Something something how John refers to those that would become necromancers’ as ‘his’ and by name but those that would become cavaliers are called things like ‘M-‘s nun’ and ‘C-‘s artist’. Trickle down economics for messed-up power dynamics’ or something

Why Do People Like Yanderes?

Hi everyone, my name is Diya, and this was going to be a YT video-essay-type-thing but I'm too poor to afford a mic and too busy with college to learn how to edit videos, so here's my vague exploration of the psychology behind why people like yanderes so much through the lens of my favourite Visual Novels.

TW for uh. yandere content. Mentions of sex, gore, and non-con, particularly in the last topic. This is more like the first draft of an academic paper so while it's not explicit, I do go into some detail.

Introduction

If you’re a fan of anime or visual novels, then you’re probably already aware of what a yandere is, or at the very least you’ve seen that one picture of Yuno Gasai. Still, for the sake of thoroughness, let’s take it from the tippy top. The term ‘yandere’ is a Japanese portmanteau of ‘yanderu’ – the progressive form of ‘yami’ – meaning ‘sick’, and ‘deredere’ which roughly translates to ‘loving’. Together, the word refers to someone who is – in short – extremely lovesick. Obsessive to the extreme, and with little morality to spare, the standard yandere is characterized by a dangerous fixation on a chosen target, often appearing shy and caring at first only to flip the script and become violently aggressive towards perceived threats (Kroon, 2010).

It should be noted that yanderes are not a strictly romantic or sexual trope. The Ancient Greeks classified at least six forms of love, from familial (storge) to guests (xenia). Modern psychologists may distinguish love as either Companionate or Passionate (Kim & Hatfield, 2004) or consisting of three dimensions of Intimacy, Passion, and Commitment (Sternberg & Sternberg, 2018). Realistically, possessiveness shows up in a variety of relationships. However, people are generally primed to view certain dynamics as inherently amorous. Societal norms tend to encourage the idea that romantic bonds ought to rank above all others, and therefore if Person A is bizarrely fixated on Person B, then clearly there must be an element of sexual interest involved regardless of the actual relationship between the individuals in question.

Regardless, yanderes remain quite popular in fiction. Many dismiss it as a fetish, which it can be, but that isn’t the case for everyone. While there is nothing wrong with indulging in kinky fiction, not all of us get horny at the thought of being chained up in someone’s basement, no matter how hot our captor may be. So why is it so pervasive? Why is this trope so appealing that most writers cannot help but include at least a single line of dialogue implying that – if circumstances had been ever so slightly different – my wholesome shoujo romcom might have turned into a psychological horror?

Hybristophilia

‘Hybristophilia’, also known as Bonnie and Clyde Syndrome after the titular criminal couple, is a word is derived from the Greek word ‘hybridzein’ meaning ‘to commit an outrage against someone’ and ‘philo’ which means ‘a strong preference for’. Sexologist John Money reportedly defined it as a paraphilia in which an individual is sexually aroused by a partner who has a predatory history of hurting other people (Money, 1986, as cited in Matuszak, 2017). In his book, Serial Killer Groupies, true crime and crime fiction author RJ Parker distinguished two forms of hybristophilia: passive and aggressive. The former is when an individual contacts a criminal with the intention of striking up a relationship with them, allowing themselves to be seduced and manipulated but having no interest in committing a crime themselves. The latter are far more dangerous, as the individual not only derives sexual pleasure from their partner’s atrocities but are active participants in carrying out or covering up the crime. To quote Griffiths (2013, as cited in Pettigrew, 2019):

“[They] help out their lovers with their criminal agenda by luring victims, hiding bodies, covering crimes, or even committing crimes. They are attracted to their lovers because of their violent actions and want to receive love yet are unable to understand that their lovers are psychopaths who are manipulating them.”

In some ways, hybristophilia is the nearest thing we have to a realistic understanding of why people love yanderes. I mean, much of the fantasy surrounding such characters and their media tend to be filled with posts begging to be spat on or calling the rightfully terrified main character ungrateful for being a teeny bit upset about finding surveillance cameras in their ceiling. However, enjoying fictitious immoral activity does not predict real perpetration, so what does? There exists little consensus amongst psychologists as to what sparks this particular predilection, and that was strange to me. You would think there would be more studies into this topic, in spite of or perhaps because of its controversial nature. Heck, that one dude wouldn’t shut up about white women’s obsession with Bundy and Dahmer, and I assumed he had gotten that information from somewhere, but it turns out that was just him using modifiers to justify sexism.

However, I believe that we can hedge a few guesses, and over the course of my research, I’ve organized the main rationalizations under four umbrellas which I will explore through the lens of my favourite yandere-themed Visual Novels. Please keep in mind that most of these games are rated as mature due to sexual scenes and/or gore. Additionally, in the spirit of transparency, this ramble will be focused exclusively on male or masculine yanderes. So, without further ado:

Call Me Bob the Builder Because I Can Fix Them

If you’re familiar with DC Comic’s Batman, or just happen to have attended any costume event held over the span of the last 20+ years, you may be familiar with the character of Dr. Harleen Quinzel, better known as Harley Quinn. Initially created as the Joker’s one-off sidekick in Batman The Animated Series, she was so well-received by audiences that she became a recurring character in the cartoon and was eventually given a proper origin story in the form of a one-shot titled Mad Love.

Harley’s origin story has seen some alterations over the past decades, but the core aspects remain largely untouched. In the beginning, Harleen Quinzel was a promising young woman who wanted was a degree from the university’s prestigious psychology department, which she gained through…less than scrupulous means.

(Listen, I’m not sure if the authors were leaning on the Dumb Blonde stereotype, or if they simply thought that casting her as a genuinely bad student would make her later actions more believable. Either way, the idea of Harley as someone with a legitimate PhD came later)

After landing an internship at Arkham Asylum – a half-hospital and half-prison straight out of the 1870s that might as well be built out of one-ply tissue-paper soaked with gasoline and left next to a crate of fireworks – Harleen set her sights on the then incarcerated Joker. At the start, her fixation on the criminal wasn’t remotely sympathetic. She didn’t want to help him, she wanted to use him. Harleen Quinzel wanted piggyback off his infamy and write a tell-all tale detailing what sort of messed up childhood resulted in Gotham’s Clown Prince of Crime. Yet the more she interacted with him, the more the Joker took advantage of her empathy. By the end of their sessions, Harley no longer saw him as a violent serial killer with a clown schtick, but as a “lost, injured child looking to make the world laugh at his antics.”

But Diya, you may be asking, what does this have to do with the video? The Joker never loved Harley, and it could even be argued – as Shehadeh did in a 2017 essay – that her obsession with the pasty-faced clown is more akin to Histrionic Personality Disorder. While that may be the case, I believe that Harley’s story provides one of the reasons yanderes are so popular: their backstory.

Whether they were abandoned by their family, bullied by their peers, experimented on by evil scientists, starved on the streets, died under mysterious circumstances and then trapped in a haunted VCR tape for decades, or are simply so impossibly inhuman that they frankly do not understand why it isn’t socially acceptable to imprison their crush in a pocket dimension made of meat and non-Euclidean geometry, yanderes often have fairly sympathetic or at least understandable explanations for why they are Like That. Your mileage may vary significantly depending on how much you sympathize with these motives, but the point is that yanderes always make sense to some degree. Their morality and priorities may be twisted or even completely incomprehensible, but the audience almost always knows the reason, and that can be comforting. In the real world, other people aren’t always straightforward, and we never really know what they’re thinking, but narrative coherence demands a semblance of internal consistency lest the audience end up frustrated and confused. So yanderes are not only easy to sympathize with, but also fairly predictable. In-universe they may be unhinged freaks with a blood fetish, but to you watching from behind the safety of the screen they’re just acting out the script written for them based on a prototype. And if you understand the why behind their loose gears, then you might just be able to put them back together again.

The concept of rescue romances or “I Can Fix Them” has been around in our stories for thousands of years. The Epic of Gilgamesh detailed how Shamhat essentially ‘civilized’ wild man Enkidu through ritual lovemaking, and a concerning number of religions push the idea that women are dutybound to save men from the follies of sin. Yet men are not exempt either, with one notable example being the German fairytale, King Thrushbeard. Call it what you will regardless: Knights in Shining Armour, the Florence Nightingale Effect, or a plain old case of Because You Were Nice to Me, studies have shown that human beings generally like helping [DA2] others, even when the reason doesn’t necessarily stem from pure altruism. I will delve deeper into this later, but care and compassion are deeply ingrained in human nature, and arising from those roots is the appeal of this mentality: You can save them. You can change them. You can make them better. You are special, and the way you treat this person carries a weight that has not and will never be matched by anyone else for the rest of their mortal or immortal existence.

The illusion is a delicious one, especially if the person you’ve helped turns out to be a billionaire CEO with cash to burn, a super powerful ghost king willing to raze continents to dust for you, a demon having fun on a Friday night, or just your average hot creep with a knife. Moreover, different people have different ideas of what ‘fixing’ even means. Maybe you want to single-handedly rehabilitate your yandere into a functional member of society. Maybe you’re cool with the incessant stalking but would like them to stop slaughtering your friends, family, and local service workers. Maybe you want to make them much, much worse.

Not only do yanderes provide immediate proof that your actions have a tangible impact on the lives of others, but the fantasy also includes the desire of being seen as special. Of being admired and adored by someone whose life you inexplicably made better by virtue of simply being yourself, or an idealized version of yourself. In this fictional world, in this imaginary setting, the person you are is so uniquely, impossibly irreplaceable to someone. And if that’s the case then they can’t risk losing you, can they?

The Allure of Obsession, or ‘Til Death Do Us Part (Literally)

It shouldn’t be necessary, but here is my obligatory disclaimer anyway. Ahem: obsession is not a good thing in real life. Fixating on another human to the detriment of your own wellbeing and that of those around you is dangerous, as is encouraging someone else to obsess over you. You might think you are being worshiped, but real life is not a visual novel. The outside world doesn’t come with an age rating, the author’s guiding pen, and a convenient fade to credits sequence once you’ve reached an ending. The consequences will still be there in the morning, so don’t do it. Just don’t.

PSA out of the way, it’s natural to want to be wanted. Maslow’s Hierarchy places it just above physical safety, but I’d argue that it could easily be compared to baser drives. According to many psychological and anthropological studies, much of humanity’s continued survival and environmental dominance is largely attributed to our ability to form groups, cooperate with one another, and maintain complex interpersonal networks. Social support, intimacy, and a sense of belonging are linked to emotional and physical benefits, such as more optimistic health perceptions, higher subjective well-being, increased creativity and innovation, and greater self-efficacy (DeWall & Bushman, 2011; Harandi et al., 2017; Wang & Sha, 2018). Therefore, it’s perfectly understandable that rejection of any sort would be construed as a threat.

But if someone is obsessed with you, then you have no reason to worry about that, right? No more nights spent agonizing over how they feel about you, asking yourself whether your last text made you sound too desperate, or if you’re boring them because you spent the past hour info-dumping about Stardew Valley farm layouts. With a yandere, there will never be any doubt that they care about you. Sure, they might go about it in weird, manipulative, and insidious ways that violate your physical and mental autonomy, but you can’t deny their loyalty. They do love you in their own bizarre way. You are the sun around which they orbit. When you’re in the room, no one else exists. Every single messy flaw is just another bullet point on the mile-long list of why they adore you.

In essence, yanderes are not only attentive, but their love can be virtually unconditional. A yandere might know everything about you, and still revere you. It’s unhealthy as hell and you might genuinely question their taste, but it can be tempting to pretend that all of you, right down to the ugliest parts of yourself – the traits and choices that you would never share with another living soul even at gunpoint – are worthy of understanding, if not open praise and affection.   

Attractiveness, or Okay but Have You Considered That They’re Hot Though?

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I mean what am I supposed to say here? They’re hot, what do you want from me?

No, but in all seriousness, fictional media paints an idealized version of the world, and most yanderes are hot because they have the freedom of existing purely behind that screen; artfully arranged and edited to forever appear compelling to anyone who happens to enjoy their particular style. And there are a lot of styles to choose from. Whether you want them pretty faced and disarmingly cute, or scarred up and big enough to pin you like a butterfly, yanderes come in a wide variety of shapes and sizes that are meant to pique your interest and draw you in like a naïve little fish being lured towards the mouth of an angler fish, unwilling to believe that anything bad might happen to us when the bait is this pretty.

This is often referred to as the Halo Effect, a form of cognitive bias referring to the tendency for people to assume that a single obvious positive trait must be associated with other positive traits. The go-to characteristic is typically physical attractiveness, but a nice voice, good humour, and cooking skills are also factors which serve to influence our perceptions.

