#the thing that separates us from animals is self awareness not love
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My incomplete list of circumstantial bits of evidence for werebear!Halsin
Note: I can see the case for both Halsin knowing AND not knowing that he's a werebear- I'm going to include both here.
The most glaring: Halsin can't control his wildshape. This is highly unusual for any Druid, let alone an Archdruid of his age and power. He not only can't control the transformation when experiencing strong emotions, but he can't entirely control his actions when scared or angry; he tells the player, after being rescued from the goblin pens, that he will be unable to not attack the goblins threatening them. This makes no sense for a wildshaped Druid, but makes plenty of sense for a terrified werebear.
1B. No other Druids in the entire game have the wildshape problems Halsin does.
1C. Halsin can control all his other wildshapes properly, and behaves much more like other Druids when using them.
Werebears who haven't learned to control themselves yet (such as if they don't know they are one, are recently turned, etc) often transform unexpectedly when threatened.
Halsin's bear wildshape is treated differently than any other; it's the only wildshape he can't control, and it has a separate mechanic to other wildshapes in-game, being activated not with other wildshapes, but on the screen for abilities that are an intrinsic part of the character's skills. Yes, this is probably because it's only Halsin who can do this, but circumstantially... it is interesting.
Werebears avoid biting to prevent spreading their lycanthrophy (unless they have negotiated with the person they are trying to turn). As far as I've seen (I DEFINITELY could be wrong, though, please let me know if I am), Halsin only ever uses his claws to attack- no biting attacks.
If you look at the sky during the romance scene with the player, the moon is shown very bright and prominent; it isn't 100% certain, but it looks like it could be full.
Halsin is VERY different from his normal personality in bear form, excluding the romance scene; if you use Speak With Animals when he's in the cage, he'll say things like "time for blood" as he prepares to attack the goblins. Werebears in bear form are noted for being irritable and quick to violence, though they attempt to mitigate the effects of these impulses through self-isolation so no one innocent is harmed.
6B. Halsin in normal form tries very hard to not get violent when possible, noting that "killing is never [his] first choice", yet when needs must, he won't hesitate to kill- the opposite of the bear.
If Halsin doesn't know he's a werebear (explaining him not telling you), it's worth noting that it IS possible for werebears who weren't born as such not to be aware, with any actions taken during the full moon tending to get written off as bad dreams. Halsin could just think he has a recurring nightmare about losing control of his bear form.
Halsin resonates wit bears a lot deeper than most other Druids do with their favorite animals. Kagha comes the closest with her love of snakes, but even she speaks more metaphorically, whereas Halsin will do it literally, such as a new, as-yet-unimplemented line where he says he hopes "an old bear" can help the player, making jokes about poking the bear, etc. in fact, he refers to himself as a bear more often than he refers to himself as an elf.
Halsin makes reference to honey mead being his favorite drink. Werebears have a special honey mead concoction they enjoy. This drink is highly intoxicating to non-were, which means it might be more intoxicating than other drinks to were too.
Halsin is shown having an alignment that leans far more towards good than neutral, whereas most of the Druids in this game have a neutral alignment. Werebears are one of two weres in DND lore that have a good alignment.
Werebears usually live solitary lives. Circle of the Moon Druids are noted as being very solitary as well, with it being possible to go weeks without seeing another Druid (though Archdruids of this Circle will of course be more involved). Halsin, before becoming Archdruid, is implied to have fit this, such as him making reference to having hibernated in bear wildshape.
However, werebears are still noted to have a strong sense of community, and they often act as guardian of a particular area. Like Halsin protecting his Grove, then protecting his commune in the end, even noting that his urge to roam has dwindled after finding the latter. In fact, werebears are noted to often be sedentary and prefer not to leave their homes; Halsin is restless and roaming until the epilogue, when all his traumas are resolved, at which point he settles and shows contentment at having gone from "a life of high adventure" to one of anything but. (He says this to the player if romanced, worrying that he took them from just that life, but he repeatedly says he is happy to have given up adventuring.)
It is noted that when werebears don't isolate, one of the more common choices for werebears is.... you guessed it. Becoming a Druid.
Werebears have the ability to call local bears to them. The Emerald Grove has three bears living there.
Werebears don't marry, but might have favorite mates they visit often. Depending on player choice, Halsin might end up a bit more committed than the latter, but still less than the former. Also, this ties in well with Halsin's stated philosophy on polyamory, with him specifically stating that a bear's coupling habits suit him more than another animal's, like, say, a wolf, would.
It is well-known by now that there used to be a Bard Origin named Helia, who would have been either a Halfling or a Gnome. Helia also would have been a werewolf. While it's not known for sure that she was cut specifically FOR Halsin to be made playable (it's doubtful, given how early Helia was cut), there are signs that parts of her story might have been given to Halsin. For example, if one looks in datamined dialogues, certain goblin camp scenes still say that it could be either Helia or Halsin's bear there. Such as this one for the goblin kids running off to warn the adults: "Panicked, the kids run to the room with the goblin warriors and call for help, because the bear / Helia has escaped. After that they disappear." (Not sure if they still run in the final game, but the PAD is still in the files.) Or for the goblin kids throwing rocks before the cutscene is triggered, "One of the goblin kids that is throwing rocks at Helia or the bear." I don't want to speculate too much about cut content, but this suggests that Halsin and Helia's stories may have intertwined somewhat, and that when Helia was cut, parts of her went to Halsin. This may be why Halsin's bear wildshape was written more like him being a were instead; in a meta sense, he "became" a lycanthrope when he inherited part of Helia's story.
Halsin is wide/tall, muscular, and has body hair (though not facial hair), to the point that people repeatedly comment on how unusual he is for an elf. Unusual for an elf, but not a werebear, who are noted for being, you guessed it, wide/tall, muscular, and hairy.
Werebears who are bitten instead of being born as such are almost always transformed by a more experienced werebear and then taken as a protege, to become a guardian of the forest, which would explain a LOT about Halsin if he chose this.
Halsin shows a lot of empathy and compassion for Astarion and the Dark Urge. While of course it could just be his genuinely kind nature, it could also be him relating it to his own experience as a werebear.
Lastly, there's this art from the collector's edition; my guess is that this art was made after they decided Halsin would be playable, but before Karlach had an official design (the IGN interview indicates that Karlach was only added earlier this year, leaving a wide window for this to happen). While this is, of course, subjective, the pose and juxtaposition of the bear to Halsin looks a lot like the sort of art used in werewolf movies. Sort of like how one of Halsin's point-and-click lines, "the power of the bear lies within me," sounds very were-like too. This one is more subjective than the others, but I still wanted to include it.
This is all circumstantial, I know, but i thought it might be interesting to get out there nonetheless!
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NSFW ALPHABET - randal
AO3
A = Aftercare (what they’re like after sex)
inseparable, attached to you like a damn lamprey (mouth included)
B = Body part (their favorite body part of theirs and also their partner’s)
randal loves his tongue and how uncomfortable it makes you when he tries to lick your eyeballs
he loves your stomach, he never fails to make you painfully aware that there’s only so much separating your insides from the outside
C = Cum (anything to do with cum, basically)
as for any hentai obsessed scum, he wants it all over you, no place uncovered. he’ll milk himself dry to make his own bukkake hentai, you know?
D = Dirty secret (pretty self explanatory, a dirty secret of theirs)
is there anything dirty about him that he keeps secret? well, maybe that he tends to prefer bottoming, or at least being forced into submission
E = Experience (how experienced are they? do they know what they’re doing?)
hell naw. he-hell naw. randal’s nge doujinshis do not have any anatomical knowledge that could help!
F = Favorite position (this goes without saying)
spooning 100%, especially when you’re still asleep. just slip it to the side… it’s very convenient, and lets him easily breathe down your neck
G = Goofy (are they more serious in the moment? are they humorous? etc.)
he’s neither serious nor unserious, he just is
H = Hair (how well groomed are they? does the carpet match the drapes? etc.)
plucks each hair out with a pair of tweezers because it’s funny
I = Intimacy (how are they during the moment? the romantic aspect)
full blown obsession. randal likes to call himself a yandere type when it comes to you, and is he wrong?
J = Jack off (masturbation headcanon)
whenever the time arises, which is often, he plants himself face first, ass up, and jerks it crazy style
K = Kink (one or more of their kinks)
literally anything humiliating he is game for, receiving & giving. he also has a thing for making other people watch… forced voyeurism? he’s quite thankful for the hierarchy poster
L = Location (favorite places to do the do)
in the woods, and in his coffin
M = Motivation (what turns them on, gets them going)
nosebleeds, upskirt shots in anime (ecchi ecchi!), online arguments… what doesn’t get randal going?
N = No (something they wouldn’t do, turn offs)
uh…
O = Oral (preference in giving or receiving, skill, etc.)
in a perfect world, every time would be a 69, that’s his attitude towards it. addicted to fucking your face, and having you suffocate him
P = Pace (are they fast and rough? slow and sensual? etc.)
incredibly rough, no matter the speed
Q = Quickie (their opinions on quickies, how often, etc.)
since his opinion on cum is quite… extreme, it is a bit hard to do quickies. however, when has that ever stopped randal?
R = Risk (are they game to experiment? do they take risks? etc.)
duh. if there’s something erotic randal doesn’t know about, he’d be surprised
S = Stamina (how many rounds can they go for? how long do they last?)
as long as it takes, that’s his prerogative!
T = Toys (do they own toys? do they use them? on a partner or themselves?)
addicted to toys. if there’s anything that can make you and him squirm beyond belief, he needs to have it. he’s partial to bunny vibes
U = Unfair (how much they like to tease)
teasing is randal’s middle name (probably). will deny you orgasms constantly, but rarely follows through. you just look so cute when you cum!
V = Volume (how loud they are, what sounds they make, etc.)
the loudest ever. luther scolds him day in and day out, but he physically can’t hold back. maybe gags are something you should explore?
W = Wild card (a random headcanon for the character)
draws doujins of you and him. it's incredibly cringy, but man... he definitely memorized your body. look at the detail!
X = X-ray (let’s see what’s going on under those clothes)
5-inch, curved to the side (we know why)
Y = Yearning (how high is their sex drive?)
insatiable. utterly insatiable, so please watch out for internal bruising, okay?
