand,” you asked, extending yours.

A clawed, scaly hand slid tentatively along the floor. You took it. Held it gently, first observing the long talons protruding like daggers from each finger before slotting yours between them—nothing sharp there. You let out a long sigh and leaned back against the concrete wall. His breath hitched.

He’d never had his hand held in this form, you assumed.

He’d never had his hand held at all, in fact. Not in many years.

It had to be a trap, he thought. No one had ever loved him before. No one could—not like this. Yet, as he fell asleep to your fingers massaging his temple and the soft murmuring of your voice, he let himself believe it. You were always there, protecting him. Smiling at him in the morning.

When you woke up, Frederick was human again, still fast asleep in your arms.

#Frederick Chilton x reader #my writing

[nobodycallsmerae]

139. “Hey! I was gonna eat that!” BBStar? (Beast boy x StarFire)

First off, I am so, soo sorry for the late answer!! 🙇🏻

I personally don't ship Beast Boy with Starfire, so ngl I was a bit reluctant to write this as I did not wanted the interactions to be stiff and weird ^^’

But, I wanna thank you for giving me this pair because I had a blast writing this!! (and guess what, I even low-key ship them now.)

Also, I read "the habitual affection of undefined things" by @callmefairyofthesea to like, get into the ship, and that one there is a masterpiece. You should totally check it out if you haven't already!!

I hope you like this story!! (I really, really hope you do 🤞)

_____

It was a beautiful sunny day, but Beast Boy was not exactly pleased.

It wasn’t that he was against sunny days or anything; the shapeshifter was all up for a bright day of team bonding and shenanigans, but on idle days like this, when they’d have nothing exciting to do, the bright, beautiful day reminded him too much of her.

The way the leaves waved in the air, much like her long fiery hair. The way the birds chirped and sang, almost rivaling her cheery aura, and most of all the way the sun shined, reminding him how she would make the room light up with her presence alone.

Sunny days never failed to remind him of her.

He blinked and looked away from the huge windows, coming back into the Titans’ common room with a sigh.

‘What’s with the sighs dude, you’re creeping me out.’ Cyborg commented from the couch, looking at him with a skeptical look.

Beast Boy just slightly shook his head with a tired smile as a silent response to his friend. He looked around the common room. Cyborg was on the couch, non-committedly playing a video-game and Raven was curled up with a book as usual. The green boy was sitting on the dining table, poking a piece of chocolate cake in front of him.

The delicious looking frosted cake was fresh, it was only brought to the Titans’ Tower that morning by Barbara Gordon, the leader’s girlfriend, who was visiting Nightwing from Gotham. The two bat-kids had been in a relationship for a year now, having started dating a year after Starfire and Nightwing had broken up.

The previous love-birds didn’t have a fight, and neither was their break-up nasty; they’d just realized that they weren’t exactly “the one” for each other, and called it quits on friendly terms.

Seemingly out of nowhere, Beast Boy spotted Silkie crawling on the table, inching closer to him, and he subtly slided the plate farther away from him so the mutant couldn’t reach it. He loved Silkie very much, but no sacrifices were to be made to the last piece of his favourite cake.

The alien animal happily moaned and squealed as the shapeshifter took him into his arms and began tickling him with care. Beast Boy was like Silkie’s dad, having co-parenting it alongside Starfire.

He sighed yet again, impulsively taking a look at a distracted Cyborg before falling into his thoughts again. Whatever he did, everything always came back to the alien beauty. Though it wasn’t an obsession, he made sure of that, it was just that thinking about her made him feel warm and giddy and things he never thought he could feel so strongly before.

The truth was, Beast Boy had fallen for Starfire.

How could he not?

He’d already had a school-boy like crush on her when he’d first met her all these years ago, and honestly, it was totally because of how she looked. Her beautiful hair, the elegant yet fierce way she carried herself, and didn't get him started on her magical, shining eyes. But over the years, as they’d all grown together, physically and emotionally, he’d fallen for her because of who she was.

She was Koriand’r, princess of Tamaran.

Starfire, a hero, who would do anything for the ones she loved, and even the ones who did not deserve her love.

She was kind, generous, compassionate, and so much more which Beast Boy guessed he didn’t know the words to describe.

She would always make others smile, and even have that pretty smile on her face, even when she didn’t feel like it. In many ways, Beast Boy had learnt through their many evenings together, she was so much like him.

She made him happy, truely, and he liked to believe that he made her happier too. Star would always smile when she was with her friends, but Beast Boy felt that sometimes, her smile would grow brighter, wider… or even softer when they’d have those unexpected stop and stare moments.

The green superhero let Silkie crawl out of his grasp as he heard the doors of the common room swooshed open, letting in a gush of air, as if to fan out his fogged thoughts.

He didn’t have to look up to know that Starfire had entered the room. Even though the princess hadn’t announced her entry yet, Beast Boy just knew. It was the aura that she carried herself with that told him. The aura of rainbows and gumdrops and unicorns who would totally kick your ass if you messed with them.