So, conventional physical attractiveness is one thing, but that’s only skin deep. What about beyond that? After all, the yandere still has to talk to you before they enact their master plan of tying you up in their basement until Stockholm Syndrome kicks in.

When I showed my friend a picture of John Doe from the game John Doe, she told me that he looked like a creepy slob, and she’s far from the only person who’s ever thought so. Look at them. I feel like if I tried to comb that hair it would simply eat me, and some of the CGs really put the scopophobia in Scopophobia Studios. I love Doe, but he is not hot, and he doesn’t behave in a normally appealing way either. If the player chooses not to take a bath, Doe will immediately comment that you “smell good” before following you home, breaking into your house, and leaving a bloody organ on the floor for the player to trip over. Many yanderes can at least fake a veneer of normalcy, but from the get-go Doe doesn’t even bother to pretend he’s anything less than an otherworldly creature stuffed into a vaguely person-shaped meatsuit. In an effort to find out why so many people had latched on to Doe – including me – I shopped around social media and YouTube for answers, and what I found was a widely unanimous sentiment.

While some were drawn to his fun design and goofy personality, most simply thought that he wasn’t inherently malevolent, just very confused. In addition to being a supernatural being with a completely alien axis of morality, Doe’s meta-awareness and unbridled attempts at winning the player’s affection lends him quite a bit of support from the audience, especially if you yourself also happen to struggle with social cues and relate to his pure earnestness. In Ending 7 of the extended version, the player character has the option to tell Doe – who has altered himself to pass as more ‘normal’ – that they prefer who he truly is, at which point he grows visibly flustered and sports an adorable pair of literal heart-shaped pupils.

Whether they’re charismatic, seductive, cute, sweet, funny, nurturing, or generous, the best yanderes have engaging personalities. Even while they’re committing truly heinous crimes against God, man, and your guts, you still kinda want to hang out with them, and you want them to acknowledge you as being just as interesting. And this is all fine in fiction because you’re the one in charge, and if you ever get bored or uncomfortable or busy with something else, then you can simply close the tab or window with zero consequences, which brings us to the final and most important reason.     

Power Dynamics and Consent in Fantasy (I Couldn’t Think of a Joke Here Guys, This Is Kinda Serious)

Once again, I feel that I must preface this section just for the sake of my own peace of mind: sexual coercion and assault are vile and disgusting crimes that should never be emulated or tolerated in the real world. We are speaking purely of fictional media, specifically adult-oriented media in this case, so please be mindful.

In 2009, Bivoni and Critelli conducted a study on 355 undergraduate women with the goal of assessing the reasons behind fantasies of non-consent. At the time, there were two leading explanations of this phenomenon. One stated that women with high libidos but repressed views of sex used these imaginary scenarios to alleviate the guilt they had grown to associate with sex. Because the simulation was a purely mental exercise and they themselves were cast as helpless victims in the scenario, they were able to remain blameless while still finding sexual gratification. The second stated that these fantasies were an expression of liberation by women who were adventurous and comfortable enough with their own sexuality to engage with taboo ideas that they weren’t at all interested in performing in real life. Which do you think was more common?

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If you guessed the second option, you’d be right. The study found that of the 220 women who had experienced such fantasies, 45% found theirs erotic, 46% were mixed, and only 9% reported pure aversion. One justification for this outcome relies on psycho-biological theories, for example masochistic preferences or the unintended activation of the sympathetic nervous system and subsequent mis-attribution of arousal. Other reasons have to do with higher order thinking and are tied to the power dynamics within such fantasies. On the surface is the appeal of being so desirable to someone that they simply cannot control themselves, but then there is a deeper impulse, which the researchers referred to as Adversary Transformation. To quote the article: “[fantasies] involve a struggle between an assailant and a potential victim in which it is relevant to consider who is the winner and who is the loser. At one level, it is a struggle over sex, but the woman's non-consent may be feigned or token. At another level, the woman may be seeking a victory that is not about whether sex occurs, but about what happens emotionally between the protagonists.”

Basically, the imaginary perpetrator may have ‘won’, but the self-character need not have ‘lost’.

Media provides an extra layer to the illusion, one that you as the viewer have absolute control over. If you are choosing to engage with a piece of media that explicitly labels itself as including R18+ yandere content, then you clearly have some expectations, and that background awareness goes a long way in reducing long-term discomfort and allowing audiences to make informed decisions. If you don’t like the plot, you can simply turn it off it with the click of a button, and when the screen goes dark it’s not like the yandere is going to punish you for saying no. Strade isn’t going to break into your house with a drill, there are no homicidal clown ghosts hiding in your TV, and no suspicious pink-haired hackers watching your webcam. They aren’t real, and the consequences aren’t real either. You have all the power here.

Conclusion

In summary, Yanderes are appealing for a variety of reasons. Whether you want to save them, think they’re attractive, wish to indulge in a dream of being utterly coveted, or simply enjoy a bit of spice in your me-time, it’s obvious why the trope has persisted for so long and will likely continue to do so. If you enjoy yanderes but are worried that having a taste for the less wholesome side of things might imply something about who you are as a person, don’t be. The notion that fantasies and media preferences directly reflect subconscious desires is not only painfully out of date debunked nonsense but also indicative of restrictive ideologies wherein bad thoughts = sin. This isn’t 1984. You haven’t committed a thought-crime by having a weird kink. You aren't going to superhell for fantasizing. The human mind is hardly ever so mathematically rational, and the point of fiction is to allow us to safely engage with and explore various ideas, provided the everyone involved is mentally, chronologically, and emotionally mature enough to do so.

Thank you all for listening to me. If you learned something or were just a little bit entertained. If you're curious about knowing more, I've listed my sources below

REFERENCES

Bivona, J. M., & Critelli, J. W. (2009). The Nature of Women’s Rape Fantasies: An analysis of prevalence, frequency, and contents. Journal of Sex Research, 46(1), 33–45. https://doi.org/10.1080/00224490802624406

Critelli, J. W., & Bivona, J. M. (2008). Women’s Erotic Rape Fantasies: An Evaluation of Theory and research. Journal of Sex Research, 45(1), 57–70. https://doi.org/10.1080/00224490701808191

DeWall, C. N., & Bushman, B. J. (2011). Social acceptance and rejection. Current Directions in Psychological Science, 20(4), 256–260. https://doi.org/10.1177/0963721411417545

Flynn, F. J., Reagans, R., Amanatullah, E. T., & Ames, D. R. (2006). Helping one’s way to the top: Self-monitors achieve status by helping others and knowing who helps whom. Journal of Personality and Social Psychology, 91(6), 1123–1137. https://doi.org/10.1037/0022-3514.91.6.1123

Harandi, T. F., Taghinasab, M. M., & Nayeri, T. D. (2017). The correlation of social support with mental health: A meta-analysis. Electronic Physician, 9(9), 5212–5222. https://doi.org/10.19082/5212

Hazen, H. (1983). Endless rapture: rape, romance, and the female imagination. https://openlibrary.org/books/OL3161300M/Endless_rapture

Kroon, R. W. (2010). A/V A to z: An Encyclopedic Dictionary of Media, Entertainment and Other Audiovisual Terms. McFarland.

Matuszak, M. (2017). Hybristophilia White Paper. https://static1.squarespace.com/static/55dfd21ee4b0718764fb34cc/t/5cb7cabee5e5f00ab13be58b/1555548863275/Hybristophilia+White+Paper.pdf

Oarga, C., Stavrova, O., & Fetchenhauer, D. (2015). When and why is helping others good for well-being? The role of belief in reciprocity and conformity to society’s expectations. European Journal of Social Psychology, 45(2), 242–254. https://doi.org/10.1002/ejsp.2092

Parker, R. (2014). Serial killer groupies. RJ PARKER PUBLISHING, INC.

Wang, T., & Sha, H. (2018). The influence of social rejection on cognitive control. Psychology, 09(7), 1707–1719. https://doi.org/10.4236/psych.2018.97101

I think my main takeaway I'd like to keep is this:

There's a lot of merit in being anti-destiny, anti-soulmate, anti-chosen-one, anti-Cupid, anti-mirrors/anti-parallels.

To me, that doesn't necessarily mean we poo-poo on characters labeled "soulmates," like Mary and John. To me, it means, we must be hesitant to believe such a claim in the first place. Because Heaven isn't reliable.

And perhaps, it is us swallowing the "soulmates" line robs Mary and John of choice.

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Beware the mirrors:

Before we swallow literal snake oil directly sold from The Architects of a Heavenly Matrix (Gabriel, Zachariah, Chuck, etc.), we must first consider that these "mirrors" may be deeply, deeply suspect or even untrue objects of ridicule or manipulation directly imposed by the author.

Not mirrors of truth, then, but funhouse mirrors. We err when we view our precious side plots as black-and-white revelations of truth. Most importantly, mirrors aren't one-to-one recipes for figuring out what characters mean to each other.

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The very concept of soulmates is Thee Antithesis of Free Will.

As a fandom, we are so willing to believe Mary and John weren’t "in a real relationship" and had no agency.

Why?

Because a Cupid told us so, and we don't think the Cupid had reason to lie, so we believe him.

Yes, they had rocky moments and John for sure had post-death idealization of Mary. John heavily decayed as a character so did Dean, but that doesn’t mean there was no goodness or love to begin with. You can become a bad person.

I think it's a little unfair to assume that they didn’t fight like Hell to choose each other and dodge the machinations. It's also a little unfair to assume that they didn’t choose each other, just because they, like all marriages, weren't perfect or honest with one another. If they had been perfect, don't you think that's actually more suspect?

Oh, but Heaven told you so? Right. Heaven, which feeds you a regular diet of cupids and soulmates and other bullshit. Hmm.

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Are you Team Free Will?

By the time we finish watching SPN, words that imply destiny should send us running for our goddamn lives. So, how did TFW lose?

SPN feels forever unresolved because:

Dean will dies after placing too much focus on Revenge, the corrupted, unfair past

Cas dies after placing too much stock in Jack’s Destiny, the idealized, inevitable future

Sam’s mistake was probably falling prey to Chuck’s illusion, the corrupt future, and losing Hope

Perhaps, they jointly screwed up when they lost their hero-ness and didn’t trust they they were Enough on their own, without Fortuna's luck.

///

An alternative to mirrors?

Anyway, I sort of see all the mirror stuff as Chuck making fun of his characters or trying to misdirect them, or at worst, trying to tell them who they are instead of letting them discover it for themselves.

I know fandom loves its mirrors, but I like to remind myself that these mirrors can contain false, toxic messages to mold you to take on a role and to perceive things a certain way.

But importantly:

You are not one-dimensional.

You are not one archetype.

You do not have a sole purpose. You do not serve a sole cause.

You are multi-faceted and beautiful.

You can care about many things and people in your life.

You are worthy, even in the throes of the storm, even in the midst of turmoil, and even tangled up in the ugliness of war.

You can make the worst mistake of your life.

You can be an abuser and victim, and that doesn't make you a caricature; it makes you messy and human.

You can doubt who you are and go full-blown existential crisis and lose your way.

But you can start trying to be good anytime and you should always keep trying to fix it. That's hope. That's the whole point.

Group Think

People Have Issues

Some might say, “It’s a mad world, and people have issues.” In fact, it is often said, “He has issues,” or “She has issues.” Of course, it would be easy to associate these statements with the family dynamics of youth. However, there are many external influences that affect a person’s view of reality. This seems particularly true when individuals get swayed into group think, even to the point they seem incapable of critical thinking. That can be detrimental on many levels.

Unfortunately, Christians have also found themselves caught up into this phenomenon, and become double-minded without realizing it. At least, on some occasions. If we’re honest, each of us have probably talked out of both sides of our mouths, so to speak. Meaning, we said something contrary to Scripture, while professing to stand on the Word.

When discussing current events with others, it would be easy to address them in the same fashion as the world. Perhaps, thinking in terms of fear and self-preservation in some cases, or perhaps anger and revenge in others. If one were to allow himself to continue in this fashion, he might also find it more difficult to display the fruit of the Spirit, because of entering the realm of carnal thinking.

Furthermore, group-think can lead to group-behavior, which can have an adverse effect on the way a person lives life, to include the bondage of slave-mentality. How many times have we seen believers act like non-believers as a result. Instead walking by faith; they walk in fear. The reality is they followed another spirit; instead of Holy Spirit. It can affect all areas of life, starting with the spiritual. Which in turn, influences mental and physical health, relationships and finances. It creates a state of instability, even outright chaos. Not a good place to be!