Z = Zzz (how quickly they fall asleep afterwards)
relishes in watching you sleep, so it depends on whether or not he wants to continue the pleasure in a shared dream :)
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cozy corner
[image ID: a photocollage with pink borders. the collage has two photos of assorted stuffed animals and one photo of stuffed animals in a pink tent with fairy lights. /.end ID]
18+
masterlist
wc: ~950 words
warnings: extreme fluff. almost a thousand words of saying how much Bucky loves you. the word "daddy" is only used twice at the end. Bucky carries reader.
a/n: thank you so much for the love on "puffles, Daddy"! it inspired me to write this little piece based on the phrase "their separate bedroom that was more often used as a playroom than their sleeping quarters". I have four other drafts with the same pairing but I'm holding them hostage until more of you angels start commenting or reblogging😈
pairing: mafia!daddy!bucky x gn!little!reader
summary: Bucky makes a cozy little spot for his baby
⋆｡ﾟ☁︎｡⋆｡ ﾟ☾ ﾟ｡⋆ ⋆｡ﾟ☁︎｡⋆｡ ﾟ☾ ﾟ｡⋆ ⋆｡ﾟ☁︎｡⋆｡ ﾟ☾ ﾟ｡⋆
Bucky didn’t know you were a little at the start of your relationship. He’d heard the term caregiver before, but he didn’t know how much he’d enjoy being one until he met your little self. The first time he was with you as you went into the headspace, he fell in love with the added dynamic in your relationship. You took some time to feel comfortable with slipping around him, but he let you take your time and assured you that he loved you in both headspaces along the way.
He dove into researching caregiver/little relationships, only wanting the best for you. He did ask you what you needed from him and learned to read your nonverbal cues to fill in the blanks, but the research was helpful for things that you yourself weren’t aware of. He’d also turn to his notes when you were little and needed something, but were too far into the headspace to advocate for yourself. The accounts from other littles and more experienced caregivers helped him feel more confident in caring for you.
One of the ideas expressed in these relationships was to have separate bedrooms. At first, Bucky wrote off this idea because he liked being close to you, especially at night and when you first woke up. But then he read about how much the separate space helped other littles, and he knew he had to at least try.
He started by completely redecorating the bedroom right next to the master. The walls were painted in your favorite color, the hard floor now had soft rugs, and he built a coffee table for your tea parties(or business meetings as you called them).
At first, the new room confused you. Your little brain feared that Bucky didn’t wanna sleep next to you anymore and that you had become an annoyance. He quickly took in your crestfallen face and told you the purpose of the room, assuring you that you could still sleep with him if you wanted and that this was just another option.
Now feeling much better, you took in your surroundings. You absolutely loved the decorations Bucky had chosen and began to daydream about spending your time in this room that was perfectly catered towards you. The bedspread was just as soft as the one in the master, but it had a fun pattern. And all your coloring supplies and toys were placed in organized, easily accessible drawers along the wall. Even in your state of mind, you could see that Bucky put a lot of time and effort into this room.
Your eyes began to water and you tackled Bucky with a hug. He rubbed your back and pressed a kiss to your head. “Do you like it, bubba?” You nodded into his shirt, too shy to say anything.
Throughout the following weeks, you spent more and more time in your room. You mostly slept in the master bedroom with Bucky, but now you liked playing and coloring in your room instead of in the living room or on the dining table. Even though this room was fully your space, Bucky still maintained that you had to put your toys and markers away when you weren’t using them. He’d help you if you asked of course, but he wanted to teach you to take care of your space and your belongings.
After helping you clean so many times, Bucky noticed that you really liked taking out all of your stuffed animals and laying in a pile of them. At first he thought there was an issue with your bed, but you took naps in it just fine. When he asked you about it, you just said it was cozy and began picking at a loose thread on your shirt, a little embarrassed.
Bucky had a feeling that this pile did more for you than you could express at the moment, so he decided to make it a permanent fixture in your room. The next day, you took a nap on your shared bed while he got to work. He rearranged the furniture in your room and collected extra blankets and pillows around the house to make what you would later call your “cozy corner”.
When you woke up from your nap, he had you close your eyes as he carried you towards the next room to reveal the surprise. When you finally got to see what Bucky had been up to, you were delighted by the new addition. You wiggled a bit and pointed towards the corner while still in his arms, prompting him to carry you closer to get a better look. Bucky couldn’t take his eyes off of you as you admired the display. He felt so grateful that you trusted him with this vulnerable part of yourself, letting him see every emotion on your face. Right now, you were displaying pure joy.
“You wanna try it out? See if it’s as cozy as how you usually make it?” he asked.
You nodded excitedly, prompting Bucky to joke about your head falling off your shoulders. He gently set you down on the center of the pile. A happy sigh escaped your lips as you melted into the assortment of soft materials. Bucky felt so fulfilled from seeing his baby enjoy his work.
You had never felt so comfortable, but there was one thing that could make this better. You reached your arms out towards Bucky. “Join me, Daddy! Please?”
He dove right into the pile, hugging you to his chest and kissing all over your face. You spent the next few hours in your cozy corner cuddled up to your daddy as you watched one of your favorite cartoons.
#toosh writes#mafia!bucky x little!reader#mafia!daddy!bucky#gn!little!reader#bucky x little!reader#oneshot#fluff#cozy corner#cozy-corner#sfw#sfw regression#sfw littlespace#little being carried
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Antique Gun Character Intros
Since a good few people have asked for this now, here's a character intro post covering the Rhodoknight Antiques! o3o Disclaimer that I do not know these characters anywhere near as well as I do the Moderns, and as a result, my takes are subject to change as I get a better feel for them. Still, I hope this post makes the Antiques more accessible to y'all and gets me some more requests for them... XD
. . .
This is Enfield. Outwardly, he appears to be polite, good-natured, and normal. He’s very much not that. A lot of Enfield’s character is shaped by his younger brother, Snider, whose terrible behavior and constant threats of remodeling Enfield to be “just like him” are a real handful to deal with. They deserve each other. Underneath his noble exterior, Enfield is a little freak. He’s obsessive, smothering, and neurotically desperate to be of use, with stalker-y tendencies and a bad habit of idol worship. He wants to be good and helpful, and he’ll do some highly disturbing things to accomplish that. His relationship with Snider also has a weird amount of tension... of the suspiciously suggestive variety.
. . .
This is Snider. He’s awful. Snider’s whole personality revolves around the fact that he really, REALLY doesn’t want to be a person. His belief that he’s still nothing more than a weapon leads him to a fixation on combat and an utter rejection of anything too human for his liking. This includes eating, sleeping, and bathing. His gun is a special case that was made right on the cusp of what separates a Modern and an Antique— and as a result, Snider is technically both. He can function as whichever side he chooses to and only defaults to Antique because that’s what he finds most useful. He’s Enfield’s younger brother, a directly adapted and functionally superior model of gun, and because of that, he’s constantly trying to “remodel” Enfield into the same type of gun. They have a weird relationship where Enfield babysits him, Snider is unfailingly bratty and threatening, and the suspicious levels of maybe-sexual tension are just plain weird.
. . .
This is George. For the most part. He’s the embodiment of the “cheerful, stupid American” stereotype that’s so common in anime. An all-around sunshine boy, George is good-natured, friendly, sweet, and more than a little oblivious. His main issues come from the fact that he shares a body/gun with the “Brown Bess” personality (the poster boy of the first game). George feels inferior to Brown Bess in both his capabilities as a weapon and his value as an individual, and he repeatedly expresses a belief that everyone around him would rather have his counterpart in his place. Though he tries his best to be good and useful, he’s painfully aware that his existence is kind of a disappointment. He’s way too self-sacrificing for his own good.
. . .
This is Kentucky. He’s more or less an overexcited puppy who REALLY wants to prove himself. Passionate, energetic, and with very little volume control, he’s somewhere between adorably earnest and annoyingly intense. He has a sort of one-sided rivalry with his older brother, Pennsylvania, where he’s aggressively trying to surpass his big bro... while Pennsylvania just wishes they could get along better. Kentucky is also pretty short-tempered; he’s perfectly respectful to his Master but ready to throw hands with other guns whenever the chance arises. He cares a lot about aesthetics and his appearance, wants Master’s attention desperately, and is definitely compensating for a lot of internal insecurity.
. . .
This is Pennsylvania. He’s a laid-back guy with a love of hunting and the outdoors. The level-headed parallel to Kentucky’s hot-tempered enthusiasm, Pennsylvania is calm, independent, and a bit aloof. He can get caught up in his own way of doing things to the point of forgetting about others’ feelings, but he’s well-intentioned and generally kind. A reliable “big brother” type who looks after others, he very much seems like the type who’d willingly get hurt if it meant protecting someone he cares about. He doesn’t have a lot of pride in the sense of how he appears to others and is more concerned with doing what needs to be done than getting his way or looking good.
. . .
This is Charleville. He’s a sweet little guy who’s very damaged. In the game’s story, his previous Master (before the player owns him) is literally renting him out. For his healing abilities as an Antique, technically, but the more sexual implication is still very much there. Because of this renting out and his previous Master’s general mistreatment, Charleville has an intense fixation on purity, perfection, and being appealing to everyone around him. He’s delicate, gentle, polite, and affectionate, but also has a bad tendency of hiding any problems in an attempt not to bother people. He values his physical appearance and holds himself to a strict standard of behavior, though his more attention-seeking side does slip out from time to time. Charleville desperately wants to be loved, especially by his Master, but he’s convinced he has to be all but perfect to earn it.
. . .
This is Chassepot. He’s Gras’s older brother and the source of MANY of Gras’s problems. Like Gras, Chassepot initially comes across as a polite, charming gentleman. That’s very intentional. He wants Master’s affection and approval desperately and does everything possible to come across as the kind of capable, pleasant person who his Master can rely on and be close to. Under that surface, though, Chassepot is dangerously prone to feelings of jealousy, inferiority, and comparing himself to others. He’s easily provoked and can have a violent temper with other guns, and his past failures haunt him endlessly. It’s likely that he has the same tendency for rabies as Gras, but is just better at keeping it contained... in the short term. We know from the previous game that Chassepot can snap, and when he does, it’s bad.
. . .
This is Tabatiere. He’s a laid-back, inoffensive person who’s perfectly open about the fact that he’s meant for a support role, not the front lines. Usually functioning as Chassepot and Gras’s babysitter, Tabatiere sticks to the sidelines, minds his own business, and tries to be helpful where he can. He’s deeply insecure, however, and his self-esteem is so low that getting too much attention, even positive, makes him highly uncomfortable. He has the atmosphere of someone who willingly accepts anything bad that happens to him because he can’t imagine deserving better.