‘Hello friends!’ Starfire sang, gleefully flying into the common room.

Cyborg silently waved and Raven nodded in her direction, as Beast Boy smiled at their teammate’s entrance.

‘Hiy’a Star!!’ He greeted her with his usual goofy-grin. Even though he knew he was too obvious sometimes, he could never consciously let Starfire know about his unrequited love for her.

She could never know. He would never be able to face what comes next after she knew. Because, truth be told, Beast Boy knew the alien princess could never return his feelings. She’d dated the Boy Wonder, Dick Grayson for God’s sake! And the fact that she was who she was, she could do so much better, she would never even consider the elf-eared jokester.

‘There you are, my bumgorf!’ Starfire smiled as she flew closer to the dining table, where Silkie was resting beside Beast Boy’s feet. ‘I have been looking all over for the you!’

‘Don’t worry, Star, he was just playin’ with me.’ Beast boy reassured her with a smile.

‘Not again. I can’t take it any more.’ He heard Raven mutter from the couch, but he wasn’t sure if she was referring to him or her book.

‘Ooh, is that the chocolate cake Babs brought?’ Star asked, pointing at the long forgotten plate on the table.

‘Oh, yeah, I was ju-’ Before the hero could complete his sentence, the alien princess swooped in and ate the cake piece in one gulp.

‘What the-’ Beast Boy’s eyes opened wide in shock. ‘Hey! I was gonna eat that!’

‘But it was so far away from you. I didn’t think that..’ Starfire looked at him with confused eyes.

‘Yeah, but I was going to eat it!’ The shapeshifter cried, looking at his teammate. He looked at the crumbs and frosting sticking to her mouth, though he wasn’t completely sure if he was looking at the cake crumbs or her soft, rosy lips.

‘I am so sorry Beast Boy, I didn’t mean to steal the cake from you!’ Star confessed, feeling awfully guilty with her actions. ‘Did you really like it that much?’

‘Well, yeah,’ Beast Boy silently muttered with a pout. ‘It was my favourite…’

‘Well, if that is the case,’ Starfire walked towards him, with her cheeks dusted in a lovely pink. ‘You can have this.’ She timidly muttered, before pressing her lips into the unsuspecting shapeshifter’s.

Beast Boy’s first instinct would be to be on high alert, to understand what the hell was happening, but he was too much in bliss to think about any of that.

The strong taste of cocoa and vanilla was still lingering on her lips, mixed with her own unique taste that he knew he was addicted to the moment it mingled with his own. He wasn’t so short now like he used to be, so his well-built arm draped around her middle, with her hands resting on his muscled chest.

On the couch, the empath and the tin-man spared each other knowing glances, and Raven not-so-subtly forced out a cough, to let her friends know that they were there before things got more steamy.

The two superheroes let go of each other after a minute or so, both of them out of breath, and ridiculously red.

After an eternity of just staring at each other with dopey smiles, Beast Boy’s smile faltered, and he clenched his hands, looking at his feet.

‘What language?’ He muttered, not able to face her.

‘Huh?’ Star tilted her head in confusion.

‘What language?’ He repeated. ‘I don’t think there’s a language that I know and you don’t. Then why…?’

‘Don’t you get it, Beast Boy…?’ Starfire muttered under her breath, so quietly that Beast Boy could barely hear it with his super senses.

Starfire sighed and smiled at him, looking the most confident, yet at the same time the most nervous he'd seen her.

‘It was your favourite cake right?’ She began, twiddling her fingers. ‘How about I treat you to cake tomorrow evening? And a cup of coffee..? Or milkshake, anything! There’s a new cafe I know that opened down of the town.’

‘Oh..’ Beast Boy’s eyes opened wide with her offer. ‘Uh, yeah, sure, of course!’ Y-Yes.’

‘Glorious!’ The princess sighed, visibly relaxing. ‘So then… it is the date?’ She meant to say it as a statement, but it came out more like a question.

‘Ye-yes!’ Beast Boy exclaimed, almost jumping while dying it. ‘It-It’s a date!’

‘Joy!’ Star giggled, and joyfully flew out of the common room, not before giving him a sweet kiss on his cheeks. She even gave Raven a knowing glance, one that read “girls’ night tonight!” in big, bold letters.

As Beast Boy just stood there for forever, dumb and love-struck, he finally came to his senses as he touched his cheek. And lips.

‘Dudes…’ He breathed, ‘Th-that really happened right?’

‘Back up, sister,’ Cyborg laughed from the couch, playfully putting an arm in front of a smirking Raven. ‘Loverboy’s gonna blow.’

Silkie randomly squeaked from the ground, and the starstruk shapeshifter aimlessly looked out of the window and smiled.

And at that moment, Beast Boy knew one thing.

He loved sunny days. Even more so than chocolate cake.