Guard Your Heart and Mind

Proverbs 4:20-27 My son, attend to my words; incline thine ear unto my sayings. Let them not depart from thine eyes; keep them in the midst of thine heart. For they are life unto those that find them, and health to all their flesh. Keep thy heart with all diligence; for out of it are the issues of life. Put away from thee a froward mouth (a deceitful mouth), and perverse lips (devious speech) put far from thee. Let thine eyes look right on, and let thine eyelids look straight before thee. Ponder the path of thy feet, and let all thy ways be established. Turn not to the right hand nor to the left: remove thy foot from evil.

The Holy Spirit enables us to properly discern what is being presented to us. But that requires submission on our part. In addition, He uses the Word of God to protect us from deception. It renews our mind to conform our way of think to His, which is in stark contrast to that of the world’s. It’s an obvious reason for reading your Bible.

1 John 4:1 Beloved, believe not every spirit, but try the spirits whether they are of God: because many false prophets are gone out into the world.

Pay attention to sources of information. More specifically, the spirit behind that information. Every spirit has an agenda. Evil spirits use factual material in such a way to manipulate people. They will obviously misuse Scripture to deceive their victims. Even the devil tried it on Jesus, when trying to tempt Him in the wilderness (Matthew 4:1-11; Mark 1:12; Luke 4:1-13).

By the way, a false prophet can prophesy something that will come to pass, but he uses the prophesy to lead people astray.

Deuteronomy 13:1-3 If there arise among you a prophet, or a dreamer of dreams, and giveth thee a sign or a wonder, And the sign or the wonder come to pass, whereof he spake unto thee, saying, Let us go after other gods, which thou hast not known, and let us serve them; Thou shalt not hearken unto the words of that prophet, or that dreamer of dreams: for the LORD your God proveth you, to know whether ye love the LORD your God with all your heart and with all your soul.  

Spirits are not always obvious, especially if you don’t think in terms of them influencing society. One example is a political spirit, which has been very pervasive lately. Its agenda is simple: divide and conquer. It is bent on destruction. How many families and friends been affected by it to the point where individuals cannot even talk with each other? Another example is a religious spirit that works overtime to divide the Church. Even certain churches have group-think, and will discount other believers as Christians, because they don’t view Scripture exactly as they do. Is Christ divided?

If you want to guard your heart and protect your mind, submit to Holy Spirit, immerse yourself in the Word of God, and walk in love.

www.perfectfaith.org

Babies that are born with both male and female sexual organs, or characteristics of both organs, are called hermaphrodites or intersex. A child who is in an intersexual state is classified in one of three categories: 1) true hermaphrodite – an infant born with both ovaries and testicles and has both male and female sex organs. 2) female pseudohermaphrodite – a genetic female with male external sex organs. 3) male pseudohermaphrodite – a genetic male with external sex organs that fail to develop properly, resulting in female or male/female physical characteristics.

In times past, doctors would perform surgeries without first testing the infant to find out its true sex, and the child would sometimes grow up very obviously a man, with female genitalia. Now, specialists can perform an ultrasound, blood test, chromosome analysis, and even do exploratory surgery to find out the baby’s true sex. The treatment is still controversial, however.

Some believe that surgery and/or hormonal therapy should begin within the first 15 months of life, and others believe these things should be put off until the child is old enough to make his or her own decision about it. There are pros and cons for each side. Either way, any family with an intersexual infant should begin counseling, as should the child when he or she is old enough.

When babies are developing in the womb, they all begin with sex organs that look female. If the baby is male, he begins to produce testosterone, and if the hormone reaches the tissues correctly, the external genitals become a scrotum and penis. Chromosomal or sex hormone abnormalities can produce an infant in an intersexual state. It can also be caused by a condition called congenital adrenal hyperplasia, which is a disease that blocks the baby’s metabolism. It is not as uncommon as we might think; about 1 in every 2,000 newborns is born in an intersexual state.

Babies are not born with physical disorders to punish their parents in any way. Although God created the earth perfectly, it soon brought destruction upon itself with the onset of human sin (Romans 5:12). Before the Flood in Genesis chapter 7 that wiped out almost all living things on the earth, people had the potential to live for several hundred years.

After the Flood, human life spans grew progressively shorter, indicating a change in the environment which resulted in damage to the human genetic structure. This also explains why incest was necessary for the population of the earth in Genesis, but was forbidden later in the laws of Leviticus (18:6-18). Now, thousands of years later as sin continues to permeate the world, the human race has been bombarded with every kind of sickness, disease, disorder and birth defect we can imagine.

It is very possible for a child born with both sex organs to grow up to have a healthy view of sexuality and successful relationships. From early on, the child should be taught how valuable, loved and accepted he is by his family and also by God. He or she is not a victim of divine judgment, but God has a plan for each one of us that will bring Him glory, as we can learn from a man who was healed by Jesus Christ:

“'Teacher,' his disciples asked him, 'why was this man born blind? Was it a result of his own sins or those of his parents?' 'It was not because of his sins or his parents' sins,' Jesus answered. 'He was born blind so the power of God could be seen in him'” (John 9:2-3).

Unless a Grain of Wheat Falls and It Dies...

Or, why I am pretty optimistic about the fates of Jean, Connie, Gabi, and all titanized people this chapter, which is also an excuse for me to talk about SnK’s allusions to Russian literature. 

There are strikingly parallel ideas The Brothers Karamazov and Attack on Titan, as well as parallel plot points and imagery to the point where if it isn’t deliberate, it’s uncanny. (NB: before people yell at me about comparing a Japanese and Russian work, Isayama has used Russian names since the start of SnK--Shiganshina is a Russian name.) In particular, there are narrative allusions to a portion of the novel known as “The Grand Inquisitor,” which is a short story within a novel. The central thesis of “The Grand Inquisitor” is as follows: 

nothing has ever been more insupportable for a man and a human society than freedom. 

This parable is told within the story by Ivan Karamazov, a character whose intellectuality is his gift and his curse. He tells his brother Alyosha that the motivation for creating this parable is precisely the evils done to children (oh look, a major SnK theme) and specifically cites an example which was unfortunately taken from real life in Russia and which Isayama has an uncanny parallel:

I want to see with my own eyes the hind lie down with the lion and the victim rise up and embrace his murderer. I want to be there when every one suddenly understands what it has all been for. All the religions of the world are built on this longing, and I am a believer. But then there are the children, and what am I to do about them? That's a question I can't answer... If all must suffer to pay for the eternal harmony, what have children to do with it, tell me, please? ... if it is really true that they must share responsibility for all their fathers' crimes, such a truth is not of this world and is beyond my comprehension. Some jester will say, perhaps, that the child would have grown up and have sinned, but you see he didn't grow up, he was torn to pieces by the dogs, at eight years old...

... How are you going to atone for them? Is it possible? ... What do I care for a hell for oppressors? What good can hell do, since those children have already been tortured? ... I want to forgive. I want to embrace. I don't want more suffering. And if the sufferings of children go to swell the sum of sufferings which was necessary to pay for truth, then I protest that the truth is not worth such a price. ... too high a price is asked for harmony; it's beyond our means to pay so much to enter on it... It's not God that I don't accept, Alyosha, only I most respectfully return Him the ticket.”

The actual parable of “The Grand Inquisitor” is Ivan’s answer to Alyosha’s question about Ivan’s lines above. Ivan tells a story about how freedom is actually what dooms humanity: it is the curse. (Alyosha does not believe this.) Jesus comes back to earth and is promptly arrested, because his existence and return threaten the wellbeing of society. To be happy, one cannot be free, but one or two strong people in society should be free and bear the burden for everyone else (you can see the parallels to King Fritz/the Reisses). 

Nothing is more seductive for man than his freedom of conscience, but nothing is a greater cause of suffering... all his life he loved humanity, and suddenly his eyes were opened, and he saw that it is no great moral blessedness to attain perfection and freedom, if at the same time one gains the conviction that millions of God's creatures have been created as a mockery, that they will never be capable of using their freedom...

This is SnK’s thesis: to be free, there will be suffering. It is part of human nature, and yet to not have it is to be lost. But SnK, despite its explorations of human darkness and monstrosity, has a higher view of humanity than does Ivan. SnK’s view is more alongside Alyosha’s, who says what is honestly the truth about not just the Reisses, but Eren now:

"Who are these keepers of the mystery who have taken some curse upon themselves for the happiness of mankind? .... It's simple lust of power, of filthy earthly gain, of domination—something like a universal serfdom with them as masters—that's all they stand for.”

Mikasa is akin to the Christ figure in the story, akin to Alyosha: Christ is constantly asked to speak, asked to act, and he does not until the very last moment, when he kisses the Grand Inquisitor on the lips. After the story is over, Alyosha then does likewise to Ivan. 

Not to mention when Alyosha worries about Ivan’s mental state, he then answers with this:

“Listen, Alyosha,” Ivan began in a resolute voice, “if I am really able to care for the sticky little leaves I shall only love them, remembering you. It's enough for me that you are somewhere here, and I shan't lose my desire for life yet.”

A simple leaf can save a life. A leaf can save the world. A leaf, grown from a tree that started as a seed falling to the ground, dead, only to grow life from that death. Alyosha himself notes SnK’s central thesis of chapter 137 in the (very long) novel’s final pages:

...some good, sacred memory, preserved from childhood, is perhaps the best education. If a man carries many such memories with him into life, he is safe to the end of his days, and if one has only one good memory left in one's heart, even that may sometime be the means of saving us.

There’s a lot more to this, but this is the epigraph to The Brothers Karamazov, the central thesis of the entire novel:

"Verily, verily, I say unto you, except a corn of wheat fall into the ground and die, it abideth alone: but if it die, it bringeth forth much fruit." -John 12:24

Suffering can grow great fruit in an individual life, and by giving something up, by even death, something beautiful can come. Through cruelty, you can find life. 

This is not just a long-running theme in SnK, but a pattern in its plot. Often those who surrender then receive exactly what they had surrendered (but admittedly, not always, like Erwin). 

Mikasa accepted Eren’s loss, and got him back.

Mikasa let Armin go, and got him back.

Falco gave up hope of survival, and got another chance: 

Hange was going to die alone, feeling guilty for having failed her comrades, but saw everyone again, and they told her well done: 

Historia gave up being free, but now we know she will be.

Levi gave up on his revenge, and then got it. Annie thought she would never see her dad again, but she did. For Mikasa, accepting that she has to kill the boy she loves coincides not just with her acceptance of her love, but with the acceptance and knowledge that he loves her:

It always comes with sacrifice, increasingly hard sacrifice, but usually the seeds that are dropped grow and bloom. 

This chapter, everyone surrendered their hearts. They let their dreams fall to the ground, and I honestly think the story will allow it to plant life. Yes, the world as a whole is saved and that is enough to make thematic sense, but it works even better if the very people who were titanized this chapter also bloom again. They chose to trust Mikasa, Levi, Falco, and Pieck to finish the task.

The characters giving up their lives only to get them back make sense, and give Mikasa’s sacrifice of Eren. For Mikasa, Eren was her world, and she gave it up when she had lost everyone else. She had nothing left, and she still did it. I would hope she’d be narratively rewarded beyond just the world being saved, because Mikasa has always been motivated by her personal relationships.

Moving on from Mikasa: Connie’s mom has been kept alive and the concept of turning mindless titans back to humans was already brought up specifically in relation to her:

Connie giving up on his mother a dozenish chapters ago only to get her back now--not through sacrificing a child, but through saving the entire world--would fit the themes and patterns of SnK.

Thirdly, Gabi should not die. She’s Eren with positive development, and cannot meet the same end. Even people who are skeptical of every titan being saved seem to agree that she’ll be fine. It’s possible she’s the only one saved, but imo, not likely. 

See, the only shifter characters who are going to have the option of self-sacrifice are Falco and maaaaaybe Armin. The others look like they’re about to die right here and now, never mind choosing someone to save: the mindless titans are ripping at their napes. Armin also looks to be in bad shape. 

Yet Armin cannot narratively commit suicide; two chapters ago he was still screaming at himself for being useless and thinking he would be better off dead. He’s already tried the heroic sacrifice, too, so why would it work this time around? It does not work for his arc. Falco dying for Gabi was the plan without any freedom from the titan curse; it’s more powerful if ending the curse changes things, rather than forcing him to make the same choice that Reiner has always been trying to make: a heroic suicide. It could happen; it’s just not as narratively strong.

As for whether the worldbuilding rules, we know that mindless titans are not truly dead nor entirely mindless; they just don’t have freedom. Ymir’s case of getting herself back after decades shows that they aren’t quite dead or absorbed. They still have consciousness that can be awoken; Ymir described it as being in a long “nightmare.” Dina still went looking for Grisha. Connie’s mom remembered and recognized Connie, telling him “welcome home.” There is plenty of evidence that there are parts of these people that are still in there even if they are forced to become monsters (oh hey, it’s an Eren parallel; he was conscious of it and had choices while mindless titans do not, but the parallel remains).