. . .
This is Dreyse. He’s an ultra-strict, ultra-serious sort who values rules, order, and hard work. Between his massive body and imposing personality, he comes across as highly intimidating... but he’s as respectful and obedient as can be when it comes to authority figures. Dreyse has high expectations of himself and his performance, to the point where he’ll accept nothing less than perfection. No matter what physical or emotional distress it causes him, he’ll do everything possible to fulfill his orders and succeed as a Musketeer. Deep down, he has a lot of guilt over his past and personal failings, and the only value he sees in himself is as a weapon and tool. Herme respects him massively, and the two are close in a kind of weird way. Dreyse ends up as his caretaker during Iron Days, for example.
. . .
This is Jitte. He has that kind of happy-go-lucky, easygoing personality where he’s both pleasant to be around and kind of a ditz. Very much “drunk goofy uncle” energy. When his self-esteem issues aren’t getting in the way, he can be quite affectionate (especially with Master). Sensitive, earnest, and emotional, Jitte has nothing but good intentions in mind with everything he does. He has the typical bizarre gun insecurity, though, and worries a lot about if he’s as useful and worthwhile as the other Musketeers around him. His gun also functions as a jitte, which is more or less an Edo-period police baton. Though he seems pretty carefree, Jitte is surprisingly hardworking and takes pride in being able to protect people. He’s very moral, with a strong sense of justice.
. . .
This is Karl. He’s a dignified little man who, despite his youthful appearance, is the oldest gun in the series. As in, he’s from the early 1500s. A unique weapon who belonged to Emperor Charles V, Karl has a long and prestigious history, and he knows it. He’s proud and well-mannered, takes his status as a famous piece of history very seriously, and is quite concerned with how he appears and behaves in front of others. Showing weakness is hard for Karl. He does a lot to hide how lonely and weak he can be, including active attempts to remain aloof and relatively unattached to his Master. The most he can tolerate is a professional, weapon-and-wielder relationship, since anything else would be opening him up to even more loss. I think he’s also weak to stress and VERY bad at dealing with unfamiliar situations; being esteemed as a valuable relic for so long means that he’s pretty sheltered and more unused to physical pain than he wants to admit.
. . .
This is Lorenz. He’s kind of insufferable. The mad-scientist intellectual type, he has a massive ego and a superiority complex to match. His type of gun was made in both government and private factories, with the government factory-made ones being notably superior in function— and this Lorenz is one of those. Like a lot of the Antiques, he’s eager and insistent to prove that he’s a useful, high-quality tool, even and especially when that means making himself look good at others’ expense. He’s extremely loyal to Karl, to a kind of pathetic degree... and also absolutely terrified of Dreyse. That leads to the part where Lorenz is very much a coward who’s playing tough in the hopes no one will see through the farce. He’s easily agitated, neurotically stressed, and can’t stand things not going his way.
. . .
This is Cutlery. He’s a little brat who has the typical bizarre-gun problem of pathetically low self-esteem. His gun is a weird one— it’s technically three guns disguised as pieces of silverware that were used on pirate ships as a covert weapon. Cutlery has a whole complex about how “cowardly” he is, and despite his prickly attitude and initial rudeness, he’s painfully shy, insecure, and unable to handle attention of any kind. He’s prone to idolizing people and desperately wants close relationships, but is too anxious, defensive, and afraid of being hated to open up to people without panicking. That said, he can be awfully needy and clingy once he’s attached. He also has a strong fixation on food, to the point where hoarding behavior and general food insecurity seem likely.
. . .
#Senjuushi#千銃士#Info#Everyone#Enfield#Snider#George#Kentucky#Pennsylvania#Charleville#Chassepot#Tabatiere#Dreyse#Jitte#Karl#Lorenz#Cutlery
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The houses in astrology
The first house, the ascendant- House of the self.
the horizontal calculated position of the constellation of stars that was behind the sun at the time of birth, the sign that opens the first house. The house of the ego, physical features, what people perceive of me.
The energy I radiate, the aura, the physical health. Personality and external physical characteristics that the world perceives from me.
Impulses, can also indicate childishness. House of new beginnings.
natural position (original sign in the division of the zodiac); Aries, and planet Mars.
Second House - House of our value to things, people and ourselves.
Property, finances, comfort(our comfort zone).
The sensory (the 5 senses), also connects to the throat, possessiveness, stubbornness, fixation.
Can represent early childhood, responsible for what a person needs in his life to feel stable and relaxed, a house also responsible for financial conduct.
Natural original ruler - Taurus and planet Venus.
Third House- The house of sharing.
siblings, the neighbors, the general close environment surroundings in childhood, short trips, public transport and cars in general. Communication, information, transfer of information, daily routine.
Thinking, receiving information, intellect.
Recognition of Patterns and boundaries (our ability to separate), objectivity. head>emotion|emotion=head
duality. Focusing on small details.
The neurosis alongside a constant need to learn and teach, to do something all the time. multitasking.
Natural ruler - Gemini, planet Mercury ruled by day star Mercury.
Fourth house- the family base house.
Parents, the environment we grew up in, the place we refer to when we think of our original home.
Our comfort zone, subconscious emotional security (what we need to feel emotionally secure). Roots, heredity.
Inclusion, hospitality, parental emotional care. (sometimes shows how we express love)
How we act when no one is around, what comes naturally for us
Natural ruler - Cancer and the Moon
The bottom ray on the chart that is called IC (imum Collie)
Fifth house - the house of pleasure and vitality.
Vitality, creativity, close friends, romance, being in the spotlight, ego, addictions.
The house of children (the inner child, our children and the children of other people). theatrical dramatics. Sex and dating, flamboyance, selfishness, the heart. (physiologically as well as emotionally), give and take.
Seeing the picture through the story of events from the subjective eye.
Natural ruler - Leo and the Sun.
Sixth house - House of health and service.
Bills, documents, medical treatment, medical nurses, technical daily routine, giving, criticality, patients, digestive system, perfectionism, work, practice.
Doing things behind the scenes (managing things behind the scenes)
Anxieties, obsessions, psychosomatics.
animals and pets.
Natural ruler - Virgo and night star Mercury.
Seventh house - The house of balance.
Relationships, romance with partners, political correctness, boundaries, beauty, connections, our partners. Intimacy
Behavior of partners, self-renunciation/no compromise, balance, superficiality, qualities we are not aware of (alter ego), visible enemies (of which we are aware).
Natural ruler - Libra and planet Venus.
Eight house- House of transformation.
Sex, death and rebirth, taboo, obsession, secrecy, thoroughness, research, psychology, suspicion, skepticism.
Compulsivity, fears, truth, underworld (Witchcraft), astrology, mysticism, traumas, closure
Repetitive patterns of behavior. karma; Previous generations of the family (grandfather, grandmother, etc.), awareness - to see the truth as it is without the ability to beautify
manipulation.
Natural ruler - Scorpio and Pluto, second ruler Mars.
Ninth house- The house of expansion and essence.
Trips outside the borders of the country, languages, different cultures, philosophy, optimism, the big picture without being able to get into the small details (not thinking about consequences).
Tactlessness, religion, spiritual outlook, publishing.
In-depth research, spiritual or physical journeys alone,
Lack of boundaries, lack of absolute truth (related to boundaries).
Freedom, claustrophobia, unwillingness to commit, fear of missing out , desire to see everything from everywhere.
Natural ruler - Sagittarius and Jupiter.
Tenth house- House of career, public persona.
Status, how people see me (public reputation for better or for worse).
This is a house that is crossed in the upper horizon in the chart, after all, it is the midheaven of the Sky MC (medium Collie)-
Self-fulfillment, preoccupation with how I am seen from the outside,
Investment in work, persistence, tradition. represents one of the parents. Materialism, personal promotion, pension, making yourself name in your workfield.
The 10th house reflects our ACS, the first house, which by understanding our first house, it could shows us why we want to attain the qualities of the 10th house in the first place.
Natural ruler - Capricorn and the planet Saturn.
Eleventh house- the house of the extended society.
Politics, social promotion, anti-primitiveness, anti-framework, progressive, new age, ideals.
Courts, demonstrations, action for the common good, activity for our inner ideals, the God complex, arrogance, emotional distance, feeling like an alien, strangeness.
Natural ruler - Aquarius and planet Uranus, second ruler Saturn.
Twelfth house- The house of sacrifice and mysticism.
Things that the owner of the chart is not aware of (but other people see them), hidden enemies, hospitals, institutions, prisons, closed places, emotional withdrawal, solitude, cinema, directing, music, closure, escapism, rose-colored glasses on reality, dreaming, emotional overflow, visions, tarot and astrology,
Secrets, subconscious connection to others (intuition), feet, wisdom of life, the fool / naivety / childishness,
Peter Pan complex. A house that closes the zodiacal wheel (closure)
Natural ruler - Pisces and planet Neptune, second ruler Jupiter.
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Anthy as a Personification of Cruelty
this is par of a larger project I'm working on, but I felt like writing it out here. think of it as early content for followers.
both Enokido and Ikuhara have spoken of Anthy as a symbol of reality, or character used to signal that reality is entering the drama. as reality is cruel, Anthy must be cruel, and she is aware of many cruel realities. she is the rose, the beautiful and short-lived flower, which grows in tandem the cold thorn of disillusionment.
it's not a mistake to read Anthy as having personal feelings; in fact, much of the anime is about uncovering and allowing her to express personal feelings. even though she is often ambiguous and remote, the audience is clearly given glimpses into her worry, fear, despair, unhappiness, and pain, as well as love, hope, and desire for connection. what makes the characterization so compelling is that in tandem with Anthy-the-character operates Anthy-the-symbol, or Anthy-the-plot-device. the story revolves around her humanization and freedom from the narrative, yet within each script, Anthy is used like a puppet to keep the story moving forward.
Akio is a similar character, and at first, it seems they are serving the same aim of bringing reality into the drama, as Akio shows the duelists "the End of the World." a less interesting show would have stopped with him. it could have been a story about how the world is a corrupt place, the strong take advantage of the weak, and at the end of the day, that's all there is. but at the true "End of the World," the end of the show, who does Utena find? Anthy. Akio kept everyone running in circles; Anthy brings the system crashing down. why is this?