_____

I feel like I've cheated on an actual person wt-

(but dang i'm actually into them now.) (don't tell bbrae i said that.)

random but this pair totally reminds me of Jackson and Siena's relationship from Hannah Montana~ (also the fact that Siena was a b-b-b-bikini model.)

[and yup, I am open to prompts now!! I have to practice writing for my fic (the titans musical one (check it out already y'all!!)) and as I feel like I haven't written anything in forever, I'm really rusty, so feel free to send prompts!!]

ps, please share your thoughts! they make me happy >///<

#RAVEN #ask #coyest #my fic #IT PHYSICALLY HURT TO TYPE #ow #but then i was like #YOU HAVE TO DO THIS. CHALLENGE YOURSELF GIRL!! #but okay i feel like im into this now #bbstar #beast boy x starfire #starfire x beast boy #do they have any other specific ship name? #promt #teen titans #titans #beast boy #garfield logan #starfire #kory anders #koriand'r #gar logan #cyborg #raven

[lailoken]

“In his book The Return of the Dead: the transparent veil of the pagan mind Lecouteux exposes us to older definitions of ‘body’ and ‘soul’ that are ultimately heathen in origin. He shows in detail how Christianity went about ‘de-corporealising’ the soul and making it into an immaterial thing. To our ancestors there was no such thing as an ‘immaterial’ thing. Everything had a kind of body; some of them were just denser and more easily perceived by humans than others.

Emma Wilby also touches on this when she speaks of the question posed by many witch-interrogators: ‘did you do all this in your body or in spirit?’ Although Christianity was long established in Scotland by this time, these ancient ideas seem to have lingered on up until at least the seventeenth century. Today we feel very clear about what is meant when someone says ‘body’ because we are in the habit of believing that we have only one. We also believe that whatever the ‘soul’ or ‘spirit’ is, it is something that forms the natural opposite to the body and has less reality value.

If you can try to imagine that your mental universe does not have a concept of something that is ‘without substance’ then you will find it more possible to understand how the notion of ‘more than one body’ could exist. Not only were people able to send out a Double of themself, a less dense body that could travel great distances while the other body slept, but they were also able to expel an animal form from their body.

This notion of the animal form has come down to us in modern Traditional Witchcraft as the ‘fetchbeast’ or ‘familiar’. And for those who experienced the presence of one in the past, the animal was believed to be a tangible part of the body that could be expelled through the chest or the mouth of the sleeper and cause literal effects in the world, including being seen by others.

This close connection of the animal self to the person is particularly pronounced in ‘were animal’ phenomenon, where the person experiences an actual transformation of their physical body into the form of that animal. The real, though highly plastic animal form was able to impose the experience of itself over the experience of being a physical man. So that whilst a scientist would say that the man had not transformed into a beast in his body, a person at the time might have seen a ‘man-wolf.’

It is easy to see when we think about this, how the appreciation of something like a werewolf requires at least two people, or preferably a community. It requires a man who experiences his fetch-beast’s form over taking his man form, and it requires someone to perceive his beast form as altering the status and meaning of his man-form. Today we seldom have two such individuals in one space to be able to comment on these things that were understood parts of life for our predecessors.

So let us dig a little deeper to try and better understand the older way of seeing the body and soul and the Double that goes forth. In Eva Pocs book Between the Living and the Dead she describes how the ‘Double’ of a person was a believed to possess substance, a literal ‘second skin.’ As she puts it: ‘According to the documentation, the alter ego is imagined to be a physical reality. This means that it was not a soul but a second body; and while it was of a more spiritual nature, it also had physical reality.’

But not all visitations from the dead or travelling witches was a case of this ‘second skin’, there was also the notion of ‘the Shadow.’ The term ‘Shadow’ was in the past applied to the soul that lives on after death and can become detached from the body dreams or after death. Some records on witchcraft are unusually precise about what part of the spiritual complex of a person they are referring to. In one case a woman went into the room ‘and there she could not be experienced in her person, she just walked as a Shadow.’ Or: ‘Not Mrs Moricz herself, but her image walked with me as a Shadow.’

So when it is claimed that something happened ‘in the body before the eyes’ this may often refer to the second skin that was believed to be tangible. Not all dead people or all sleepers who roamed during their dreams seem to have possessed this second skin or perhaps to have known how to detach it from their other body. The Skin was often given to the witch by a spirit, such as in the case of the gift of an animal form that a witch may henceforth project her Shadow into and go forth.

The revenant (a potent type of ghost) also had this corporeality, something derived subtly from its corpse, which was deactivated if the dead body was destroyed or dismembered. As it was not unusual for the medieval and post medieval person to believe in Shadows and the real occurrence of dreamed events (more on this below) we are hitting upon a crucial point here. This ‘second skin’ that belonged to the witch, either in the form of a Double of themselves or an animal form, is one of the things that makes the difference between a witches nocturnal adventures and those of the ordinary dreamer. The ordinary dreamer goes forth in Shadow form, something that is generally invisible but may sometimes be perceived by those with The Sight, whereas the witch is able to project the Shadow into forms, as it testified to by the old term ‘dressed in forms.’