Favorite Sherlock Holmes fics from 2020

Usually I put a bunch of explanations and disclaimers on these lists but you know what, it was a weird year and I’m not going to try to justify or apologize for what I read or didn’t read so here are my favorites that were completed last year, in descending order of length:

and your very flesh shall be a great poem by CaitlinFairchild (151K, E, Johnlock) After a tragic confrontation with terrible consequences, Sherlock and John follow Mary as she flees to America.

Drawn to Stars by Silvergirl (107K, E, Johnlock, Sherlock/OMC) After the Culverton Smith case Sherlock is clean, working, and looking for a romantic partner—since John has told him that’s what he needs. Shame John didn’t mention he was interested in that role himself, before Sherlock went off to Rome with a gorgeous Italian copper to try to fall in love and become a complete human being. (This one is very slightly cheating because it was finished on 30 Dec 2019, but it didn't make it onto my 2019 list because I didn't read it until after I'd made the list. And it deserves to be on a Best Of list, so here it is.)

Thermocline by J_Baillier (83K, M, Johnlock) John "Five Oceans" Watson — technical dive instructor, dive accident analyst and weapon of mass seduction — meets recluse professor of maritime archaeology Holmes. As they head out to a remote archipelago off the coast of Guatemala to study and film its shipwrecks for a documentary, will sparks fly or fizzle out?

Do No Harm by Calais_Reno (79K, T, Johnlock) In 1923, Dr John Watson is on trial for the murder of his lover, Mary Morstan, a writer of popular mysteries. If convicted, he will hang. Sherlock Holmes sets out to prove his innocence, but finds himself more and more infatuated with the handsome doctor, and deeper and deeper inside the bohemian world of London's painters, playwrights, and poets. Will he uncover the evidence needed to acquit him in time?

To Be Human by ohlooktheresabee (78K, NR, Johnlock) There is a serial killer on the loose with a penchant for collecting the brains of his victims. Sherlock, John and Scotland Yard are on the case, but something about the chosen victims has Sherlock on edge. While they piece together the clues that will lead to the killer, John begins to realize that the way his best friend thinks may sometimes be more a hindrance than a help….

immediate and inglorious by simplyclockwork (72K, E, Johnlock) Bodies are showing up in back alleys, with no sign of a struggle, no trace of drugs. If not for the strangulation bruises on their necks and the scythe carved into their left shoulders, they could have died peacefully, in their sleep. With New Scotland Yard dumbfounded by the Grim Reaper Killer case, Sherlock is called in to consult. The more he investigates, the deeper Sherlock finds himself drawn into the work of London's newest serial killer. As his views of good and bad begin to blur, he risks losing himself to a darkness he never imagined. And, even more pressing: where does John Watson, grieving ex-boyfriend of the Grim Reaper's latest victim, fit into all of this?

Curtain Rising by tiger_in_the_flightdeck (61K, E, Johnlock) A disgraced television star is the target of a series of death threats just after a theatre production’s adaptation of The Sound of Music is announced with her as the lead. The suspect list is a mile long and growing, Rosie Watson is in the spotlight, and Sherlock might be getting too fond of his time on stage to focus on the case. With opening night approaching, can he and John figure out who wants their client dead before her final curtain rises?

The Fire Finds a Home by fearfully_beautifully_made (61K, E, Johnlock) After Sherlock and John decide to give having a relationship a go, this is how their relationship starts to develop. There a little bit of plot, if you squint, but it was mostly an excuse to write John and Sherlock having sex in a lot of different ways and learning to love each other.

Borrowed Ghosts by DiscordantWords (57K, M, Johnlock) In the aftermath of the Culverton Smith case, John spent one painfully stilted afternoon hanging out with Sherlock. He counted the minutes, finished his tea, and left for home without ever clearing the air between them. And once he'd left, he found it very hard to go back.

You Might Just as Well Be Blind by ArwaMachine (56K, E, Johnlock) When a serial killer starts targeting couples, Sherlock and John must do what they have to do in order to get to the bottom of things. Unfortunately, John already has a girlfriend. Surely pretending to be in a relationship with Sherlock won't pose any problems with his relationship, will it?

The Broken Tether by J_Baillier (54K, M, Johnlock) Maybe he thinks that you only enjoy his company because of the Work, because of the way his dazzling intellect shines when he's in his element, but the truth is this: it is when he is at his most human, most bare, that you feel closest to him.

how the light gets in by subtext-is-my-division (Quill_A)  (54K, E, Johnlock) Red wine always makes him tipsier than usual and he finds himself saying, the words slurring a bit. “You know, I’ve got to ask. Do you always shoot cabbies for people you barely you know?” John meets his gaze over the rim of his glass, and there’s something there that Sherlock can’t pin down. “Not for everyone,” he says, meaningfully, pointedly, his smile all teeth.

Erosion by saintscully (53K, E, Johnlock) Sherlock’s father falls ill, leaving the surviving family members broken and rudderless. James Sholto shows up in London unexpectedly, his intentions unclear. John has to navigate the consequences of crime, illness and death and their impact on his frayed relationship with Sherlock.

Hold You Like a Weapon by MissDavis (52K, E, Johnlock) Eurus shows up at 221B Baker Street in labour. Things go downhill from there.

Chances Are by Berty (51K, M, Johnlock) Sherlock is spending some time in his mind palace - so far, so normal. But why is John there, why do things keep changing and why are there only two exits from the sitting room at 221B, neither of which seem to go anywhere useful? It's a case like no other for Sherlock Holmes and John Watson.

Sine Nomine by SilentAuror (45K, E, Johnlock) As Mycroft reviews the footage from Culverton Smith's morgue, he revisits his original question: whether John Watson would be the making of his brother, or make him worse than ever. He's come to a conclusion, but decides to give John one last chance. So he gives him a choice.

Cockaigne by HollyShadow88 (38K, E, Johnlock) When John’s contacted by an old uni friend about problems in his new art exhibition, he doesn’t think it will be worth Sherlock’s time. After a glance of the crime scene, however, they’re both pulled into the project in ways John didn’t expect. Will a week of erotic performance art finally be enough to bring them together in the way they both secretly hope? (Spoiler: it’s a tropey fic, of course it will)

Written in Ashes by 88thParallel (37K, M, Johnlock) Sherlock becomes the prime suspect in a homicide case, and recently unearthed memories of his childhood are complicating matters. It's up to John to track down answers — can he help Sherlock before it's too late?

A Desperate Indulgence by LollipopCop (34K, M, Johnlock) John thinks it's 2012 after waking up with amnesia, having no memory of Mary. Sherlock, exhausted from years of tension and hiding his love, pretends they got married instead.

Inhale With Ease by Vulpesmellifera (25K, E, Johnlock) In the years after Vivian Norbury's capture, life seems to work out just as John planned. He's got that respectable job at the surgery and goes home to his wife and child. He joins Sherlock on cases a couple times per week. It's a rhythm he can live with - just enough adrenaline highs to balance out the drudgery of a normal bloke's life. Until a pandemic, and Victor Trevor, arrive in London.

The House on Rue des Boulangers by Berty (24K, M, Johnlock) After being invalided out of the army and without any other prospects, John Watson has relocated to a small town in northern France. Now he has to decide what to do for the rest of his life. One morning there's a mad stranger in his garden chasing a swarm of bees, and it seems John's decision is made.

High Mountain Tea Leaves by disfictional (23K, E, Johnlock) A mountaintop robbery on a Japanese-occupation-era train where the only item stolen was a small case of mysterious tea leaves in a backpack? An ideal Christmas gift, two days late. Sherlock convinces John to travel for tea.

Detours by saintscully (22K, M, Johnlock, Sherlock/OMC) During the better part of the first year following Mary's death and the events at Sherrinford, Sherlock and John are slowly rebuilding their lives and their friendship. All seems (relatively) well and John takes comfort in once again being a father, a doctor and a friend. An unexplained shift in Sherlock's behaviour catches John by surprise, and he begins to worry about his place in his friend's life. John has to examine everything he thought he knew about Sherlock, himself and their relationship in order to win his rightful place yet again.

hands full of matter by simplyclockwork (21K, E, Johnlock) When Sherlock is captured in Serbia, Mycroft cannot afford to involve the British government in his rescue. Instead, he sends John. After two years spent thinking Sherlock was dead, John finds himself navigating not only Sherlock’s rescue but their fractured friendship as well.

The Victim Experience by J_Baillier (16K, T, Gen) A case takes Sherlock and John deep into the seedy underbelly of the haunted attractions industry. With audiences craving more and more intense experiences, is a real murder the next logical step?

On the Fence by BeautifulFiction (13K, T, Johnlock) The murder of the King's College fencing champion leads to revelations about Sherlock's past. Will it be the point that tips them from friends to lovers, or will they remain on the fence?

Plus bonus ACD era:

"Baker Street: The Sleep of Reason": A Memoir by John H. Watson, M.D. by Gaedhal (98K, M, Johnlock, Johniarty) This is a Victorian Era story in the "Sherlock Holmes" (2009) Ritchie-verse. The main characters are Sherlock Holmes and Dr. John Watson and is from the doctor's memoirs. It was written before "A Game of Shadows" so there are differences in this story and film canon, mainly in the person and backstory of one particular character.

The Taste of Truth by sanguinity (25K, T, Johnlock) Two and a half years after Reichenbach, John Watson discovers the magical tree that caused Holmes to fake his death.

The Adventure of the Vatican Cameos by Garonne (18K, E, Johnlock) How should one behave when waking for the first time in the bed of one's dearest friend? Holmes and Watson solve a case in Catholic London while navigating the turbid waters of their new relationship.

Hot Water by wordybirdy (13K, E, Johnlock, Watson/Gregson) Dr. John Watson's libidinous affair with a respected Scotland Yard inspector abruptly judders to a halt when the former meets a certain Mr. Sherlock Holmes, Consulting Detective, for the very first time. The attraction between the two is strongly mutual, but misunderstandings only multiply and tensions abound, as all three men attempt to deal with the new situation.

Day 2 of Pride Month interviews! You know them, you love them…. give it up for Ames!

Ames, author of Attollo and Metamorphosis

Pride Month Featured Authors

“…and it was a singular, terrible thought, which burrowed itself into your mind like an engorged maggot. This was not a man nor a monster. This was a concept, an ideology, a terrible myth, which had personified itself to stand before you now.You were, to put it simply, screwed.”

After several years of radio silence, you receive a message from your younger sibling that carries a strange sense of urgency to it. Either out of familial concern or boredom, you embark on a journey from your residence to your sibling’s apartment in New Hampshire to see what’s going on and, hopefully, be home before the weekend.

Too bad it’s never so simple.

Demo: Attollo, Metamorphosis (TBA)

Tags: cybernoir, thriller

(INTERVIEW TRANSCRIPT UNDER THE CUT!)

Q1: Tell us a little bit about your project(s)!

Attollo is a cyber-noir horror set in a walled city off the coast of the Atlantic that’s been a victim of a nuclear disaster. After several years of radio silence, you receive a message from your younger sibling that carries a strange sense of urgency to it. Either out of familial concern or boredom, you embark on a journey from your residence to your sibling’s apartment in New Hampshire to see what’s going on and, hopefully, be home before the weekend. Too bad it’s never so simple. Attollo is a 17+ game that deals with heavy topics and a lot of moral questioning; from cults to corrupt government, it has no shortage of monsters in the dark—both metaphorical and literal.

Metamorphosis is a crime/horror story based in the world of crime scene cleanup, where there are three simple steps: Get the call, clean the scene, and don’t ask too many questions. These are the rules that you live by under the employment of Noctua’s Crime Scene Services, and you credit them for keeping you alive.

However, after a routine house call brings forth nightmares of memories that are not your own, you find yourself pulled deeper into Noctua—a city of both monster and man—in a bid to find out the truth behind the murder of Deirdre Callow, and better yet, how her memories came to be yours. Your job mandates that you don’t dig too deep—but could this finally be the exception?

Metamorphosis is 18+ and will have explicit content; follow the last moments of a stranger to find out not only who took her life, but how this connects to the underbelly that Noctua works so hard to hide.

Q2: Why interactive fiction? What drew you to the medium?

Lmaoo, oh man. I think it really all began last summer when I first found examples of interactive fiction. I don’t even remember how I came across it, it might’ve been that I saw it mentioned in a post or I saw it as a tag on Itch.io, but at some point, last summer I began to investigate it more. I think what really drew me in was the ability for the player to control the narrative; it was like playing an old RPG, but modernized, and the fact that I could see a story unfold that was influenced by my decisions was so fascinating to me. Not to mention that IF allows so much more character depth than regular novels, in my opinion.