I think that Akio represents "false reality," while Anthy represents "true reality." in a way, they are both stunted and immature, but Anthy, by her very being, her knowledge of the Swords of Hate, is beyond Akio; she has an alien, unimaginable perspective, due to truly knowing what suffering means. Akio doesn't suffer on an profound level, he's just driven himself to self-pitying madness. basically, he's making Anthy's problems about him and his failure to be the prince.
so Akio is the false god who keeps his adherents dazzled by false enlightment, but can't impart true change; in fact, he resists it. resisting change is also a part of the growth process. perhaps Anthy and Akio are siblings because they both must "work their magic" for the narrative to play out. the "false maturity" stage presented by Akio may be the necessary prescedent to Anthy's "true reality." however, as Akio demonstrates, it's possible to just stay in false adulthood forever. Akio refused to touch Anthy's true self, or the swords that plagued her (unless he could use them for his own power). he wouldn't share her suffering; he was afraid of the cruelty she embodied.
the show is essentially about Utena and the other characters moving closer and closer to awareness of suffering, often represented through Anthy, but eventually swallowing up Utena. the final conversation of the Student Council focuses on the cruelty, coldness, and unfairness of the world, which they know will fall upon the selfless.
the cruelty that Anthy embodies is not malevolent when seen this way. it is something that must be faced in order to truly grow up. it hurts to experience it, but it is in fact is the only way to leave Ohtori. Anthy ushers in both Mikage and Utena's difficult graduations, for instance. she is hated for the truths she carries, but her cruelty is not without purpose. she cannot see a world beyond her suffering, but without her, there would be no way to reach that other world. this is because suffering is inherently a part of life, along with many other cruelties, such as separation and death.
I'll end with a quote from my favorite novel, Tehanu: "he would learn [pain] again and again, all his life, and forget none of it. And therefore he would not [...] do the easy thing to do." this perhaps gets at the core of the issue: Akio does the easy thing, the thing that costs him nothing, because he does not know pain. Anthy has to bear pain alone, and so her world revolves around her suffering. Utena learns pain and will never turn her eyes away from it again, and Anthy, no longer alone, can step into a world with a future. true maturity is reached in communion with others, and a true adult is someone who can take in the world as it is and continue living. heroically and with style, when possible.
#i may delete this in future when i finish my longer projects but i felt like putting this here as i feel passionate rn#rgu#commentary
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BLOGTOBER 10/10-11/2023: MAD LOVE (1935), BODY PARTS (1991)
I had always heard, casually, that Eric Red's BODY PARTS was a remake of Karl Freund's MAD LOVE. The relationship can't be quite that direct, since each film is adapted from a separate novel--MAD LOVE from Maurice Renard's The Hands of Orlac (1920), and BODY PARTS from a book with the English title Choice Cuts (1968) by crime-writing duo Pierre Boileau and Thomas Narcejac. It just so happens that the two films deal with the notion that consciousness exists throughout the body, not only in the brain. This is a real idea, actually (Wayback doesn't get behind this paywall, but maybe you have something better), although I haven't heard anyone posit that personality exists throughout the body like it does in these exciting movies.
Simply one of the best appearances of a human being in a movie.
In MAD LOVE Colin Clive plays Stephen Orlac, a famous pianist who, after a devastating accident, receives a transplant of both hands from the disturbed Dr. Gogol (Peter Lorre). Orlac doesn't know that he now has the hands of a murderer, and they have retained their former habits. Gogol uses the ensuing drama to try to deprive the pianist of his beautiful wife Yvonne (Frances Drake), a Grand Guignol performer with whom the doctor is obsessed. Gogol seems to know that body parts can remain identified with their original owner, and perhaps this awareness feeds into his general attachment to appearances. His projected relationship with Yvonne is filtered through layers of simulation: He "knows" her from her stage role, and he lives with a wax figure of her in a self-conscious imitation of the myth of Galatea, the living statue. Perhaps what's inside doesn't count so much, when the personality is equally embedded in the outside.
In BODY PARTS, psychiatrist Bill Crushank (Jeff Fahey, don't ya just love him?) receives a new arm after a surviving a spectacular car wreck. The experimental procedure seems like a godsend until previous owner's violent nature begins to infect Crushank's behavior. To solve the mystery of what is happening to him, he seeks out the recipients of other limbs donated by the same crazed killer, including a vigorous young athlete named Mark (Peter Murnik) who needed new legs, and Remo (Brad Dourif), a hack painter who has experienced a burst of highly lucrative inspiration since he accepted his new arm. All of the men have been contaminated with the original donor's destructive rage, but Mark and Remo are less willing to part with their, er, parts. Here we have a whiff of the notion that the beast in man--the animal self that resists civilization--is connected to bodily power and pleasure, and also to subconscious, intuitive mental activities like the artistic impulse. Crushank, a psychiatrist who works with prisoners to help civilize them, is naturally less benefited by these bestial qualities.
The makeup in this movie is incredibly great, you can practically smell that arm.
BODY PARTS and MAD LOVE share the intriguing feature of a kind of decentralized evil. There is the evil of the original owner of the parts, and the evil that grows in their unwitting recipients, and the evil of the egomaniacal doctors who perform the operations for their own purposes. Villainy is sort of a free-floating essence that travels through bodily tissue but is never confined to a single, containable, even killable person. Instead it spreads like a virus through a person's life until both their inner feelings and their outer circumstances are entirely tainted. It's fortunate for the films' protagonists that consciousness is still corporeally dependent, despite how communicable it is, or else things could have been a lot worse!
PS Both of these movies deserve a lot more attention than I was able to give them during what I did not know would turn into a speed run season of Blogtober. I reserve the right to revisit them later! I didn't even get to talk about how BODY PARTS was co-written by Norman Snider who co-wrote DEAD RINGERS with David Cronenberg...
#blogtober#2023#horror#body horror#body parts#eric red#mad love#karl freund#peter lorre#colin clive#jeff fahey#brad dourif#science fiction#adaptation
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Undead Unluck Manga Chapter 183 Spoilers!!!
I know the main wave of discussions for this chapter has already concluded and the new anime episode is already out, but I tend to ruminate for a long time and I'm even slower on properly writing those thoughts out. But now that my thoughts are finally organized, I can put that dead horse to the ground.
Last chapter seemingly seems as an end to Rip's and Latla's character development, quite a disappointing one too (even besides the sister thing, that is just *sign*, Japan...), but I have some reasons to hope it isn't, and here's why:
In the first loop we are introduced to a variety of negators, which can generally be separated into two teams: Union and Under. Under being the antagonists of the story. As the story unfolds, we learn that Under and Union may actually work for the same goal, even if the former is doing it in a pretty twisted way. But there's two exceptions to that rule: Feng and Rip/Latla team.
Feng is pretty straightforward in his desire for strength and his willingness to sacrifice all and everything for it. Loop 101 already addressed his behavior and showed us a hint of change:
Rip and Latla, however, while being a team, aren't on an equal ground. While Latla obviously wants to save her sister too, we constantly see that it's Rip, who is consciously refusing to move on from the loss of Layla and fueling his obsession over his goal. A goal, as we learn in the unfolding of the last loop, that is quite selfish and short-sighted. Not only his current actions utterly betray his dead lover's last wish
But it also doesn't actually gain him anything but a few extra years at most with Layla before a horrifying death of the whole world and all three of them
While in the beginning such motivation could be explained by Rip being introduced to the world of negators through Under and coming to conclusion that all the people with power act purely in their own interest, that delusion repeatedly gets shuttered by his run-ins with the protagonist duo. Yet, despite every such encounter showing us a bit of humanity in Rip, every following encounter, he seems to push towards his selfish wish.
A potential for him to finally make a right choice this loop seems to appear after the culmination of Season's Arc, where it's laid plain to see that Fuuko is the one with the power to reach God and that she is absolutely the kind of person to try and save everyone, and loop is being inevitable by this point with Earth's careening towards Sun. This shows us a hopeful turn for the Rip and Latla duo - with Latla choosing to help Union search for Fuuko and, most importantly, finally separate from Rip
Yet, despite this hopeful turn, Rip once again returns to the original plan - speed the oncoming end of this loop and doom the next one, all for the desire to be Layla's personal hero for a single moment. This culminates in one of the most heartbreaking scenes in the story
Which is made progressively worse, once we learn Latla's negation next loop - Untrust. So for that plan to work, Latla either had to fully believe that Rip can't hit a moving target like Andy (which is doubtful, since she is the most aware of the extent of Rip's skill) or to truly believe that he won't be able to genuinely target her. And despite last chapter claiming that Rip loved both sisters equally, he is clearly capable of sacrificing Latla for Layla.
As heartbreaking as that moment is, it also shines light on the true nature of Rip and Latla's relationship in the loop 100 - they are enablers of the worst traits in each other: self-destructive loyalty, multiplied by infatuation in Latla and the short-sighted selfish goal pursuit in Rip.
Moving onto the next loop, we are introduced to them both once again before the tragedy of Layla's death. Latla doesn't seem to differ from her past loop counterpart. Her life is still built around helping her sister and supporting her relationship with Rip.
Rip is quite a different person, though. With quite the heroic claims
Which would be quite touching to see after this arc's end to show his growth, but here, before Layla is saved, we know those claims are pretty hollow. Unlike the rest of the cast, who sticks to their core values after losing a loved one, we know from the last loop that Rip drops this claim pretty quickly after Layla's death.
Latla does get her drop of a character development, finally standing up to Rip and demanding half the Bladerunner to stop Rip from trying to play a solo hero, in contrast to her quietly following Rip's path of self-destruction last loop
A few words about Layla - despite being alive this loop, she still doesn't have a character. Effectively, she could be replaced with a mannequin in a dress in 99% of her scenes and nothing would change.
So this arc culminates in chapter 183, where we get a brief recap of the events and Rip checking out his "happy end" box with marrying Layla. We also get slapped with a sudden question "Who will Rip chose?" after the narrative up to this point practically beating us with the demonstrations of Rip's first priority over everything (even Latla's life) always being Layla, from the start.
We are given one page in the ENTIRE manga to imply the single case of Rip picking Latla over Layla
And this chapter culminates in the weird kind of progress, or rather, regress: Rip now forcefully dragging Latla into his decisions, disregarding her own choices. Which is supposed to be taken as a positive development now? And in the end, Rip doesn't get any development to show that he is a better person than the last loop and not simply nicer because he didn't have to face hardship this loop.