The expression ‘turnskin’ makes a lot of sense when one considers that to our forebears this meant the literal donning of another secret Skin. It also helps us to make sense of the notion of witches appearing in ‘someone else’s form’ or ‘riding’ them. We know revenants were able to use some subtle part of the corpse to send forth a second skin and that this only worked so long as the corpse remained intact. So we can deduce that all humans have such things but that only some humans have the gift of separating it out from the other body during life. We can deduce this because of the large amount of evidence to suggest that witches often stole or borrowed other people’s ‘Skins’ to get about the countryside disguised as them. This may have been simply for revenge or to implicate somebody else other than themselves but the tiring effects of being ‘hag ridden’ suggest another purpose behind this ‘skin taking.’ It is likely that sending forth the second skin requires a large power output from the witch and that, therefore, to send the Shadow out to occupy someone else’s and use their vitality instead has its advantages. To illustrate this I will present a detailed folkloric account of a witch attempting to ‘ride’ a man. The story was originally recorded in Appalachian dialect but I’ve rendered it in standard English:

‘I’m doubting if anyone can help me now. But I’m telling you this because when I die, I want you to know what killed me. Now, you know I never believed in witches but I’m afraid a witch is going to make a ghost of me. Every night of my life for the past three months, a witch has come through the keyhole [typical for a Shadow] to my bedroom. She changes me into a horse and puts a bridle on me and leads me outside. Then, she puts her witch saddle on my neck, plaits my mane into stirrups, jumps on my neck and rides as hard as she can till daylight. Then she brings me back to bed all petered out and there’s nothing I can do about it.’

This concept of being ‘hag ridden’ is in fact a form of possession, of a living person by a living person and the notion of riding the second skin allows us to explain the difference between standard dreams and ‘big dreams.’ We all know that there are some dreams that we have which seem quite insubstantial; our forebears would say that these dreams were true but that we only attended in our ‘Shadow.’ But those of us who feel called to witchcraft have often had experiences, open eyed experiences, lucid dreams or visions where we feel that we saw with, or were still in, our body. The ‘second skin’ separating from the physical skin and becoming filled with the Shadow, something that typically feels ‘very real’, can often explain these experiences of doing seemingly impossible things. It appears, given that the Shadow of a witch is attested over and over again to inhabiting the ‘Skin’ of other people, that the Shadow is the sentient part and the ‘Skin’ a kind of vessel.”

—

A Deed Without a Name:

Unearthing the Legacy of Traditional Witchcraft

by Lee Morgan

#a deed without a name #lee Morgan #witchcraft #traditional withcraft #fetch beast #turnskin #soul

[slashingdisneypasta]

Slashers / Horror Villains as: Animated (Children’s) Movie Villain Songs

+ A Nightmare Before Christmas 

First of all, its mostly Disney. Second of all, I hope you know that this was a struggle for me. 

Also, note, Bubba will be the only Leatherface in this post and Billy and Stu will be the only Ghostfaces. There is Norma Bates though, so sort of a consolation. 