I’m 99% sure my first exposure to interactive fiction was through the game Crème de la Crème (a fantastic game, by the way) and I just enjoyed it so much that I went haywire for the genre. Then Temple of the Endless Night came out (another fantastic game that I’m looking forward to!), and that was really the turning point for inspiring me to give it a go. Now, almost a year later, here I am working on my own two games!

Q3: Are your characters influenced by your identity? How?

My bisexuality doesn’t have much of a major influence on the game, but I do think it contributed to the way that I view and write relationships. I figured out my sexuality around high school (I kissed a girl in high school and found out I liked it just as much as when I kissed a boy) and since then I’ve been very involved in the LGBTQ+ community of both my hometown and uni town.

I think this involvement, like being able to hear about other people’s experiences and share my own, has made me feel a lot more comfortable writing some of the characters in the game. Although Attollo and Metamorphosis both don’t focus heavily on relationships (both have murder in them, which I feel is a bit more pressing), I do keep the option for any RO’s to be romanced by anyone, regardless of gender or preference, because that’s simply what I’ve become so attuned to. In terms of side characters relationships as well, I think my involvement and my own experiences have allowed me to write far more diverse relationships than I might have, and I think that this has also allowed a more fulfilling experience for players when reading through.

I also have incorporated some struggles that I’ve faced before because of my identity into the games. For example, I and a few others have faced issues with religion due to who we are, and I incorporate this into both games. Dreamwalker, Pariah, and Sysba from Attollo all have shadows of this experience in their character origins, and Ilali and Ariston from Metamorphosis has a major point involving identity and beliefs. Both games also have undertows of ostracization and division between groups, which is also something I’ve experienced in the past. Being able to grapple these moments and control them via a narrative has been eye opening for both myself and others involved, and I’m hoping it can be a learning experience for the readers as well.

Q4: What would you like to see more of in LGBT+ fiction?

I think, now, the amount of progress in LGBTQ+ fiction is expanding at a wonderful rate. There are so many interactive fictions with options to select sexuality, select gender, select beliefs, etc. However, despite this expansion, there’s still a good deal of backlash against some aspects of LGBTQ+ fiction.

For example, as a bisexual woman who has dated men, I know there are some individuals who may not consider me a part of the LGBTQ+ because of this aspect. Not only is this incredibly disheartening, but it’s a viewpoint that I think should be educated against, and fiction is a fantastic pathway to do this. Another example I can think of is a friend of mine who identifies as asexual but is sex-neutral rather than sex-repulsed. Most people can’t believe her when she says this, and she often faces backlash for this declaration as well. This is another thing that I think that, with exposure through a medium such as fiction, can be worked on.

What I’m trying to say here is that I think LGBTQ+ fiction can be a brilliantly educational platform—if used right. Although it already teaches so much with what it has, I think having that representation of different subgroups of sexuality, of their experiences and beliefs, so people can become aware and knowledgeable of these options, is something I’d like to see more of.

Q5: What or who are some of your biggest inspirations?

Oh man, I struggled to list off inspirations because I know I have some, but as soon as someone asks me who they are my brain just goes ‘brrrrrr’ LMAO.

In terms of the games that I write and the worlds that I build, I think David Lynch and Robert Chambers are probably the two that I somehow incorporate. Attollo and Metamorphosis both have a lot of surrealist horror, which are what these two really specialized in. Shirley Jackson is also another person who inspired me a lot when it came to the writing and creation of Attollo, especially the intrapersonal relationships between the characters.

In terms of life, this is something else I really struggle to answer. I don’t really have celebrity inspirations or anything like that, but I do get inspired by my close friends and sister a lot. Seeing them go through the struggles that they face and absolutely thrive really drives me to push through my own struggles. They’re the strongest, most brilliant group of people that I know, and I consider myself incredibly fortunate that I can be a part of their lives. Not only that, but we also all collectively encourage each other to push further and to chase our dreams (as cheesy as that is LMAO) and that’s something that I think is another stroke of good fortune. I struck gold when I met them, and they’re some of the biggest inspirations in my life.

Q6: What’s a super vague spoiler for your current project?

For Attollo, I’d say ‘Home is where the heart is.’ For Metamorphosis, to quote John Berendt, ‘Always stick around for one more drink.’

Q7: Lastly, what advice would you give to your readers?

What advice would I give to you all? Oh my, I’m not exactly a wise woman here, but I’ll do my best to give you something lmaooo. I think what I really want you to walk away with, from both my stories and this interview, is that if you’re passionate about something, then share it with the world. Don’t let anyone deter your passion.

I remember listening to this painter once who commented to his friend how he ‘really liked painting’, and his friend’s first response was ‘but are you good at it?’. He then compared this to the scenario of walking; would you say, ‘but are you good at it?’ to someone who said, ‘I really like walking’? No, because it simply wouldn’t make sense, and it doesn’t make sense to say that to anyone who’s doing something out of passion.

To put it simply—if you love something, then don’t let anyone take that passion from you. I began writing these stories because I’m passionate about Attollo and Metamorphosis; I love each character, each bit of lore, and I share it with you because I want you all to enjoy it as well. Am I the best writer? God, no. Does everyone like what I write? Definitely not. But will I let this stop me from writing, from enjoying what I’m doing? Never, and I want you to do the same.

Explore your passions, embrace your passions, and let what makes you happy continue to do so

heeeey any insecure!john?

Hi Nonny!

Ahhhh, you know I’ve collected fics over the years but I’ve mixed them up with the Sherlock ones, so I think I’ll start anew and start fresh! I know I’ve missed a lot when I pulled them out of the old lists, so forgive me! Hope you enjoy what I’ve got here for you!

As always, Lovelies, please add your insecure John fics!!

INSECURE JOHN

See also:

BAMF! But Insecure John

Insecure / Awkward John or Sherlock (Jan 2019)

Concussions And Good Old Fashioned Awkwardness by Belldere (K+, 894 w. || Humour, Hospitals, Mild John Whump, Misunderstandings, Platonic Relationship, Concussions, Not-Gay John, Possessive Sherlock) – When John lands himself in hospital... again, all he wants is to just get out of there as soon as possible, too bad his doctor has other ideas about where John may be getting his injuries. Good thing concussions make everything strangely funnier.

I Was Wrong by AllesandraQuartermaine (K, 1,496 w., 1 Ch. || TGG AU, Friendship, Hospitalization / Injury, John’s Self Esteem, Sleepy Sherlock) – Sherlock and John have a conversation a few days after the pool face off with Moriarty. And John hears something quite surprising.

Hell or High water by bluefire301175 (E, 2,250 w., 1 Ch. || PWP, Frottage, Alley Sex, First Person POV John, Case-ish Fic, Mutual Pining, Bed Sharing) – John wants. Sherlock wants. Plain and simple.

Not My Proudest Moment by charlock221 (K, 2,695 w., 1 Ch. || Lunar New Year, Mild PTSD / Panic Attack, Coping Mechanisms, Friendship, Hurt/Comfort) – John tries his best not to get in the way of Sherlock's cases, but when the vivid noises of fireworks unnerve his senses and begin to bring back unwanted memories of Afghanistan, he cannot help but to hope Sherlock will notice and help him before things go too far.

Closeted by Sexxica (E, 2,762 w., 1 Ch. || Trapped in a Closet, Panicking Sherlock, Hand Jobs, Coming in Pants, Awkward Conversations, Love Confessions, First Kiss, Fluffy Ending) – An improvised hiding spot and a bit of accidental voyeurism leave John and Sherlock in an awkward position.

The General Idea by agirlsname (T, 3,022 w., 1 Ch. || Retirement, Promise of Forever / Proposal, POV John, First Kiss, Tooth-Rotting Fluff, Soft Sherlock, Idiots in Love, Crying / Emotional Sherlock, Love Confessions) – After twenty years of friendship, John is used to Sherlock acting weirdly. But the news Sherlock finally brings himself to deliver change the carefully built dynamics between them, and John realises it's time to act.

Paranoia by Ewebie (M, 3,789 w., 1 Ch. || Humour, Drinking Games, Scotland Yard Gang, Jealous / Possessive Sherlock, Inappropriate Questions, Embarrassed John, Matchmakers) – John and Sherlock join the gang of Scotland Yard for a night of drinking, and it gets a bit personal and revealing.

Coldness/Heat by agirlsname (E, 3,790 w., 1 Ch. || Cuddling & Snuggling, Body Heat, New Year’s Eve, PWP, Bedsharing, Frottage) – The inn is booked up on New Year's Eve. The train home is cancelled because of the snow. The only option is to sleep in the non-heated guest room of a client, and John and Sherlock are freezing. You know where this is going. Part 1 of New Year's Kiss

The Oolong Disaster by unicornpoe (T, 4,151 w., 1 Ch. || John’s Beard, Fluff, Humour, Frustrated Sherlock, John Takes Care of Sherlock, Case Fic-ish, Pining Sherlock, First Kiss, Possessive Sherlock) – John has a beard. Sherlock has a panic attack.

Afghanistan in Baskerville by Amaya Ramiel (K+, 4,357 w., 1 Ch. || THoB Fic, Hurt/Comfort, Drugged John, PTSD / Panic Attack, Hallucinations, Worried Sherlock, John’s Past, Friendship) – What if John hadn't seen the hound when Sherlock trapped him in the lab? What if instead, his very real nightmares of the war had materialized all around him? Trapped and drugged, John can't tell what's real and what's not. How will Sherlock react?

Overture by Kate_Lear (M, 4,435 w., 1 Ch. || First Kiss / Time, Friends to Lovers, Angry John, Introspection, Dev. Rel., Embarrassed / Insecure Sherlock, Morning After, Bed Sharing, Cuddles / Limpet Sherlock) – A short snippet on how John and Sherlock might have got together.

What You Are Worth by Lastew (T, 4,488 w., 1 Ch. || Observant but Insecure John, Friendship, Crime / Case Fic) – John helps Sherlock with a case, but he questions his real value to Sherlock.  

Let Down by Gandalf3213 (K+, 4,505 w., 2 Ch. || Hurt/Comfort, Friendship, John Whump, Insecure John) – John truly is sorry for letting Sherlock down. The only thing he wanted to do was finish the case, but bleeding out in a dark alley makes it harder for him to pursue that murderer running out of sight.

Sherlock and John Go Clubbing by wendymarlowe (E, 4,716 w., 3 Ch. || Clubbing, Dirty Talk, Dancing, Coming Untouched, Coming in Pants, Bi John, For a Case, Friends to Lovers, Flirting, Sherlock is Lost for Words, Sexy John, Mutual Pining, Possessive John, Floor Sex/Hand Job/Frottage) – John pinched the bridge of his nose - even for Sherlock, this was a new level of no bloody boundaries. “You want me to go with you to a gay club, wait around twiddling my thumbs while I let you get pawed by a criminal, then out-flirt him and talk you into coming home with me instead?” Part 32 of John and Sherlock's Kinky First Times

Pillow Talk by scullyseviltwin (M, 5,183 w., 1 Ch. || Post-S3, Angsty Fluff, Pillow Talk, Bed Sharing, Worried John, First Time Morning After, Soft Sherlock, Sexuality Discussion, Love Confessions, Kisses and Cuddles) – John has been looking at Sherlock for ages, it feels like.

Welcome Home, John by slashscribe (G, 5,504 w., 1 Ch. || Post-S3, Angst, Emotional Hurt/Comfort, Awkwardness, Stabbed Sherlock, Protective Sherlock, Panic Attack (Sherlock), Self Esteem Issues, Love Confessions, First Kiss) – When John moves back to 221B, he thinks he’s the broken one, but after a while, it becomes clear that he might not be correct.

An Interpretation of Viewing Habits by akitsuko (E, 6,653 w., 1 Ch. || Porn Watching, Masturbation, Anal, Friends to Lovers, First Kiss / Time, Declarations of Love, Jealous Sherlock, Fantasizing, John in Denial / Internalized Homophobia, Bottomlock, Pining Idiots, Sherlock Has No Boundaries, Cockblocking Sherlock) – John watches porn. It's a perfectly normal thing to do.If every video he watches happens to feature actors with remarkable physical similarities to his flatmate, well, that's no one's business but his own. Or: John is in denial, until his infatuation with Sherlock is impossible to deny anymore.

Inconvenient Timing by TheMadKatter13 (M, 7,072 w., 1 Ch. || Omegaverse || Omega John/Alpha Sherlock, Romance, Public Heat, Scared John, Protective / Worried / Possessive Sherlock, Post-TBB AU, Caring Sherlock, Pre-Slash, Happy Ending) – When John's heat failed to appear three times in a row after he was shot, he figured it was just another broken piece off the broken toy soldier. So he was rather surprised to feel it start out of the blue...and not at all pleased with it starting while he was on the tube.