A mini side rant, unrelated to the analysis - I hate this panel with. every. fiber. of. my. being. Romantizatio of first love as an only true love is one of the worst things to come out of romantic genre. Side rant over
UU isn't nuanced enough story to deal with the complex relationships and getting over infatuations, so I don't expect any developments in that direction. But Rip is supposed to be one of the author's favorites, and seeing such lackluster characterization in UU is really jarring, so I do hope this isn't an actual end to this three's characters development. I propose that at least 2 out of the following 3 options happening could somewhat salvage this mess:
1) Obligatory - Layla finally gets some characterization. Even a single page of her being the one to suggest including Latla into the ceremony, would've considerably improved last chapter.
2) Latla getting to actively disagreeing and opposing Rip, to showcase that she is capable of making her own choices, instead of being dragged around by Rip.
3) Rip facing his faults, which made him of the few true villains of last loop, perhaps through Remember, perhaps through other means.
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Hi! Happy lukewarm Tudum day, I hope you're having an okay one :) all things considered... If you're taking asks right now I'd love to hear your thoughts. I've been reading again about attachment styles (secure, avoidant, anxious, and I think another I'm forgetting right now) and it got me wondering about ST characters and how they might fit in these categories. I remember kaypeace21 mentioning attachment style in an old post (the one about parentification) but it wasn't a focus. Any thoughts? Thanks either way! ^_^
I haven't really been keeping up with Asks, to be honest. The past school year was very rough, as I keep getting additional responsibilities as I'm there longer (without decent pay, of course). Now that it's summer, though, I suppose I have no more excuses. I think I knew I'd never be able to just walk away from this community.
So, attachment styles. This is a difficult thing to really get into since we know very little about most characters' early childhoods. Attachment styles are rooted in the attachments developed with caregivers in infancy, though they develop from there. That is to say, someone who forms an insecure attachment in infancy isn't doomed to treat all social relationships that way forever. These initial bonds do often tend to influence later bonds, though.
This is going to be a long one, so the rest of the post is under the break.
The attachment styles you mentioned go back to the work of Ainsworth in the late 70s. She devised the Strange Situation observational experiment, which involved an infant child being introduced, separated, and reunited with a caregiver and an unfamiliar adult. Attachment styles are determined based on how the child reacts to these situations, demonstrating how much security they derive from their caregiver. What constitutes a caregiver can vary based on culture and individual circumstances, so it need not be a parent/guardian.
The four attachment styles based on this theory are as follows:
Secure Attachment: To the child, the caregiver is a secure base from which they feel safe to explore unfamiliar situations. The child is upset when the caregiver leaves, but the bond isn't damaged, and the child is fine when the caregiver returns. This is the result of a healthy bond between caregiver and child. Funny story, in grad school my classmates and I got a look as to what this might look like in dogs when my professor brought his dog to class. The dog enjoyed coming up to all of us as long as my professor was there, but he left the room for a minute to fetch something, closing the door behind him. His dog stopped sniffing around all of us and immediately went towards the closed door. My professor walked in a moment later, and the dog's tail was rapidly wagging. I'm not aware of any research into whether this theory holds for dogs or other animals, but it was an interesting thing to watch given that we just learned about attachment styles.
Insecure Avoidant Attachment: The child avoids the caregiver, interacting little with them, and not being upset (or even noticing) their departure. The child may avoid eye contact when the caregiver returns. The bond, if it was ever there, is not re-established on return. This is generally the result of a caregiver not being emotionally available to the child. It's can be, but is not necessarily the result of abuse or neglect, as an emotionally reserved caregiver can unintentionally withhold affection. These children often come to see attempts at bonding as being met with hostile or dismissive reactions. A child like this could grow up to see self-sufficiency as the only way to go, as they don't expect emotional reciprocity, and will avoid getting too close to people, favoring more casual relationships.
Insecure Anxious-Ambivalent (originally Insecure Resistant): The child becomes very distressed upon separation, clinging to the caregiver, usually while crying. However, upon return of the caregiver, the child resists reattachment, sometimes to the point of kicking and yelling. This can be the result of inconsistency in the caregiver-child relationship, resulting in the child being confused as to how to navigate it. The child essentially never knows when anything will be ok, resulting in great distress whenever a situation is unfamiliar. A child with this attachment style may be afraid of abandonment, and could continue carrying that fear with them as they grow up if the situation continues that way. They may feel unworthy of love and need regular reassurance.
Insecure Disorganized: The child appears confused and/or afraid. The child shows some aspects of both avoidant and resistant styles, but there's a marked difference in intensity. The child may actively fear their caregiver, and it can be a sign of an abusive caregiver and/or childhood trauma. As a result, there's a real lack of any clear pattern of behavior relating to the child's relationship with caregivers. Survival could be a matter of reacting to individual situations without any real underlying schema having been formed. A child with this type wants love, but has no idea how to get it.
I dare say that most of the cast probably has a Secure Attachment style based on their behavior in the show. There are some exceptions, however. I will not be trying to classify El, as her, ahem, unique socialization complicates matters.
Mike Wheeler: I'm gonna go out on a limb and say he has an Anxious-Ambivalent style. He can be very emotionally reactive and sullen, and he does seem to have a fear of loved ones leaving him. This could potentially be the result of Ted's lack of emotional reciprocity. Karen was likely a very loving mother during Mike's infancy, but Ted being closed-off could have resulted in a lot of confusion for Mike. Mike gets clingy, suspicious, and jealous with loved ones when he suspects things aren't going well. This comes from his fear that he's not good enough for their love, and, as a result, he's deeply touched by Will's reassurance in the van, likely owing to his low self-esteem.
Will Byers: He's a tough one. He doesn't seek out relationships, which suggests Avoidant, but he has one loving parent and one asshole (later absent) parent, which suggests Anxious-Ambivalent. At best, Lonnie was emotionally distant, if not outright abusive. However, we know Will has great bonds with Joyce and Jonathan. I suppose it could be argued that there is still a lack of consistency, as a result of Joyce having to work a lot and Jonathan being a kid himself, but we don't know enough about how that worked in Will's early childhood. He does lack the emotional reactivity that goes with Anxious, though. I'm going to lean towards Avoidant, though, as Will does seem reluctant to get too close to anyone. His first friendship was with Mike, and Mike made the first move there. We don't know how he met Lucas and Dustin, but I can't see him taking the initiative based on what we know about him. He also befriended both Max and El because his friends did. He seemingly made no friends in Lenora, and, unlike El, he didn't seem to care much. His focus seems to be more on not losing his current relationships, particularly Mike.
Jonathan Byers: Insecure-Avoidant. He's very similar to Will, only he's had to serve as the caregiver for Will, which might complicate things. I'd say he's definitely Avoidant, though. He has no real drive to form relationships. His relationship with Nancy developed only because he spent a couple very traumatic weeks with her where they pretty much had to bond to survive. He did genuinely like her, but he likely never would have attempted to get into a relationship with her under normal circumstances. Now that he's in it, he's terrified. He's in too deep, and he has no idea how to handle that. He's afraid it's going to turn out like his parents' relationship. He's friends with Argyle, but it seems to be a largely casual friendship (up until recently, anyway). Argyle being an outcast stoner is probably what made him an appealing friend for Jonathan, as he doesn't have to worry about emotional closeness.
Steve Harrington: Insecure-Avoidant. We know he doesn't have a good relationship with his parents, who never seem to be around. He's confident and easy-going, likely the result of having to learn to fend for himself emotionally. He's had several shallow relationships, both platonic and romantic, owing to his fear of getting too close to someone. We only see him get close to three people: Nancy, Dustin, and Robin. All three of those relationships we can see Steve get antsy about being too close. He fears that Dustin is choosing Eddie over him. He was devastated by Nancy saying their love was "bullshit." And he's almost afraid as he confesses to Robin that he developed feelings for her. When he pushes through his fear, he's able to really click with people, but it always requires a real feat of courage from him.
Ok, I can't do anymore than that, I don't think. There's others who would be interesting to look at in regards to attachment, but, like El, have too many complicating factors. Hopper has had trauma in his past with Vietnam, his daughter dying, and his marriage collapsing. We don't know how he was growing up. Max has dealt with divorced parents and an abusive stepbrother, so it's hard to determine what might be the result of attachment style and what might be the result of her own traumas.
I do enjoy your thought-provoking Asks, though. I've missed doing these types of psych analyses, which is a bit ironic considering it's largely what I based the blog on when I originally created it.
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Patreon Post: Marking the Master (Seir- Inky OC)
content warning: Public Sex, Jealous Sex, Monster Sex
Demons never really had any reason to be jealous. They were royalty in their own realm, they were boundlessly powerful, and they got to explore the living world freely while usually being in a little body and being babied for being such a cute animal. They were far more well off than any other species, living or dead. So why was he himself being an ugly, jealous little beast right now?
He had enough self awareness to admit, yes, he was being a pissy horror right now, but it was your fault, so deal with it. Not to mention being thusly was a fun little treat at times. For him, of course.
But Saleos was making him grind his sharp little teeth. Watching the two of you from a secret little alcove (that you definitely did know about, and just indulged his more animalistic tendencies), he seethed. He scowled. He even glowered to the best of his ability while being an animal. Saleos had playfully wound his way around your neck, basically being one of the only living mink scarves in the world. Once upon a time, Seir would have admitted that he liked Saleos. Despite the other demon being in a higher position in life, being a Prince instead of Duke of hell, he had heard and met him enough times to… Not mind him. Maybe even share a drink with him.
Until now. Fuck Saleos. He should choke.
Should choke with his fangs deep in his scrawny little Mink neck, especially when the prince smoothly told you that he’d love to take you out to the opera house that night.
“Take them out.” Seir gave a nasty little snicker and the two of you glanced over. “You mean them carrying you around and needing to put you on top of the seats so you can actually see the performance.”
Saleos’ little beady red eyes blinked once, twice, thrice before they curled their lip, showing off their tiny, sharp teeth. Instead of answering, he slid down your arm and landed with a soft noise onto the pillow next to you, bouncing a bit on his pink little feet.
With a billow of white and black shadows, the mink disappeared. Saleos, in his human form, was sitting neat next to you, stroking back his thick, cream coloured hair and shot Seir a smug look. They knew they were struggling with getting to full human. They had just barely managed to get into their shadowy demon form without draining them too much, but they couldn’t even start to form human skin without getting a blinding headache.
And here Saleos was.
A gorgeous human man to everyone who sees them, your arm over his as Seir trotted behind you on the way to the opera. Resting their chin on your knee after you smuggled them into the box. All the while Saleos shot him a smirk every couple of minutes. Mocking him.