There are links to videos on YouTube ^^

~~~

Billy Loomis and Stu Macher / Ghostface: Playing With the Big Boy’s Now (Hotep and Huy, Prince of Egypt) 

Well... they’re part of the ‘big boys’, now! They are part of the Slashers group that, uh, ‘inspired them’. Imagine instead of Egyptian Gods, they’re chanting Slasher names. 

[HUY] Pick up your silly twig, boy [HOTEP & HUY] You're playing with the big boys now! Ha ha ha ha!

[EGYPTIAN PRIESTS] By the power of Ra Mut, Nut, Khnum, Ptah Sobek, Sekhmet, Sokar, Selket Anubis, Anukis Hemsut, Tefnut, Meshkent, Mafdet... 

Chop Top and Nubbins + Bubba Sawyer / Leatherface: Kidnap Mr Sandy Claws (Lock, Shock and Barrel, Nightmare Before Christmas) 

I mean... they aren't Drayton’s minions, but they are like this XD 

I say that we take a cannon, aim it at his door And then knock three times And when he answers Sandy Claws will be no more

Yes you're so stupid, think now If we blow him up to smithereens We may lose some pieces And then Jack will beat us black and green

Kidnap the Sandy Claws Tie him in a bag

Chucky / Charles Lee Ray: In The Dark Of The Night (Rasputin, Anastasia)

Mystical man? Check! ‘Betrayal’ (As far as he sees it)? Check. Made them pay? Check; I think Nica, Sarah and all the other families he destroys throughout the franchise can attest to that. And ‘One little girl got away’? Well Andy isn’t a girl, but yeah. Check. 

I was once the most mystical man in all Russia When the royals betrayed me they mad a mistake My curse made each of them pay But one little girl got away Little Anya, beware Rasputin's awake

Drayton Sawyer: Don’t Fall In Love (Forte, Beauty and the Beast: The Enchanted Christmas) 

Its such a crochety, unessessarily rude way of describing relationships to someone! I mean, I understand completely and resonate deeply with the desire to be alone and not be responsible for anyone else, but- come on! Beast doesn't share your view! Let it go! 

Its just like Drayton’s reaction to Bubba having a crush. Super cool video too! 

As soon as your heart rules your head Your life is not your own It's hell when someone's always there It's bliss to be alone

And love of any kind is bad A dog, a child, a cat They take up so much precious time Now, where's the sense in that?

Freddy Krueger: No More Mr Nice Guy (Rothbart, Swan Princess) 

A man with an uncomfortable relationship with the main female character pretending to be normal and not homicidal for a while before unlocking more power and letting there inner bad guy loose and taking great pleasure in it? Sounds familiar. They also have a similar vocabulary- except of course Rothbart is rated G. 

I'll become that nasty, naughty, dirty, spiteful Wicked, wayward, way-delightful Bad guy I was born to be

Lyin' loathesome, never-tender Indiscreet repeat offender No more Mr Nice Guy That's not me 

Inkubus: The World’s Greatest Criminal Mind (Professor Rattigan, The Greatest Mouse Detective)

‘Inkubus’ is literally a movie about him listing all his crimes over the centuries and messing with the police force because he has a bone to pick with a detective. Sounds pretty similar to me! Listen to the song! ^^

Now comes the real tour de force Tricky and wicked, of course! My earlier crimes were fine for their times But now that I'm at it again An even grimmer plot has been simmering In my great criminal brain! 

Jason Voorhees: Despicable Me (About Gru, Despicable Me) 

I... this is all I could think of!! But the more I listen to it and read the lyrics... it f i t s Jason so well! XD Please just let this slide; I know Gru isn't really a villain but he is at the start!! Let me have this. 

Why ask why? Better yet "Why not?" Why are you marking x on that spot? Why use a blow torch isn't that hot? Why use a chainsaw? Is that all you got? Why do you like seeing people in shock? But my question to you is "Why not?" Why go to the bank and stand in line Just use a freeze gun it saves me time. I'm havin' a bad, bad day It's about time that I get my way Steam rollin' whatever I see, Huh, despicable me I'm havin' a bad, bad day If you take it personal that's okay Watch, this is so fun to see Huh, despicable me

Jennifer Check: Trust In Me (Kaa, The Jungle Book) 

She’s a succubus demon. Tempting boys into a safe-feeling, docile state so she she can strike is her thing. 

Will cease to resist Just relax Be at rest Like a bird In a nest

Trust in me Just in me Shut your eyes And trust in me

Mayor Buckman and Granny Boone: Savages (Governor Ratcliffe and the Colonizer’s parts, Pocahontas) 

Obviously, because of the (Inaccurate) historical relevance of both movies (Different time’s, same terrible prejudice,) and also because there is definitely a very cult-ish feel about both Governor Ratcliffe’s song and Buckman’s leadership. How easily they’re able to gather support from their people for the most horrible reasons. How horrifying it is to audiences and historians. 

They're only good when dead They're vermin, as I said And worse

They're savages! Savages!

Barely even human

Savages! Savages!

Drive them from our shore! They're not like you and me Which means they must be evil We must sound the drums of war!

Michael Myers: The Gospel Truth II (Muses about Hades, Hercules)

In a Disney movie, Michael would have others sing his song about him as he goes about his silent, determined walking XD 

If there's one God you don't want to get steamed up It's Hades 'Cause he had an evil plan He ran the underworld But thought the dead were dull and uncouth He was as mean as he was ruthless And that's the gospel truth He had a plan to shake things up And that's the gospel truth

Midnight Man: Oogie Boogie’s Song (Oogie Boogie, Nightmare Before Christmas)

A song about a “Gamblin’ Boogie Man” is perfect for the Midnight Man! He and Oogie could be pals. 

Woah! The sound of rollin' dice To me is music in the air 'Cause I'm a gamblin' Boogie Man Although I don't play fair It's much more fun, I must confess When lives are on the line Not mine, of course, but yours, old boy Now that'd be just fine