Sometimes When We Touch by kedgeree (M, 7,755 w., 6 Ch. || Post-TRF, First Kiss/Time, Inappropriate Giggling, Romance, Friends to Lovers, Virgin Sherlock, John Whump, Touching) – John might be touching Sherlock a little more often than is strictly necessary. Sherlock probably hasn't even noticed. Right...?

Victim, Bait, Hero, Friend by KimberlyTheOwl (T, 7,887 w., 1 Ch. || Post-TGG Epilogue, Angst, Friendship, Hurt/Comfort, Introspection, Past Kidnapping / Torture / Implied Rape, Panic Attacks, Worried / Possessive Sherlock, Lestrade is a Good Friend) – Some insights into why John was perfectly willing to throw everything away for a chance to kill Moriarty at the pool. Trauma, ugliness, and finally healing. Some nice supporting work by Lestrade as well.

Every Night I Look for You by destinationtoast (E, 8,377 w., 1 Ch. || POV John, Post-TRF, Angst, Mystery, Unsafe Sex, BAMF John) – Every night, John looks for familiar hints of Sherlock in the men he meets in bars, and he does with them all the things he wishes he’d done before. Eventually, he stumbles into a situation that Sherlock would know how to handle, and John must decide whether he can handle it without him.

Just Like That by sussexbound (E, 8,442 w., 1 Ch. || First Time/Kiss, Frottage, Virgin Sherlock, French Kissing, Anal, Emotional Lovemaking, Enthusiastic Consent, Tenderness, Crying John, Bathing/Washing, Insecure John, Toplock) – John doesn’t want to talk anymore. He wants. Oh dear god, how he wants. For the first time in what feels like years he WANTS.

Unwasted by patternofdefiance (E, 8,966 w., 1 Ch. || Post-S3 / S3 Fix-It, Developing Relationship, Friends to Lovers, Angelo’s, Fluff, First Time, Anal, Cum Play, Flashbacks to ASiB, Mutual Pining, Love Confessions, Bottomlock, Cuddles, Multiple Orgasms, BJ’s, Bed Sharing) – John finds it three months after he's moved back. He's on the hunt for something to make for dinner, is scrounging through the cupboards, when he happens upon the graveyard of pasta boxes Sherlock still seems to create when left to his own devices. Behind seven boxes of pasta, all almost completely empty, is a dark-glassed bottle, with a paler coat of dust. It's unopened. John's face falls slack when he sees it, instantly recognises it, and for a long moment he just stands and looks at it.

Ravish Me by amalnahurriyeh (E, 10,025 w., 1 Ch. || UST / RST, Makeup / Lipstick, Sympathetic Sally, Experiments, Pining John, First Kiss, Face Fucking / BJ’s, Cuddling) – Sherlock is experimenting with patterns of wear on lipstick in daily encounters. John is going to go insane.

A Is For Aftermath by ElvendorkInfinity (T, 10,567 w.,  1 Ch. || Injury / Whump, Hurt/Comfort, Friendship/Pre-Slash/Bromance/Platonics, Hallucinations, Introspection, Insecure / Worried John, Big Brother Mycroft, Alternating POV, Anxious Sherlock, Self-Deprecating, Mildly Possessive Sherlock, 3G Moment) – John is still hallucinating, Sherlock cannot sleep, and Lestrade has a new case for them. But will life at 221B ever be able to return to normal? Epilogue to M is for Moriarty.

London Gods by a_different_equation (E, 11,092 w., 5 Ch. || American Gods Fusion || Magical Realism, Sex Magic, True Love, PTSD John, First Kiss/Time, Marathon Sex, Sensuality, Genie Sherlock, Human John, Internalized Homophobia, Star-Crossed Lovers, Soul Mates) – Sherlock Holmes is a jinn who does not grant wishes. However, when Dr. John H. Watson, recently returned from the war in Afghanistan, gets into his cab by "accident", it might not even need magic to grant both men their deepest wish: love.

On The Fence by BeautifulFiction (T, 13,770 w., 1 Ch. || Fencing, Case Fic, First Kiss, Insecure John, Pining John, Hug, Greg Finds Out) – The murder of the King's College fencing champion leads to revelations about Sherlock's past. Will it be the point that tips them from friends to lovers, or will they remain on the fence?

A Silver Sixpence by _doodle (NC-17, 16,400 w., 2 Ch. || LJ Fic || For a Case / Case Fic, Fake Relationship, Humour, Romance, Marriage Proposal, Awkward Idiots, Cuddling, Touching, Kissing, Love Confessions, Bed Sharing, Friends to Lovers, Fake Until It’s Not, Schmoop and Fluff, Bottomlock) – “John, we need to get married. It’s for a case, not any romantic notions on my part pertaining to our partnership,” Sherlock said, with brutal honesty, and without even looking up.

Between Friends by SilentAuror (E, 18,036 w., 1 Ch. || Post S3, Alternating POV, Friends to Lovers, John in Denial, Abduction, Awkward Situations / Miscommunications, Porn With Feels, Blowjobs, Pining, Unrequited, Angst With Happy Ending) – Sherlock gets abducted. As John discovers him tied up naked in an empty storage facility and comes to rescue him, Sherlock's body has an unfortunate reaction which triggers a series of events. John is convinced that everything will be fine as long as they never discuss it. Sherlock isn't as sure...

Division by MrsNoggin (E, 19,542 w., 11 Ch. || Coffee Shop AU || First Kiss/Time, Fluff, Barista Sherlock, Clingy Sherlock, POV John, John’s Limp, Bed Sharing, Fluff, Sleepy Cuddles, Sensuality, Touching, Virgin Sherlock, Insecure John) – John likes mysteries. And every morning he dips into the local independent coffee bar with his newspaper and ponders another... one Sherlock Holmes.

A Life Well-Lived by Kate_Lear (E, 20,121 w., 1 Ch. || Original Male Character, Sherlock Woos John, Jealous Sherlock, Reluctant Bi-John, Past Abuse, Insecure John, Reassuring / Caring Sherlock, Protective Sherlock, Understanding Sherlock) – John got scared off men by an abusive past relationship. Sherlock has to try and woo him while not scaring him off with protective possessive rage.

Maintaining A Personal Life by Gingerhermit (E, 24,284 w., 6 Ch. || Alternating POV’s, Bisexuality, BAMF!John, Jealous Sherlock, Romance / Drama, Sort-of Case Fic, Peril & Angst, Love Confessions, Toplock, Soft Idiots in Love, Post S3) – Sherlock and John discover some interesting revelations about each other’s sexuality, which lead them both to question the assumptions they've made about one another for years. In the midst of their mutual discoveries, a dangerous psychopath looms on the side-lines who threatens to destroy their new beginning.

Nothing to Make a Song About by emmagrant01 (E, 36,833 w., 10 Ch. || Post-TRF, First Time, Reunion, Jealous John, Pining Sherlock, Romance, Angst with Happy Ending, Sherlock Has a Boyfriend) – When Sherlock returned from his faked death, John could not forgive him for the deception and broke off their friendship. Ten years later, John returns to London in search of yet another new beginning. Sherlock, not surprisingly, is waiting.

Turn Left at the Park by Glenmore (NR (E), 37,409 w., 28 Ch. || Alternate First Meeting / ASiP Divergence, Case Fic, Depression, Suicidal Ideation, Loneliness, No Mary, Possessive Sherlock, Fluff & Angst, Nightmares/PTSD, Sherlock Saves John, Sherlock Whump-ish, Doctor John) – So what would have happened if John hadn't walked through the park and met Stamford? What if, instead, he walked around the park and just went home?

Only To Be With You by SinceWhenDoYouCallMe_John (M, 40,768 w., 4 Ch. || Black Mirror / Future AU || Character Death, Future Technology, Sickness/Cancer/Illness, Heavy Angst with Happy Ending, First Person POV John, Pining John, Heart-Wrenching Angst) – I tell myself that next time I’ll come near this same place again. Wait around for the mysterious stranger in his coat to dash past me, hot on the heels of a new criminal in black. I think this all the way back to my Exit, planning where I’ll wait and what I’ll say when I see him. Scheming on how to get his name. It’s only once I reach the Exit Point door that I realize two hours and forty-five minutes have passed, and I realize that this won’t be the last time I Visit. It won’t be the last time at all.

The Four Horsemen of the Apocalypse by SilentAuror (E, 50,635 w., 1 Ch. || Post-S4/S4 Divergence, Case Fic, For a Case / Reverse Fake-Relationship, Conferences, Marriage Equality, Travelling / New York, Pride, Homophobia, Bottomlock, Marriage Proposal, John POV, Sexuality, Love Confessions, Emotional Love Making, Public Hand Jobs, Blow Jobs, Passionate Kissing, Needy/Clingy Sherlock, Virgin Sherlock, Touching / Hand Holding, Bed Sharing, Little Spoon Sherlock, Intense Orgasms) – John and Sherlock go to New York to attend a conference run by the National Defence of Traditional Marriage Coalition in order to investigate the potential bombing of the annual Manhattan Pride parade. As the conference unfolds, John finds himself repulsed by the toxic ideology being presented, which becomes relevent to his own unacknowledged issues and his friendship with Sherlock...

Never Change a Running System by Lorelei_Lee (E, 54,246 w., 18 Ch. || Pre-TRF, Romance, Humour, Drama, Sex Toys, Anal, Rimming, Masturbation, Frottage, Blow Jobs, Public Sex, First Kiss / Time, Virgin Sherlock / Loss of Virginity, Accidental Voyeurism, Unresolved Sexual Tension, Experiments, Naive Sherlock, Pining Sherlock, Jealous Sherlock, Possessive Sherlock, Straight With an Exception John, Hand Jobs) – Sherlock discovers his sexuality – with far-reaching consequences for John.

The Thing Is by TSylvestris (E, 56,743 w., 21 Ch. || Case Fic, Dev. Rel., Anal/Oral, Blow Jobs, Meddling Mycroft, Drama, Romance, Humour, Casual Encounters, Pining Idiots, Possessive Sherlock, Orgasm Delay, Rough / Alley Sex, Public Sex, John Whump, Drugged John, Emotional Love Making, Awkward Relationship, Marriage of Convenience, Switchlock) – The problem with living with Sherlock, John thought, was that you never, never, ever knew the significance of anything. Like your flatmate's nose buried in your hair. Whilst you're in bed. Part 1 of Nitroglycerine

One Little Change by jadztone (E, 58,312 w., 12 Ch. || ASiB Divergence, Fake Relationship, Bed Sharing, Mutual Pining, Friends to Lovers, First Kiss / Time, Anal Sex, Blow Jobs, Bi John / Gay Demisexual Sherlock, Switchlock, Alternating POV, Jealousy, Misunderstandings, Case Fic, Angst with Happy Ending, Emotional Love Making, Butt Plugs, Cuddles) – Our story begins right after John and Sherlock's first meeting with Irene Adler in September. It splits off into an AU that imagines them taking a case where they act as bait to hook a killer targeting closeted gays in secret relationships. In the weeks leading up to Christmas, many things happen that have our boys wondering if maybe they have a chance with each other. Then Irene fakes her death on Christmas Eve, and things get a lot more complicated - especially since they still have a killer to catch.

Isosceles by SilentAuror (E, 56,609 w., 7 Ch. || Post-S4, POV John, Original Male Character / Sherlock Dates Another Man, Love Triangle, Jealous John, Virgin Sherlock, Sexual Coaching, Angst, Romance, Domesticity, Unrequited Feelings, Miscommunication, First Kiss/Time, For a Case, Friends With Benefits, Bottomlock, Love Confessions, Spooning) – After solving a case for a major celebrity, Sherlock gets himself asked out. When John asks, he discovers that Sherlock has no intention of going, at least not until John agrees to coach him through whatever he might need to know for his date...

floating through a dark blue sky by Lediona (M, 58,966 w., 15 Ch. || Notting Hill AU || POV John, Celebrity Sherlock, First Date / Time / Kiss, Past Drug Addiction, Angst with a Happy Ending) – Of course, I’d seen his films and always thought he was, well, brilliant -- but, you know, a million miles from the world I live in. Or, when John is the owner of a travel book shop and the famous Sherlock Holmes stops in one day.