It all got too much. Seir finally gave an annoyed animal huff sound and made their way from your lap, to the floor and slipped out of the curtain, separating your box from the hallway. He had just made up his mind to go sulk underneath a nearby table when you emerged, looking around and looking absolutely delicious. He adored his master. He really did. But fuck, things got annoying whe-
“Seir?” You whispered, kneeling down to drag your fingertips along their chin.
They look up at you, with their cold eyes, feeling your warmth but also a deep yearning. They made their decision.
Seir inhaled slowly, and the lights in the hallway flickered and blinked out, plunging the two of you into darkness. You barely even started, used to Seir’s powers by now. What you weren’t used to, was hearing a strange sound, like leather being stretched before snapping back against bones, the strange hiss of something not of this world…
Nor, his eyes. Deep hungry eyes, with his scleras dyed a vivid purple, and his pupils… Deep, cat-like gashes that stared through you.
“He can charm you with his pretty face on.” Seir whispered, a growl slipping into their usually smooth voice. “But only a monster like me can have you.”
Their clawed hand lashed out to grab your middle, fingers lengthening with crunching bone to almost completely reach across the entirety of your back. Their touch was hot, yet freezing. It scalded you with frigidness and froze you with heat. It felt right.
Seir refused to derobe you, but their claws tore and sliced through your clothes easily enough anyway. Licking their strange, burning tongue across your skin before ripping the cloth from your legs, sinking it deep into your hole. He wanted to mark you, make your insides accustomed to him and him alone. Nothing else would satisfy you, unless it was Seir’s.
You struggled to hold back your moans, cramming your fingers into your mouth as Seir tasted you, stretched you open. There was something thick and dripping squirming against your leg, right where their hips were. Hot.. Fleshy… Curling around your knee with a dripping head nudging at your skin. Even trying to think about it made you feel too close to cumming, the thought that Seir’s… Seir’s…
“It’s going into you.” Your familiar almost cackled, the wet sound of his fat tongue squirming in you nearly drowning him out. “I’m going to fuck my little master good.”
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waa @proceduralbob tagged me! thank youu
name: wednesday
pronouns: they/them
where do you call home?: without the right to roam, in a planet with boards and states and nationalities, this is kind of a faulty concept, people ask this sort of thing to judge your worth, sometimes i poke fun at people for like what state or city they live in but know its kind of in a post-ironic or whatever sort of way, i live online! but i suppose the geographical answer is the usa equating that with home feels gross, home feels personal and all encompassing, doesnt it?
favorite animal: im like, rabbit themed, so there's that of course i love so many animals i feel like i have a fave per genre of animals, im really into jellyfish , my fave owl is great horned, i also love flamingos and giraffes and bats and cockatoos
cereal of choice: i only eat cereal as intended like two months out of the entire year max, i like applejacks (with banana slices) and cocoa bunnies from the annie's brand (with strawberries) (cereal feels really naked without fruit on it!)
visual, auditory, or kinesthetic learner: im pretty sure this is something that gets taught in schools in conservative states cause no one gives a fuck whether its junk science or not, i Prefer someone to show me how, then walk me through it and then ill do it a bunch with assistance until i get it, but thats often so taxing to be vulnerable with someone else and not everyone has the patience for me so maybe like visual/kinesthetic/auditory in that order maybe? maybe thats just self fanfiction
first pet: fish! like the first animal i was aware of like, the concept of a pet like we have a pet in the house were two box turtles but those were like, my parents pets, they did not take good care of them! the first pet i consciously was like i want to keep and take care of them were fishes
favorite scent: (oops i forgot to remove the previous answer and fill this in)i have a lot of scents i like but rn i think murphy's wood oil soap!
do you believe in astrology: i think there are three "categories" of astrology
there is the math; the history and the culture and the arts and how much it like is apart of human history like that's real and inseparable from understanding the world around us you cant be like well thats astronomy because its also people folk lore and mythology of their cultures and belief systems and that kind of math was not separate from each other, it was used and is used as aid to make complicated numbers more digestible, as a way to memorize and to pass along oral traditions, its also a form of a people's wealth, so thats real yes
then there's social/economics/psychology of it like time periods coincide with ups and downs of wealth in a place like historically and its also like how the seasons impact people, what food is available, what sicknesses are more easily transmittable during certain seasons, which impacts somewhat the way we interact with the world as early age roles are set in by family, society, so on, thats real
then there's my cringe fetus in the womb is an aries i can feel the energies, that shits fake, but that feeds back into like point two and this point isnt any different than the other awful ways parents can interact with their children about 'metaphysical' matters
so i suppose yes i do, like, in a social science and a traditional art sort of way
how many playlists do you have on your music service of choice: i have a lot i like to make playlists a lot, maybe ill share them with the internet more often
sharpies or highlighters: highlighters are cute! sharpies have more use though, highlighters might win simply for the cute factor
song that makes you cry: once the pokemon 2 movie starts its ON <-the tears, from the ost for some reason
song that makes you happy: i listen to a lot of vashti bunyan and haruomi hosono for that feeling, oh maybe im not answering these correctly, i know nobodies got me like still alive (portal 2007)
and finally, do you write/draw/create: i do all kinds of gay stuff
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Hey. Writer. Pspspssps. May I have headcanons for Self Aware AU characters who somehow came to the real world being brought to a zoo? Who's afraid of the strange non-pokemon creatures? Who tries to capture the goats at the petting zoo? Who insists that a platypus is some kind of a fucked up psyduck? Dealers choice for the characters, but I like the train bros and I think Volo's reaction would be one of the funniest. Choose what characters you wanna write tho.
*rapid footsteps scuttling across the hardwood* Zoo?
🍓🍓🍓
Ingo:
He's very intrigued by the zoo, all the animals. They all resemble some Pokémon in one way or another. You point out your favorites, and let him lead you towards the animals he finds the most intriguing
You two have debates over if you would consider if some of these animals have the same abilities as Pokémon. The snakes can create rattles and shoot venom, he argues, that's an ability! You let him have it because you can't come up with a good enough argument
He's drawn towards the rodents, especially soft for the little moles they have. If they let him hold one, he has the softest smile on his face. Take a picture. He'll want one
Should they have a ocean section, Ingo will also be drawn in to the crabs. Spider crabs, king crabs, all of them intrigue him because they remind him of Crustle in a way. He'll pose for you if you take a picture with him in front of the tank. It's cute
Emmet:
He's too excited. These are the animals most Pokémon are based off of! He wants to see them all, and he'll drag you to each and every enclosure, ready to discuss all the Pokémon they inspired and what these animals are capable of
He really likes the exotic birds, their colorations and sneak behavior reminiscent of Archeops. He wants to do the up close encounter too, and he wants a million pictures
Also verrrry much enjoys the bug enclosure. Their spiders and ants are like Galvantula and Durant. He wants to hold as many tarantulas as he can. His smile is surprisingly small, but with genuine affection. It's bittersweet to see, but you still take pictures for him
Wants to talk about who would win in a fight, and always goes for the underdog with ideas of highly specific tactics it could use to win a fight. You have to gently remind him that the animals here don't fight until one faints. Suddenly, he's less eager to talk about battling
Laventon:
He's got a million notebooks at the ready. He spends so much time at each enclosure, sketching out the animals with notes on how similar vs different they are from the Pokémon he's always known.
Asks you so many questions, and when you or the sign on the enclosure don't have answers, he turns to the poor employees. They're shocked by his enthusiasm, but do their best to answer his questions, all bashful with the praise he gives them afterwards.
He loves the owls, otters, and porcupines for obvious reasons. He coos over how cute they are, and tries to play with them despite the separation. They're surprisingly receptive to him, however. You take a million pictures of him
The zoo makes him a little nostalgic for the world he left behind. The way home is spent with him studying his notebook, missing Pokémon. But when you ask, he just smiles and takes your hand, glad he's here with you too, able to discover so many new things.
🍓🍓🍓
I love the zoo. I'm gonna pet the snapping turtle and no one can stop me. I will hold all the bugs and snakes too.
Hope you enjoyed it, love! Have a great day!!
~Renee
#ingo x reader#emmet x reader#professor laventon x reader#laventon x reader#pokemon imagines#pokemon x reader#submas x reader
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🤖
There's a great handful of robot characters in this series, and let's just omit Metal Sonic for a moment because it would be too easy to say so right away, and I'll draw attention to a few others first:
E-123 Omega. Ever since his first appearance, he's just been a fantastic character. He's got bloodlust, he craves destruction, he thinks organic beings as "meatbags", he wants to prove he's the most superior of Eggman's creations, but he's also on the good guy side, will step up for his squad, has surprisingly good insight on things, and while blunt because his programming doesn't allow for much empathy, he's still been solid support for Rouge and Shadow over the years. I really think he's probably one of the few characters that's stayed the same fundamentally since his debut.
Orbot and Cubot. These two are a set, do not separate. They're silly, cute, funny and have a really fun design gimmick. Modern henchmen robots that feel like a love letter to those of the 90s. I really like that they've branched out from being in the game continuity to also the Boom Cartoon and even the comics.
E-102 Gamma. Walked so Omega could run. Compelling story of having his internal power source be self aware enough that his goal was to destroy his robot brethren and break down so that the little comatose birds inside them could be set free. Omega seems to hold his elder "brother" in high regard, as one level results quip in "Sonic Heroes" has Omega mention "Even I couldn't beat Gamma or Beta.", so there's that too.
Emerl. Oh man, how many of us early 2000s Sonic Fans still have emotional PTSD from that storyline? Especially in the original anime, not the 4Kids dub/edit? His last action before self destructing being that he used his ability copy one more time on Cream, saw her cry and just starts leaking oil out of his eyes.
Tails Doll. Yes, he's a robot. He might be probably the most well known obscure character on this list, and is entirely written based on a bunch of precursors to creepypastas in the late 2000s, but he's cute and actually really good to use in "Sonic R", as long as it doesn't start snowing. I used to main as him, lol.
Belle and Motobud. Relatively newish characters in the last few years, but a puppet based robot and a friendly badnik, I really like this dynamic.
Omochao! I know he's probably one of the most hated characters in the series due to his annoying tendency to be an obvious tutorial character, but I actually really like his design and how many times he's gotten me out of a tight spot in some of the games where he actually has a hit box. I've had him smash incoming robots while zooming to get into view, have been able to throw him through laser gates to bypass platforming to unlock areas, have used him as an instant deadweight to get to the bottom of water faster for timed levels, and appreciate his bright colors for being eye-catching enough for me to find out my next pathway.