Norma Bates: Mother Knows Best Reprise (Mother Gothel, Tangled)

Norma is soooooo so so so unbelievably manipulative towards Norman (And Dylan. It just works better on Norman) and this song absolutely presents that. She can go from sweet, loving mother to spiteful, heinous bitch in two seconds if Norman or Dylan don't do what or react the way she wants them to. 

Likes you? Please, Rapunzel, that's demented

This is why you never should have left! Dear, this whole romance that you've invented, Just proves you're too naive to be here Why would he like you? Come on now, really! Look at you, you think that he's impressed? Don't be a dummy Come with mummy

Pamela Voorhees: My Lullaby (Zira, The Lion King 2)

In a opposite approach to a villainous mother to Norma, we have Pam, who was heartbroken by the camp councillors letting her son die and vowed to get revenge. She didn't know she was teaching Jason to be the Crystal Lake killer like Zira did, but she did, and the whole song does have her kind of feel to it also. 

Sleep, my little Kovu Let your dreams take wing One day when you're big and strong You will be a kingI've been exiled, persecuted Left alone with no defense When I think of what that brute did I get a little tense But I dream a dream so pretty That I don't feel so depressed 'Cause it soothes my inner kitty And it helps me get some rest

Patrick Bateman: Cruella De Vil (Arthur, 101 Dalmations) 

Never before was there a song that described audiences reaction to watching Patrick living in his daily life and hearing his thoughts better then this one. 

Cruella De Vil Cruella De Vil If she doesn't scare you No evil thing will To see her is to Take a sudden chill Cruella, Cruella De Vil

The curl of her lips The ice in her stare All innocent children Had better beware She's like a spider waiting For the kill Look out for Cruella De Vil

Pennywise (Both): You’re Only Second Rate (Jafar, Return of Jafar)

Mostly for the video and Jafar’s energy in this scene actually XD So many transformations, so many tasteless puns! I was going to give this to Freddy but its the closest thing to Penny I could think of. 

Go ahead and zap me with the big surprise Snap me in a trap, cut me down to size I'll make a great escape It's just a piece of cake You're only second rate You know your hocus-pocus isn't tough enough And your mumbo-jumbo doesn't measure up Let me pontificate upon your sorry state You're only second rate

Sheriff Hoyt / Charlie Hewitt: Hellfire (Judge Claude Frollo, Hunchback of Notre Dame) 

A nasty filthy man who think’s he’s in the right despite being the biggest creep and monster ever? Mhm. 

*Note: I honestly didn't notice the deformed baby, Quasimodo/Thomas link until the day after I wrote this. Don't know how I feel about it. I mean, Hoyt is actually nice, in his way, to Thomas so the connection isn't totally there but onwards:

Beata Maria You know I am a righteous man Of my virtue I am justly proud

Beata Maria You know I'm so much purer than The common, vulgar, weak, licentious crowd 

End of Post! 🌼

(Bonus’ under the cut) 

I did think of other connections which I obviously didnt landed on but still have merit! Here! 

Billy Loomis and Stu Macher: ‘Gaston’ was considered, but that would have just been a joke XD I don’t think Stu is quite as obsessed with Billy as LeFou is with Gaston. 

Chucky: Friends on the Other Side. Obviously! That link was actually what inspired me to make this post. In The Dark of Night fits to a T though. 

Freddy Krueger: You’re Only Second Rate! Ah, its perfectttt. But No More Mr Nice Guy fits better. If I ever do a Slashers as Disney Villains post, he’ll be Jafar for sure. Or Hades. Or Scar. Or Oogie. Probably Hades. You know what? Without the gore and blood and explicit sexual references, Freddy could be a Disney Villain himself. Its not like Disney hasn't towed the line before with perverted villains. >_> (Jafar and Frollo) 

Jason and Pamela Voorhees: Mother Knows Best! Of course. 

Jennifer Check: Love is For Peasants (Barbie Island Princess) Because Jennifer thinks like this: 

Men? <<< Literally anything else. 

Patrick Bateman: How Can I Refuse? (From Barbie Princess and the Pauper) XD If Patrick were a kids movie villain, he would totally join the ranks of corrupted usurpers pretending to be trustworthy royal advisory staff. Also ‘Let It Die’, that little interruption part of another song that O’Hare sings in the Lorax and ‘How Bad Can I be?’. 

#Sheriff Hoyt #Charlie Hewitt #Pennywise #Patrick Bateman #Pamela Voorhees #Norma Bates #Midnight Man #Michael Myers #Mayor Buckman #Granny Boone #Jennifer Check #Jason Voorhees #Inkubus #Freddy Krueger #Drayton Sawyer #Chucky #Charles Lee Ray #Chop Top Sawyer #Bubba Sawyer #Nubbins Sawyer #Disney Villain Songs #Disney Villains #Disney Songs #Horror Villains #Slashers #Slashers / Horror Villains as: Animated (Children’s) Movie Villain Songs

[ordinaryschmuck]

What I Thought About "Keeping Up A-Fear-Ances" from The Owl House

Salutations, random people on the internet who most likely won’t read this! I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons!

When Dana Terrace did her AMA on Reddit, a fan asked what we could expect for the new season. To which she replied by listing five things:

Parental conflict

A lot of emotions

Island exploration

New characters

...There's a fifth thing in there. You just got to look closely.

Now, when Dana mentioned parental conflict, dozens of fans assumed she was talking about Alador and Odalia, which, I mean...valid. They were the only two parental figures who presented any real conflict, and the idea of Camila being involved seemed implausible due to Luz being cut off from the human world. But no matter how you perceived that line, one thing’s for sure: No one expected Eda and Lilith's mother to be a source of conflict!