The Book of Silence by SilentAuror (E, 60,056 w., 2 Ch. || S4 Fix It / Post S4, Virgin Sherlock, Rosie / Parentlock, Domesticity, Fluff, Praise Kink, Sex Toys, First Person POV) – As spring blooms in London, John and Sherlock begin to take new cases and cautiously negotiate this new phase of life with John living at Baker Street again. Despite how well it's all going, John struggles to forgive himself for the way he treated Sherlock following Mary’s death as well as trying to figure out how to finally put his long-time feelings for Sherlock into words. Part 1 of The Book of Silence/Rosa Felicia

Scars by SilentAuror (E, 60,494 w., 5 Ch. || Rape / Non-Con / Abuse, Gaslighting, Manipulation, Dub Con Elements, Homophobia, Angst With Happy Ending, Mary is Not Nice) – S3 rewrite, showing Mary’s manipulation of John as he realizes his love for Sherlock. Mary is not having it.

The Bells of King's College by SilentAuror (E, 64,019 w., 5 Ch. || Post-S4, Missed Opportunities, Angst with Happy Ending, Fake Relationship, Case Fic, John POV, Jealous John, John in Denial, Travelling / Holidays, Virgin Sherlock, Wedding Proposals) – It's only been two weeks since Eurus Holmes disrupted their lives when Mycroft sends John and Sherlock to Cambridge to pose as an engaged couple at a wedding show in the hopes of solving six unsolved deaths...

White Knight by DiscordantWords (M, 69,840 w., 13 Ch. || S4 Compliant/Post S4, Marriage For a Case, Jealous John, Pining John, Janine / Sherlock Fake Relationship, Serial Killers, Case Fic, Undercover as a Couple, Weddings, John is a Mess, Misunderstandings, Wedding Planning, Jealousy, Drunkenness, Love Confessions, Angst with Happy Ending) – Green. The word green was used to convey a great many things. Illness. Envy. Inexperience. Standing there amidst Janine's chattering bridesmaids, watching Sherlock furrow his brow and study fabric swatches, watching him smile and simper and flirt, John thought it a remarkably apt colour choice. Because he felt quite sick to his stomach, he feared the source of said sickness might very well be jealousy, and he had absolutely no idea at all what to do about it. Or: Sherlock needs to fake a relationship for a case. He doesn't ask John.

Just To Hold You Close by sussexbound (E, 70,841 w., 18 Ch. || Alternate First Meeting, Sherlock POV, ASD Sherlock, PTSD John, Demisexual Sherlock, Bisexual John, Cuddling/Snuggling, Platonic Cuddling, Enthusiastic Consent, Bed Sharing, Love Confessions, First Kiss/Time, Sexual Tension, Emotional Hurt/Comfort, Cuddle Negotiations, For a Case Until It Isn’t, Hair Petting, Sexual Negotiation, Anxiety, Trust Issues, Slow Burn, Panic Attacks, Frottage, Hand/Blow Jobs, Referenced Self Harm / Abuse / Suicidal Ideation, First Kiss/Time, Anal) – When a woman is murdered and the last person to see her alive is recently invalided army vet turned reluctant (and prickly) professional cuddler, John Watson, Sherlock Holmes is pulled into a world of intimacy and intrigue he never could have imagined. John is a conundrum and mystery: frank yet reserved, tender yet angry, open yet afraid. Sherlock is instantly drawn into his orbit, and begins to feel and desire things he never has before.

Secrets and Revelations by Hisstah (E, 83,535 w., 9 Ch. || Sentinel / Guides Omegaverse AU || Adventure, Violence, Anal / Oral, Omega!John / Alpha!Sherlock, Case Fic, Politics, Mild DubCon) – Dr John Watson has some major secrets that he's kept from his flatmate, Alpha Sentinel Sherlock Holmes. Now the Sentinel Tower is after him. Can John stay out of their hands until he can reveal his secrets to Sherlock? Part 1 of Secrets and Revelations

Kintsukuroi by sussexbound (E, 91,823 w., 20 Ch. || S4 Compliant / Post-TLD, Grief / Mourning, PTSD, Internalized Homophobia, Therapy, Past Abuse, Alcohol Abuse, Nightmares, Emotional Hurt/Comfort, Depression, Anxiety, Bed Sharing, Love Confessions, Cuddling, Suicidal Ideation, Masturbation, Minor Character Death, Sexting, Frottage, Inexperienced Sherlock, Rimming / Anal / BJ’s, Emotional Turmoil, Finding Each Other, John’s Self Esteem Issues) – “I love you.” Sherlock sees the words hit John with almost physical force. He reels back a little, jaw twitching and eyes filling. “I love you,” he repeats, a little softer, a little more gentle, as earnest as he possibly can. Because they’ve been teetering on the brink of this thing for years, and it had become painfully obvious over the last few months that they were at a tipping point. This had to happen. Now it has. Now they can see where they end up. The tears in John’s eyes spill over, and he wipes at them angrily. “Do you even know what that means?”  

The Cost of a Wish by slashscribe (E, 102,493 w., 12 Ch. || xxxHolic Fusion || Spirits / Ghosts and Magic, Love Confessions, Slow Burn, Soul Mates / Fated Lovers, Adventure, Immortal Sherlock, Powerful John, POV John, Frottage, Wish Granting, Angst with Happy Ending, Nightmares) – John has been plagued by a secret his entire life that has made him feel hopeless until he meets a mysterious, seemingly omniscient man named Sherlock Holmes who owns a wish-granting shop. Their meeting sets off a series of inevitable events that will change the course of both of their lives forever.

Maintenance and Repair by patternofdefiance (E, 106,650 w., 71 Ch. || Future AU, Augmentation || Augmented John, Depression, Body Modification, Slow Burn, Worldbuilding, Sci-Fi, Self-Care, Body Dysmorphia) – John wants to explain the rush of sensation and data, which is just another form of sensation (or is it the other way around?). John wants to say: Augmentation circuits report temperature, pressure, various forms of quantitative input. Sudden changes are reported as pain, since sudden changes are dangerous, and pain is the quickest way to encourage reflexive extraction. But all John can manage is, “Nng.” Because this sudden touch is not reporting as pain. Part 2 of STATIC

A Study in Winning by Jupiter_Ash (E, 106,658 w., 11 Ch. || Tennis AU || John POV, Dirty Talk, Mutual Pining, Misunderstandings, Happy Ending, Sherlock Speaks French, Switchlock, Wimbledon) – John and Sherlock are professional tennis players and it’s Wimbledon. One is a broken almost was at the end of his career, the other an arrogant rising star tipped for greatness. It should have been a straightforward tournament. It really should have been. How were they to know that a chance encounter would change everything? Part 1 of Tennis

Shatter the Darkness (Let the Light In) by MojoFlower (E, 109,683 w., 23 Ch. || PODFIC AVAILABLE || Genie/Djinn AU || Magical Realism, Kidnapping, Genie Sherlock, First Kiss / Time, Case Fic, H/C, Angst, Clubs, John Whump, Mild DubCon, Hand / Blow Jobs, Torture) – Fairy tales are for those who remember how to dream; not John Watson, broken and hiding from his bleak future in a beige bedsit. But then he discovers a lamp and finds himself in the dangerous riptide of an enigmatic man whose very existence is unbelievable, murder charges against his sister, and the growing pains of feeling alive once more.

The Burning Heart by May_Shepard (M, 119,150 w., 21 Ch. || Canon Divergence, Post-TRF, John’s Sexuality, S3 Rewrite, Pining, Angst with a Happy Ending, POV John Watson, John’s Gay) – When Sherlock dies, John Watson feels like his life is over too. He’s completely shut down, until Mark Morstan, a new nurse at John’s medical clinic, catches his attention, and helps him uncover the long buried truth of his attraction to men. Although he’s certain he’ll never get over Sherlock, John plans to move on, and build a new life with Mark, unaware that Sherlock is not quite as dead as he appears, and that Mark is hiding secrets of his own.

The Adventure of the Silver Scars by tangledblue (NR [M], 142,458 w., 41 Ch. || S3 Fix-It, Post-HLV/ Post-TAB / Canon Compliant, Case Fic, No Baby, Angst, Humour, UST, Slow Burn, Angry John, Reconciliation, Not Nice Mary / Leaving Mary, Dependent Sherlock, Pining Sherlock, Caretaker John, Fist Fights, It’s An Experiment, Virgin Sherlock, Dancing, Drugging, John Whump, Pet Names, Sherlock’s Mind Palace, Scars) – It’s been thirteen months since Mary shot Sherlock and John finds he’s still pissed off about it. Sherlock had thought everything was settled: John and Mary, domestic bliss. But when John turns up at Baker Street with suitcases, the world’s only consulting detective might not be prepared for the consequences. A new case. Some old scores to settle. Certain danger. Concertos, waltzes, and whisky.

Proving A Point by elldotsee & J_Baillier (E, 186,270 w., 28 Ch. || Me Before You Fusion || Medical Realism, Insecure John, Depression, Romance, Angst, POV John, Sherlock Whump, Serious Illness, Doctor John, Injury Recovery, Assisted Suicide, Sherlock’s Violin, Awkward Sexual Situations, Alcoholism, Drugs, Idiots in Love, Slow Burn, Body Image, Friends to Lovers, Hurt / Comfort, Pain, Big Brother Mycroft, Intimacy, Anxiety, PTSD, Family Issues, Psychological Trauma, John Whump, Case Fics, Loneliness, Pain) – Invalided home from Afghanistan, running out of funds and convinced that his surgical career is over, John Watson accepts a mysterious job offer to provide care and companionship for a disabled person. Little does he know how much hangs in the balance of his performance as he settles into his new life at Musgrave Court.

Hello! Feel free not to answer this question if it is in any way too much, but I've been wondering about something concerning the "western" mdzs fandom. Lately, i have seen multiple pieces of fanart that use what is clearly Christian symbolism and sometimes downright iconography in depicting the characters. I'm a european fan, but it still makes me vaguely uneasy. I know that these things are rarely easy to judge. I'm definitely not qualified to do so and was wondering if you have an opinion

Hi there! thank you for your patience and for the interesting question! I’ve been thinking about this since i received this ask because it?? idk, it’s difficult to answer, but it also touches on a a few things that I find really interesting.

the short answer: it’s complicated, and I also don’t know what I feel!

the longer answer:

i think that this question is particularly difficult to answer because of how deeply christianity is tied to the western art and literary canon. so much of what is considered great european art is christian art! If you just take a quick glance at wiki’s page on european art, you can see how inextricable christianity is, and how integral christian iconography has been in the history of european art. If you study western art history, you must study christian imagery and christian canon because it’s just impossible to engage with a lot of the work in a meaningful way without it. that’s just the reality of it.

Christianity, of course, also has a strong presence in european colonial and imperialist history and has been used as a tool of oppression against many peoples and nations, including China. I would be lying if I said I had a good relationship with Christianity--I have always faced it with a deep suspicion because I think it did some very, very real damage, not just to chinese people, but to many cultures and peoples around the world, and that’s not a trauma that can be easily brushed aside or reconciled with.

here is what is also true: my maternal grandmother was devoutly christian. my aunt is devoutly christian. my uncle’s family is devoutly christian. my favorite cousin is devoutly christian. when I attended my cousin’s wedding, he had both a traditional chinese ceremony (tea-serving, bride-fetching, ABSURDLY long reception), and also a christian ceremony in a church. christianity is a really important part of his life, just as it’s important to my uncle’s family, and as it was important to my grandmother. I don’t think it’s my right or place to label them as simply victims of a colonialist past--they’re real people with real agency and choice and beliefs. I think it would be disrespectful to act otherwise.

that doesn’t negate the harm that christianity has done--but it does complicate things. is it inherently a bad thing that they’re christian, due to the political history of the religion and their heritage? that’s... not a question I’m really interested in debating. the fact remains that they are christian, that they are chinese, and that they chose their religion.

so! now here we are with mdzs, a chinese piece of media that is clearly Not christian, but is quickly gaining popularity in euroamerican spaces. people are making fanart! people are making A LOT of fanart! and art is, by nature, intertextual. a lot of the most interesting art (imo) makes deliberate use of that! for example (cyan art nerdery time let’s go), Nikolai Ge’s What is Truth?

I love this painting! it’s notable for its unusual depiction of christ: shabby, unkempt, slouched, in shadow. if you look for other paintings of this scene, christ is usually dignified, elegant, beautiful, melancholy -- there’s something very humanizing and humbling about this depiction, specifically because of the way it contrasts the standard. it’s powerful because we as the audience are expected to be familiar with the iconography of this scene, the story behind it, and its place in the christian canon.

you can make similar comments about Gentileschi’s Judith vs Caravaggio’s, or Manet’s Olympia vs Ingres’ Grande Odalisque -- all of these paintings exist in relation to one another and also to the larger canon (i’m simplifying: you can’t just compare one to another directly in isolation etc etc.) Gauguin’s Jacob Wrestling the Angel is also especially interesting because of how its portrayal of its content contrasts to its predecessors!

or! because i’m really In It now, one of my favorite paintings in the world, Joan of Arc by Bastien-Lepage:

I just!!! gosh, idk, what’s most interesting to me in this painting is the way it seems to hover between movements: the hyperrealistic, neoclassical-esque take on the figure, but the impressionistic brushstrokes of the background AAA gosh i love it so much. it’s really beautiful if you ever get a chance to see it in person at the Met. i’m putting this here both because i personally just really like it and also as an example of how intertextuality isn’t just about content, but also about visual elements.

anyways, sorry most of this is 19thc, that was what i studied the most lol.