Also, the unlockable Omochao Gun in "Shadow the Hedgehog" is OP as heck, you literally can't lose with it. Absolute Chad move.
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The Primordial Dynamic
“There are marvelous relations between beings and things, in this inexhaustible whole, from sun to grub, there is no scorn, each needs the other… Every bird that flies has the thread of the infinite in its claw. Germination includes the hatching of a meteor and the tap of a swallow's beak breaking the egg, and it guides the birth of the earthworm, and the advent of Socrates. Where the telescope ends, the microscope begins… A bit of mold is a pleiad of flowers; a nebula is an anthill of stars. The same promiscuity, and still more wonderful, between the things of the intellect and material things. Elements and principles are mingled, combined, espoused, multiplied one by another, to the point that the material world, and the moral world are brought into the same light… In the vast cosmic changes, universal life comes and goes in unknown quantities, rolling everything up in the invisible mystery of the emanations, using everything, losing no dream from any single sleep, sowing a microscopic animal here, crumbling a star there, oscillating and gyrating, making a force of light, and an element of thought, disseminated and indivisible dissolving all, that geometric point, the self.”
Victor Hugo, Les Misérables
Love and Fear are the quintessential forces of expansion and restriction within the physical universe. In human terms, they are what we instinctively gravitate towards and expel from. In the physical sciences, they are regarded as opposing binaries. In cosmology and religion, they have been regarded as primeval beings or forces associated with creation and destruction. Regarding the psyche, they are the First Principles of positive and negative emotion. To strip any emotion of its social and behavioral trappings is to reduce it to either Love or Fear. When viewed in this light human behavior becomes far more understandable and a great many obstacles no longer appear so impossible to surmount.
Love and Fear are dynamic forces as opposed to static binaries; a magnetism altogether different from that of the humble classroom magnet. I have come to regard them similarly to Aeons in the sense that they behave like higher organisms of which descending orders of matter, energy, and consciousness are essentially involved components (e.g. cells). They are part of us, flow through us, but are simultaneously beyond us. Humanity is not insignificant or meaningless compared to them, but quite the contrary. They grant us the opportunity and means to attain completion.
A fundamental truth of Love and Fear is that they exist in varying degrees within the sum composite of the created universe, including but not up to:
Biocentric (as a mechanism/particle)
Anthropocentric (as a thought-form)
Logocentric (as frequencies/emotions)
Cosmocentric (as energy/waves)
Psychocentric (as an organism)
Inherent in man is a unique separateness and the awareness thereof: we descend from Nature but are not of it. This has been conveyed in allegory (Genesis 3:4, 3:22-24) and verified through paleoanthropology. It is an inescapable human trait to deviate from the natural order, struggling against complacency while ascending the steps of higher ideals. The cosmos is kept in balance by the principle of duality, from the tiniest particle to the grandest star, which is reflected in the microcosm: when one defies their true nature and chosen purpose they begin to stagnate and suffer.
About 4 million years ago, our planet experienced a climate shift which set our hominid ancestors on the course towards civilization. Among the biological shifts they underwent was the straightening of the spine. As our ancestors began to walk upright, they were forced to look forward, creating a scission between the emergent species and the homeostatic order of Nature; whence came a new kind of intellect, once concerned with the future. One of the most significant differences between Homo sapiens and earlier hominids was the dramatic increase of the cranial capacity and the simultaneous development of smaller jaws and teeth. These evolutionary changes paved the first steps toward a species genetically predisposed towards communication.
We are a species that doesn’t quite have a place in the natural order. While emotion and intellect are clearly observable in the behavior of animals, they lack the creative spark known to humanity—the qualitative difference between the soul and spirit. Perhaps it is more accurate to say that given their nature animals possess no need for our spiritual flame and the complications thereof. It is because of this Promethean Spark that humanity is prone to genius and madness in equal measure, as we are easily defined by our passion, inspiration, beauty, ingenuity, advancement, suffering, and irrationality—essentially, that which brings about empowerment, evolution, and change.
Humans are the only species on Earth known to possess a sense of Self. Carl Jung defined the Self as the sum composite of an individual consciousness. Ian Lungold defined consciousness as “the awareness of being aware” and man, as Erich Fromm writes, “is life being aware of itself.” To quote a line from The Shoes of the Fisherman (a film I’m perhaps too fond of), “man is the animal that knows and knows that he knows.”
There is balance in all things and from the moment humanity gained that Promethean Spark, the presence of Self, we have been children of both Chaos and Cosmos. Their dance can be observed on the subatomic level in electrons existing in superposition and the instinctual consciousness of flora and fauna. It is with the human species that it begins to meet genuine resistance, as we are uniquely displaced from the natural order. To deny one is to deny a critical part of ourselves. It is unhealthy for the psyche to be always happy, always loving, and never hateful or despaired. Such a mind inhibits growth.
It’s far easier to paint the world in corridors of shadows and lights rather than take stock of the vastness. Love is chaotic, messy, and without guarantees but without it we would still be living in caves, brutalizing one another over genetic material. It is a single half of the primordial magnetism, a vitality older than the Cosmos. I do not doubt that there is symmetry enough in the cosmos for the dynamism of Love to flourish and unpredictability enough for us to evolve that we may appreciate it all the more.
The Primordial Dynamic has appeared in allegory and symbolism for thousands of years. It has been embodied in symbols such as the sonnenrad, taijitu, hunab ku, and merkaba. Nearly every ancient civilization developed an understanding of the cosmic equilibrium and many creation myths illustrated this with warring titans and primeval forces. Although this cosmic mystery play changed its countenance with each retelling, it maintains certain characteristics:
It is a perpetual struggle in infinite space between opposing forces, e.g. attraction and repulsion, in a process that ensures continued life, death, and rebirth in the Cosmos.
The Laws of Heaven are the same as the Laws of Earth. The universe resonates with the same current which is disseminated through descending orders of consciousness. The changing tension of the Primordial Dynamic plays out in a series of rises and falls, affecting gods and planets as much as human beings. Humanity’s journey is linked to that of the stars, for what happens in the Cosmos happens on Earth.
Matter and energy exist in a state of entanglement. Every particle interacts with every other particle and every object interacts with every other object. As such, time and space are not detrimental to the completion of the cosmic mystery play.
The Primordial Dynamic is a balance between the Principle or Form of Being (Physis) and the assertion of it (Logos). Human perception is grounded in the interaction between matter and vibration. Matter is inherently passive and catalytic, the seat of potential that manifests in the womb or an ungerminated seed. It is defined by feminine, receptive energy. Vibration is dynamic and volatile, capable of both creation and destruction and is thus understood as an inherently masculine force.
Just as human cells comprise organs, which in turn comprise our physical selves, so too does humanity function as the active cells of the planet Earth. The human body mirrors the surface of the Earth; circulatory pathways become rivers, the lungs become trees, the womb becomes the effervescent mantle, and the atmosphere becomes the skin, which happens to be the largest organ in the human body.
For much of their lives, some human beings are not unlike fitful dreamers encapsulated in the volcanic womb of the maternal Earth. A womb is a place of passive development and safety, a realm of unbridled potentiality borne of the chaotic waters that precede creation; yet all too often humans find themselves clashing with their nature and destroying their sanctuary. By our very nature, human beings are intimate with and separate from the natural order. As the only species on Earth to have evolved a sense of Self, we are the means for a conscious universe to experience itself; for evidence, we need only to look to the developing fetus.
We begin our journey as a single-celled organism called a zygote, a synthesis of masculine and feminine principles. After the egg is fertilized it divides and multiplies rapidly to form an embryo. The fourth week of development gives way to the pharyngeal arches, the precursors to gills in aquatic species. In terrestrial vertebrates these form parts of the jaw, larynx, and inner ear. Through the course of our evolution, human beings have modified these tissues for verbal communication as opposed to extracting oxygen from water. In the fifth and sixth weeks of development, the heart and lungs form and descend as well as the vestigial tail, giving the embryo a reptilian appearance. By the eighth week, the vestigial tail is absorbed into the body forming the tailbone, giving the child a more mammalian appearance; it is from this point forward that the child is referred to as a fetus.
Around the sixteenth week, the fetus develops its first hairs called the lanugo. These cover the body in abundance by the twentieth week, giving the fetus a recognizable primate appearance. By the thirty-sixth week, the fetus has shed most if not all of its lanugo and begins to resemble a human child. Human gestation is a reflection of the entire span of the evolution of all life on this planet. We are not viruses or parasites, but the manifestation of consciousness. This has been observed since time immemorial by ancient peoples and recorded in modern religions.
There is still so much more for us to discover about our history, our place in the universe, and most importantly about ourselves. I’ve always believed that there is profound goodness in the seat of the human soul. We are capable of great compassion and terrible cruelty in an unequivocal measure, yet at the core of our being, there is an unbounded iridescence that defies the mere duality of light and shadow. Our existence is neither meaningless and random nor fated and supreme. A slight shift in the stellar winds or mutation in a virus could have forever altered the course of human history and that makes humanity all the more precious.
Title image is a relief on throne of Senwosret I, second pharaoh of the 12th Dynasty. It depicts Set and Heru-wer, twin forces in the Primordial Dynamic, Uniting the Two Lands. (Credited to wikipedia)
Table concerning the Primordial Dynamic is credited to Joey Rivers (ascendingaeons).
#as above so below#love and fear#holographic universe#consciousness#metaphysics#metaphysical#cosmic consciousness#merkaba#yin yang#balance#hope#synchronicity#cosmic love#cosmos#chaos#pagan#paganism#eclectic pagan#occult
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Good & Evil - Anti-Heroes
Welcome to Good & Evil: A Study of Heroes & Villains. I’m discussing different forms of heroic and villainous characters, different types of protagonists and antagonists, and providing examples of them each from various sources. Today, we’re discussing one of the more popular and well-known types of characters; one that straddles the fine line between good and evil. Today’s topic is…Anti-Heroes.
Anti-Heroes are TYPICALLY described as protagonistic characters who basically do heroic things, but have many villainous traits, qualities, or methods. However, not ALL anti-heroes actually ARE protagonistic: they can be antagonists, too. This, I think, is where the confusion leads with people mistaking other kinds of characters as anti-heroes, or vice-versa. Like with nearly all these categories, it’s a fine line between what makes an anti-hero and what makes some other sorts, and it’s honestly not uncommon for characters to flip-flop between different roles. Ultimately, what establishes the anti-hero and separates them from others can be stated as this: they are usually characters doing ostensibly good things, but in an ostensibly bad way.