Yup. Today we met the woman who created two of the (former) greatest witches in all of the Isles. Was her introduction welcomed? Or did she give the Blights a run for their money for the "Worst Parent(s) of the Year" award? Only spoilers can answer those questions, so keep that in mind as we go in-depth with "Keeping Up A-Fear-Ances."

Let's review, shall we!

WHAT I LIKED

The Flashback: Already, this episode comes out swinging by giving us so much information! We get an explanation of what Eda goes through when cursed (which is horrifying), the reasoning behind her gem, the revelation that Eda ran away from home, and the reveal of how she got the portal door. The best part is, none of it feels rushed or forced. Eda's curse and the portal are integral threads to this story, both in this episode and in future ones. Tying them together sets up Gwendolyn's determination to cure her daughter while showing Eda's determination to escape her mother by skipping town into another dimension. There's also a sense of mystery in how and why the portal was in their backyard. And judging by how we got all of this incredible information in episode FOUR of the new season, something tells me we'll get answers to those questions sooner than we might think. This was such a strong opening to the episode. Despite giving so much information, it makes fans like me want even more. Which is an A+ in my book.

Gwendolyn: Yeah, might as well step out the gate in saying that I like Gwen...but I can already see how others won't. Immediately, she sets herself up as a mother who would do anything and everything to cure her daughter. That aspect of her character is perfect, and it quickly won points from me in terms of liking her. It's just that Gwendolyn's disregard of what Eda wants and the complete dismissal of Lilith are aspects of Gwen that are certainly going to rub some people the wrong way. Especially if those kids come from households where their parents are a lot like Gwendolyn. I was in the same boat of hating her too for a while, but thankfully, the last act saved her.

First, there's that scene where Gwendolyn threatened the lives of the demons for not only screwing her over but making things worse for Eda. It's one of those "Hell hath no fury like a mother scorned" moments that I always love to see.

Then there's the fact that Gwendolyn learns her lesson and, more importantly, apologizes. Not many actual abusive mothers would do that (Looking at you, Odalia), so it's nice to see that she makes an effort to make amends. Oh, and by the way, since I mentioned it, don't go around calling Gwendolyn abusive. She isn't. Or, at least, not to my eyes. If anything, she's a lot like Sara Fitzgerald from My Sister's Keeper (The book. Not the movie. The movie sucked).

In that story, Sara makes controversial choices that result in her youngest daughter Anna getting the short end of the stick due to putting all attention towards her eldest Kate. But here's the thing: KATE HAS CANCER! So while Sara's choices are beyond questionable, you can understand her point. And if you don't, well, I'd see how you would react when in her shoes. Trust me when I say that situations like this aren't always cut and dry. It's the same with Gwendolyn. She's far from "Mom of the year," but you understand where she's coming from. She wants to do what she can to help Eda, even if her methods could have been better. But that's just how I feel, and I can't speak for everyone who dealt with mothers far worse than her. If you refuse to forgive her, I'll understand. But to me, I consider Gwendolyn a worthy addition to the series.

(Plus, she just radiates Grandma energy when interacting with Luz. It's cute, and therefore I must love it!)

Luz: This season is on FIRE when presenting Luz!

I adore that the first thing we see her doing in this episode is sleeping after, most likely, another all-nighter to find a new portal. It proves that she has a determination made of iron and an intense dedication to getting back to Camila. In fact, it's that dedication that works as a perfect way to build a connection between Luz and Gwendolyn. They both want to reconnect with their families and are willing to do whatever it takes to do so.

Regardless, despite so desperately wanting to see Camila again, I'm glad that Luz still has common sense when it comes to helping Eda. She quickly sees that Gwen's cures are doing more harm than good, and it's great that Luz is the one to call malarky on the whole thing. No one had to spell things out for her because she's smart enough to notice that everything Professor Warlop is marketing feels a lot more like the fake medicine real people sell in the human world. It's a testament that despite having a big heart and the best intentions, Luz still has the intelligence to know when something is up and put a stop to it. And, again, let's hope that more people pick up on that.

Lilith: ...who would have expected Lilith of all characters to have most of the emotional moments in this episode?! I sure didn't!

But...Yeah. Lilith is the best thing in "Keeping Up A-Fear-Ances." On top of her seeking Gwendolyn's approval being relatable for some viewers, it's also really heartbreaking. I mean, listen to the shocked and hurt tone in her voice after finding out Gwen visited Eda regularly. That alone should give away how much Gwendolyn is important to Lilith and says so much about how strained their relationship became after the curse. Then there's that scene where she just breaks down, feeling both scared and torn apart by the fact that she experienced the curse in its full form and could do nothing to stop herself. It...stung. That's the best way to describe it. It stung seeing a character who is (mostly) cool and collective to become so vulnerable and broken. And, you know what? It's because of this that Lilith has won me over. I still don't think she should have been as forgiven as quickly as she was, but after learning what Lilith went through and what she's currently going through, I'm more than willing to be ok with her. And--I can't believe I'm saying this--I'm going to miss her being a part of the Owl House. She earned her place, in my opinion, creating entertaining dynamics with everyone. Sure, she'll make appearances every now and again, but I wouldn't mind a few more episodes with her being with the main group. But I'm positive the writers will have plans for her in the future and seeing how well she was written in this, I can't wait to see what they do next.