Perhaps the quintessential anti-hero in movies is the title character of “Dirty Harry,” played by Clint Eastwood. Harry, at the start of the movie, is a police officer, and his great mission in the film is to capture a notorious serial killer. Neither of these are bad things, but what makes Harry the anti-hero is the extreme lengths he’ll go to in order to fulfill his job. In fact, his methods - which include physical torture - end up causing the killer to get out jail Scott Free, which inevitably causes Harry to resort to even more drastic measures to ensure his nemesis won’t walk the streets free to kill again. Right from the word go, Harry is shown to be a man with flaws and vices, and we only see more of them as the story goes on…but never once does he go so far as to become the villain of the story, himself. Still, we recognize he’s no hero. It’s not simply that he’s rude and crass, it’s that he’ll resort to methods that are not only illegal, but unethical. However, you can’t say the people he goes after don’t have it coming to them.
Another great example of the anti-hero in movies, and one of the most popular and long-lasting, is James Bond. 007 seems to straddle the line between an anti-hero and a simple flawed hero constantly, but I think the balance tips closer to the former than the latter. Bond, on the surface, isn’t doing anything ESPECIALLY wrong: considering he’s working for his government, and his targets include world conquerors and destroyers, not to mention political traitors, master thieves, skilled assassins, and enemy spies…yeah, he’s not necessarily doing anything that would be seen as bad. But it’s the methods Bond uses, combined with his attitude, that makes him less squeaky-clean. Bond is a drinker, a chauvenist, and liberal with his Licence to Kill. While Bond’s attitude towards civilians and innocents seems to shift depending on who is playing him, various incarnations have shown him to be exceptionally ruthless in his work. We cheer Bond on because he has the heroic qualities we seek, but we also recognize he’s highly imperfect.
One of the most recent examples I’ve fallen in love with is actually a reimagining of one of the greatest villains in English literature: Professor Moriarty in “Moriarty the Patriot.” This anime/manga series reinterprets the Napoleon of Crime, Sherlock Holmes’ arch-enemy, as a violent anti-hero who uses crime as a means to achieving a better world. He has no God complex to him, no desires to control or command; in fact, his grand plan ultimately includes his own self-destruction, and this has been intended for a long time. However, while the ends themselves are noble and good, and his sense of self-sacrifice is noteworthy, Moriarty himself is fully aware of the fact he’s NOT the good guy in his own story. He takes great pleasure in the crimes he commits, which involve NUMEROUS murders, and there are noticeable emotional disconnects between him and the world. He doesn’t seem to fully grasp the concept of friendship, and sees most people as pawns in his grand chess game, or puppets for him to manipulate. His reasons for wanting to sacrifice himself, it later turns out, aren’t as noble or as simple as one would expect, either. His goals are heroic, and he never strays into being a villain protagonist by falling too far from grace…but how much one should condone his actions is a constant question.
In direct contrast, one of the oldest and more obscure anti-heroes in fiction, and another personal favorite of mine, is The Shadow. Originating in the golden days of radio and pulp magazines, and surviving into the modern day largely through comics (along with a few cinematic treatments, most of which are terrible), The Shadow is considered the father of the modern day superhero. He is the inspiration for characters like Batman, The Punisher, and more Alan Moore protagonists than you can shake a stick at. An expert on the Shadow (who shall remain nameless) has repeatedly stated that the character is NOT an anti-hero, once even referring to him as, if I recall correctly, “the most white hat objectivist hero there is.” I must respectfully disagree: an “Objectivist Hero” does not necessarily a pure and good Hero archetype make, for a start. And while it’s true the Shadow’s morality and methods within his own world are rarely questioned - at least in the early days of the character’s history - the Shadow HIMSELF fits the definition of the anti-hero perfectly. The Shadow is essentially a spirit of vengeance, who fights fire with fire: he tackles crime with crime, visits evil upon evil, sadistically and delightedly slaughtering his opponents. He not only does this through means of simply shooting them or physically breaking them, either, but will use psychological and even emotional warfare to ensure his enemies are felled. He pulls no punches, takes few chances, and the methods he uses to achieve his war on crime - mixed with his own checkered past - ultimately land him squarely in this area. The Shadow is the villain OF villains; to me, that sounds very much like an anti-hero.
Speaking of comic book characters, and to round this whole thing off…when I started this analysis off, I mentioned that anti-heroes are tricky to classify partially because, while they’re TYPICALLY protagonistic figures, they CAN be antagonistic characters as well. This is usually because their methods or philosophies will, at times, clash with characters who are more pure-hearted (or, on rare occasions, because the protagonist is a villain protagonist, and the anti-hero antagonist is simply a little LESS evil). Usually, you can tell an anti-hero antagonist from other types of antagonists because they will usually side with the hero in the end, or even repeatedly, and because they will flip-flop between the two perspectives. This is most common in comic books, and I would argue the definitive example of this is DC’s Lobo. Lobo is a pretty nasty piece of work: he’s an intergalactic bounty hunter with a style and sensibility that is basically that of a stereotypical biker thug. He smokes, he drinks, he behaves outlandishly and crassly, and his morality mostly seems to center on what suits him most in the given situation. He has few friends and many foes. While Lobo has clashed with Superman and other DC heroes on many occasions, he has also been depicted as the star of his own series and taken other protagonistic roles. The reason for this is because, while Lobo is ultimately a slobbish creep, he does have his soft spots buried deep down, and he can be persuaded to do what’s right or good (though he won’t always do so for the best reasons). His morality is incredibly skewed, but even when he’s depicted as an antagonist, he’s never a straight up villain.
What do anti-heroes represent to readers and audiences? Well, that honestly depends on what the story they’re involved in is trying to get across. However, if there is a common theme with anti-heroes, it is the balance between the ends and the means, and how one can or cannot justify the other. Anti-Heroes do good things, but they don’t always do them in good ways or for good reasons. They typically seem to tell audiences that, sometimes, drastic measures have to be taken. As much as many of us like to idealize that good will be rewarded, evil will be punished, and there will be no complications between the two, life usually isn’t that easy: history has shown that many of the best things to happen in the world happened because of questionable decisions. As our societies constantly struggle with finding the border between what we want to have and what we must do to achieve it, anti-heroes represent most clearly that constant struggle. There’s a reason so many of these characters are crime-stoppers, because they most easily allow us to explore the dichotomy between what is just and good, and what is necessary. The same can be said for other types of characters…but that’s another story.
#good and evil#a study of heroes and villains#anti-hero#anti-heroes#character types#archetypes#analysis#captain jack sparrow#pirates of the caribbean#the bride#kill bill#dirty harry#james bond#007#professor moriarty#william james moriarty#moriarty the patriot#the shadow#lobo#dc
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CREEPYPASTA HEADCANNONS
that aren’t so creepy 🫶 pt 2
*
Just like the last one, it’s also based off the slendermansion and it isn’t that realistic
*I’m also very aware Brian and Tim are from MH
CW: crimes, creepypasta in general, maybe gore?
(Didn’t check for grammar is spelling mistakes lol)
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Slendermansion:
It’s quite big and rundown, it consists of over 100 bedrooms/rooms, 15 bathrooms around the place and almost all of the bedrooms have their own bathroom attached/or two separate rooms have to share one bathroom, it has many spare bedrooms which anyone can do anything in really; just nothing too destructive! The basement is also quite big, but that’s because it’s where the medical station is. They also tend to throw parties down there and such so there would be a bar area where Kagekao usually hangs. Like I said, the basement is big so even if it’s strange a mini hospital like area is in the same area as a bar/mini club it’s very spread out.
Bloody painter:
Most of the buckets of paint he has is mostly from the bodies that others drag into the manor, of course he asks for permission to use the blood. And most of the times the others don’t really care and let’s him go ham on the blood, he is basically just cleaning up their messes for his own creations
Laughing Jack:
Laughing Jack’s box is still very colorful, yet it’s old and the wooden toy’s color has been chipped. Jack also still has his colorful tint to him!! His hair has a bit of redish highlights and sally got him rainbow raccoon hair extensions that he has clipped onto his hair!! If his box is destroyed he gets stuck in his realm, which is why he trusts very few with it. The folks he trusts is Jason (TTM), EJ, and Sally!! Jason because he wouldn’t destroy something so precious, EJ cause it isn’t very clumsy and well they are like cousins, and sally because Jack spends most his time with her
Jeff the killer/ticci Toby:
Hang out together at parks at night and rob gas stations!! They are also bfs if I haven’t mentioned that yet they take care of eachother tons and are just perfect dkdkdkdk
Lazari:
She dies, context? Well she literally gets killed because Zalgo nor Slenderman cannot get into a agreement on what they’d do with her, Zalgo wants to protect his daughter yet Slender wants to use her for his own gain, in the end her father rips out her soul and she gets her body buried, he (zalgo) cherishes her stuffed animal as a memory 🙁
Non canon proxies:
Parental figures Tim and Brian?? Hell ya! Toby actually tried running from the slenderman when he first caused flames to erupt in the neighborhood. After the pyromaniac was unfortunately taken away by the slenderman and became a proxy along side Kate and Cody, he met Tim and Brian! Tim/Masky being a potential proxy similar to Jeff and Hoody being a EX-proxy. (Since he basically self destructed entry #83 ) he befriended the two and grew a parental like bond with them. They treated him like their child regardless of the slendermans orders, in the end slender didn’t give a fuck and let Toby have something nice (we all know damn well slender isn’t kind but Frfr Toby needs a break💔)
Jeff the killer:
They tie their hair up in a blue ribbon he was gifted, when his hair isn’t tied up in their normal bun they ties it around his wrist or ankle!! Toby and Nina both thought about it and gave him it as a gift.
Eyeless jack:
It has a cat ofc, her name is Inky!! Not exactly sure what the breed is but she is gray!! The name Inky was brought up because Jack accidentally smudged it’s inky-tar like tears onto her forehead!! So it just took her in, Toby and seed help care for her <3
Ben drowned:
He has a strange thing for ferrets? No one knows why he just loves them, he would do anything to have a pet ferret but they aren’t as easy to find as a stray like a dog or cat, yet he also isn’t trusted enough with the responsibility of a pet
Jason the toy maker:
In his free time he makes plushies and puppeteer brings them to life for fun, and once they are bored of them they scrap them quickly to use their parts for other projects Jason finds more important (not that the dolls aren’t important, they are!! But they are mostly used for practice and shits n giggles)

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