King Hoping to see his Dad Again: This was just a cute tidbit that ties nicely into last week's episode. Bonus points for that scene where King and Lilith get drunk off of Night Market ice cream. It got a good chuckle out of me, especially when Hooty was the one who ended up being the voice of reason.

Cursed Lilith: ...How does she look worse and more terrifying than Eda?

How Beast Keeping Magic Works: Not much I can say about this. It's neat to be given a visual explanation of how Beast Keeping magic works and how it's more than just controlling animals. Judging by the roof shingles, it can also be making objects more animal-like. It's pretty cool, and I hope to see more of how the rest of the magic from the prominent covens work.

Luz wasn’t the only human: To tell you the truth, this doesn't surprise me. Eda did say that every myth humans have is a bit of the Boiling Isles leaking into the human world, so why can't the opposite be true? However, the reveal of there being a famous human around many years ago presents many more questions, and possible theories, that deserve to be discussed in a future post. For now, I'll just say that it's awesome how this reveal perfectly transitions us to next week's episode, "Through the Looking Glass Ruins." We already know Luz is going to the library. But, seeing how Gus is going to be a prominent character in that episode as well, he probably wanted to tag along with Luz to study about the first human in the Boiling Isles. Only to then get sidetracked by some cool kids from Glandis. It's in the realm of possibility, thus proving how more serialized this season compared to Season One while still being somewhat episodic. Because even if "Keeping Up A-Fear-Ances" presents a lot for the overall story, it's still its own tale about family relationships and knowing how to truly be there for the people you love. Resulting in a necessary and cute episode that ends on a wholesome note without any major surprises like--

Creepy Clone Luz: ...

...Dana Terrace, you lying--YOU SAID CREEPY LUZ WAS A FARCE! IN THE SAME AMA, TOO! CURSE YOU! CURSE YOU AND YOUR SNAKE TONGUE, GOSH DANGIT!

...Alright, now that I got my overreaction out of the way, this was an amazingly well-written surprise!

Tricking fans into thinking that Camila is crying over the realization that Luz is gone, only to then reveal this...thing, is the best shock to the system that this series has done so far. Even better, it results in all the right questions:

Who is it?

What is it?

Where did it come from?

When did it get there?

How did it get there?

How does it know about Camila?

And why? Just, why?

To me, a series that presents all of these questions, and makes me excited for whatever answers are given, is a series that's doing something right. Because if I'm still reeling over something that lasts for a second, despite seeing the episode hours ago, that is a testament to how good a surprise really is.

WHAT I DISLIKED

Trust me, I want to give this episode the A+ just for that ending alone. But, there are some issues I have that are worth discussing.

Eda’s Outfit Change: I know. It's the nitpickiest of all nitpicks I could present. Particularly because Eda doesn't even look bad (although that's no surprise). The issue is that it feels weird that Eda's having this permanent outfit change in the fourth episode of Season Two. Or, to me it is, at least. Because I think that if you're going to give a small yet constant change to the look of a character, it should be done right away. Like, in the first episode of a new season. I highly doubt fans would question why Eda is wearing different clothes by then, so it wouldn't be too bad if the first time we see her, she’s sporting a new outfit. Again, this is just me, and I have no problems with the outfit itself. It just seems odd they would do this later rather than sooner.

Screwing with Eda: I...did not like this. At all. It was funny at first to see Luz and Gwendolyn lure Eda with Apple Blood like how Wile E. Coyote would bait the Road Runner with birdseed, but it quickly took a turn. Because I don't want to see Eda meet inconvenience after inconvenience from her mother and surrogate daughter. I like Eda, and seeing her happy makes me happy. If I wanted to laugh at a character's suffering, I would have picked Boscha, Mattholomule, Alador, and/or Odalia. This? This was just unnecessary cruelness to a character who doesn't deserve it. And it takes up a good chunk of this episode, making me question whether or not this would be the stinker I was fearing. Fortunately, the ending increased my enjoyment by several notches, but that doesn't change how this was the low point of "Keeping Up A-Fear-Ances."

IN CONCLUSION

Despite the road being rocky in the middle, I still consider "Keeping Up A-Fear-Ances" to be another solid A episode. The first and last few minutes have some quality writing that adds more to the characters, ongoing plot, and mystery that the series is building up. It's one of those important episodes you can't skip when watching a series, but given how it's keeping the new season's impeccable track record, I fail to see how that's a problem.

(Although, I am scared. We haven't gotten a stinker yet, and I really don't want it to be next week's episode. It's a Gus episode with sweet Lumity content on the side! That cannot fail!)

#the owl house #the owl house season 2 #the owl house spoilers #the owl house reviews #luz noceda #gwendolyn clawthorne #lilith clawthorne #eda clawthorne #what i thought about #creepy luz