(a final note: if you want to read about a really interesting painting that sits in the midst of just a Lot of different works, check out the wiki page on Géricault’s Raft of the Medusa, specifically under “Interpretation and Legacy”)

this is all a really long-winded way of getting to this point: if you want to make allusory fanart of mdzs with regards to western art canon, you kind of have to go out of your way to avoid christian imagery/iconography, especially when that’s the lens through which a lot of really intensely emotional art was created. many of my favorite paintings are christian: Vrubel’s Demon, Seated, Perov’s Christ in the Garden of Gethsemane, Ge’s Conscience, Judas, Bastien-Lepage’s Joan of Arc, as shown above. that’s not to say there ISN’T plenty of non-christian art -- but christian art is very prominent and impossible to ignore.

so here are a few pieces of fanwork that I’ve seen that are very clearly making allusions to christian imagery:

1. this beautiful pietà nielan by tinynarwhals on twitter

2. a lovely jiang yanli as our lady of tears by @satuwilhelmiina

3. my second gif in this set here, which I will also show below:

i’m only going to talk about mine in depth because well, i know exactly what i was thinking when I put this gif together while I can’t speak for anyone else.

first: the two lines of the song that I wanted to use for lan xichen were “baby, I’m a fighter//in the robes of a saint” because i felt that they fit him very well. of course, just the word “saint” evokes catholicism, even if it’s become so entwined in the english language that it’s taken on a secular meaning as well.

second: when I saw this scene, my immediate thought was just “PIETÀ!!” because LOOK at that composition! lan xichen’s lap! nie mingjue lying perpendicular to it! the light blue/white/silver of lan xichen in contrast to the darker robes of both nie mingjue and meng yao! not just that, but the very cool triangular structure of the image is intensely striking, and Yes, i Do love that it simultaneously ALSO evokes deposition of christ vibes. (baxia as the cross.... god..... is that not the Tightest Shit) does this make meng yao joseph of arimathea? does it make him john the evangelist? both options are equally interesting, I think when viewed in relation to his roles in the story: as a spy in qishan and as nmj’s deputy. maybe he’s both.

anyways, did I do this intentionally? yes, though a lot of it is happy accident/discovered after the fact since I’m relying on CQL to have provided the image. i wanted to draw attention to all of that by superimposing that line over that image! (to be clear: I didn’t expect it to all come through because like. that’s ridiculous. the layers you’d have to go through to get from “pretty lxc gifset” --> “if we cast nie mingjue as a christ figure, what is the interesting commentary we could do on meng yao by casting him as either joseph of arimathea or john the evangelist” are like. ok ur gonna need to work a little harder than slapping a song lyric over an image to achieve an effect like that.)

the point of this is: yes, it’s intentionally christian, yes I did this, yes I am casting these very much non-christian characters into christian roles for this specific visual work -- is this okay?

I obviously thought it was because I made it. but would I feel the same about a work that was written doing something similar? probably not. I think that would make me quite uncomfortable in most situations. but there’s something about visual art that makes it slightly different that I have trouble articulating -- something about how the visual often seeks to illustrate parallels or ideas, whereas writing characters as a different religion can fundamentally change who those characters are, the world they inhabit, etc. in a more... invasive?? way. that’s still not quite right, but I genuinely am not sure how to explain what i mean! I hope the general idea comes across. ><

something else to think about is like, what are pieces I find acceptable and why?

what makes the pieces above that reference christian imagery different than this stunning nieyao piece by @cyandemise after klimt’s kiss? (warnings for like, dead bodies and vague body horror) like i ADORE this piece (PLEASE click for fullview it’s worth it for the quality). it’s incredibly beautiful and evocative and very obviously references a piece of european art. I have no problem with it. why? because it isn’t explicitly christian? it’s still deeply entrenched in western canon. klimt certainly made other pieces that were explicit christian references.

another piece I’d like to invite you all to consider is this incredible naruto fanart of sakura and ino beheading sasuke after caravaggio’s judith. (warnings for beheading, blood, etc. you know.) i also adore this piece! i think it’s very good both technically and conceptually. the reference that it makes has a real power when viewed in relation to the roles of the characters in their original story -- seeing the women that sasuke fucked over and treated so disrespectfully collaborating in his demise Says Something. this is also!! an explicitly christian reference made with non-christian japanese characters. is this okay? does it evoke the same discomfort as seeing mdzs characters being drawn with christian iconography? why or why not?

the point is, I don’t think there’s a neat answer, but I do think there are a lot of interesting issues surrounding cultural erasure/hegemony that are raised by this question. i don’t think there are easy resolutions to any of them either, but I think that it’s a good opportunity to reexamine our own discomfort and try and see where it comes from. all emotions are valid but not all are justified etc. so I try to ask, is it fair? do i apply my criticisms and standards equally? why or why not? does it do real harm, or do i just not like it? what makes one work okay and another not?

i’ve felt that there’s a real danger with the kind of like, deep moral scrutiny of recent years in quashing interesting work in the name of fear. this morality tends to be expressed in black and white, good and bad dichotomies that i really do think stymies meaningful conversation and progress. you’ll often see angry takes that boil down to things like, “POC good, queer people good, white people bad, christianity bad” etc. without a serious critical examination of the actual issues at hand. I feel that these are extraordinarily harmful simplifications that can lead to an increased insularity that isn’t necessarily good for anyone. there’s a fine line between asking people to stay in their lane and cultural gatekeeping sometimes, and I think that it’s something we should be mindful of when we’re engaging in conversations about cultural erasure, appropriation etc.

PERHAPS IT IS OBVIOUS that I have no idea where that line falls LMAO since after all that rambling I have given you basically nothing. but! I hope that you found it interesting at least, and that it gives you a bit more material to think on while you figure out where you stand ahaha.

was this just an excuse to show off cool (fan)art i like? maybe ¯\_(ツ)_/¯

(ko-fi)

From the booklet which comes with the Spider-Man Trilogy Limited Edition Collection blu-ray!

This talks about the making of Spider-Man 2, here’s the bit about the first Spider-Man movie.

Click for a transcript:

THE EVOLUTION OF A SUPERHERO

“It was truly gratifying and even a bit overwhelming to witness how strongly moviegoers around the world reacted to Spider-Man,” said director Sam Raimi. “As a filmmaker, I always want people to really enjoy my movies, and on that level, Spider-Man exceeded my expectations.”

After the triumph of the first Spider-Man, Raimi knew he had a responsibility to follow it up with a story that justified the fans’ enthusiasm and their built-in expectations for the next adventure. “There’s great interest in this movie, following the success of the first one,” he acknowledged. “For the kids who come to see it, Spider-Man is their hero. So while the job of making this movie is to provide entertainment, it is also to create a story that shows them a moral character, someone who has to make tough choices and the right decisions in order to continue to be worthy of their admiration.”

The wealth of detailed stories and characters in the Spider-Man comic book series provided a mother lode from which to cull the plot for Spider-Man 2. “The Marvel artists and writers have done a great job through the decades – I know, because I’m a big fan myself – so there’s a tremendous amount of good material to draw upon,” noted Raimi. “Finding a storyline wasn’t that difficult. It was finding the right story, the one that made for a proper follow-up installment, and provided a logical progression for the audience and a logical growth for the character. For the, I relied on the terrific storytelling instincts of my very fine producers Laura Ziskin and Avi Arad. Together with the contributions of our great writers, we found a plot line with ideas that reverberated.”

With the storyline of the new adventure locked, Arad looked forward to the reunion of the Spider-Man filmmaking family, not the least of which was Tobey Maguire. “Tobey was so happy to be Spider-Man again and to be Peter Parker,” said Arad. “As an actor Tobey relished deepening the audience’s understanding of who Peter Parker is and who is becoming,” added Ziskin. “Peter’s a man who is transition, someone who’s struggling with the choices he is making.”

Maguire added, “The theme ‘with great power comes great responsibility’ is never lost on Peter. It’s difficult to be a young man and have to sacrifice as much as he has – presumably for the greater good – and to neglect his personal desires. The struggle continues here and it’s quite complicated, because Peter’s searching desperately for a way to achieve some balance in his life.”

 As Peter becomes more immersed in his dilemma, it creates a rift between him and the important people in his life. Though his love for MJ is stronger than ever, she has moved on with her life, pursuing an acting career, living in Manhattan and moving in new social circles. “In this film, Peter is off in his own world and not a reliable presence in MJ’s life,” explained Kirsten Dunst. “She still loves him a great deal, so it has become painful for her to be around him. Though they’ve both done a lot of growing up in the past two years, at the same time, they’ve drifted apart.”

Then, as if Peter’s life were not complicated enough, the situation moves from bad to worse – much worse. Enter Doc Ock.

Dr. Otto Octavius (Alfred Molina) is a brilliant scientist whose life work has been dedicated to experiments utilizing fusion as a new source of energy. Charming, vibrant and energetic, Dr. Octavius is introduced to Peter by Harry Osborn.

“This movie is the story of Peter’s life, which is out of balance, and Dr. Octavius who, for Peter, represents someone who has achieved that balance,” explained Raimi.

“Peter sees Octavius as somebody who has mastered both his gifts – in this case science, through which he can serve the good of mankind, while also maintaining a personal life, a loving relationship with his wife Rosie (Donna Murphy). This leads Peter to the conclusion that it’s possible to have both.” Dr. Octavius, with the support of his wife, has been working diligently in his home laboratory, trying to perfect his groundbreaking fusion theory. But when a demonstration of his creation goes horribly wrong, Dr. Octavius undergoes a terrible transformation – evolving into the powerful, multi-tentacled Doc Ock.

In Spider-Man 2, the talented and versatile Molina brings this powerful adversary to terrifying life. “He is a formidable enemy for Spider-Man,” said Arad. “He can climb walls faster and better than Spider-Man. In fact, there’s nothing Spider-Man can do that Ock cannot counteract.”

Doc Ock, one of the most popular villains of the Spider-Man comic book series, first appeared in “The Amazing Spider-Man #3,” which was published in 1963. He immediately became one of Spider-Man’s most formidable foes. According to comic lore, each of Ock’s limbs can move at speeds of up to 90 feet per second and strike with the force of a jackhammer. The extremely powerful tentacles enable him to lift a vehicle off the ground, pulverize bricks, claw through concrete walls and hover above his victims by rising into the air.

The filmmakers were eager to attract Molina for the central role. “We needed someone who brought a palpable reality to the part, and who was also sincere, had a great sense of humor and personal warmth,” said Raimi. “Alfred is a brilliant actor, and what he’s brought so effectively to the character of Doc Ock is the sense of him as a misunderstood man who has turned into a beast.”

Molina confessed, “I’ve always been a Marvel Comic fan because their characters are so interesting. They have problems. They’re very realistic.” From him, the mechanics behind the role of Doc Ock was a true education. “It was mind-boggling, the breadth and the imagination that went into how each of my character’s actions – flying across the room, crashing through a plate glass window, smashing a taxicab – was to be executed. It’s a unique way of filming that’s not like anything most of us get to do really. It’s a very particular way of working, and absolutely fascinating.”

J.K. Simmons also returns in Spider-Man 2 as Peter’s gruff boss at the Daily Bugle, J Jonah Jameson. “I fire Peter several times in this movie. Every time I see him, I fire him,” laughed Simmons. “And then I re-hire him because there’s always some pressing need for his services.”

Principal photography on Spider-Man 2 began on April 12, 2003, in New York City, where the production spent approximately three weeks shooting at various locations in Manhattan, Queens and Brooklyn, as well as on a Yonkers stage. From ground-level street shots to rooftops high above the city, the filmmakers efficiently utilized the time they spent in New York, giving them the opportunity to expand on the city’s unique environment, which had lent such vibrancy to the first Spider-Man.

“In the first film we established New York as a character in the movie. With Spider-Man 2, we went even further,” said production designer Neil Spisak. “We used a lot more of the city, including [photographic] plates of real buildings and real streets. Improvements in technology over the past three years enabled [visual effects designer] John Dykstra and I to marry existing buildings to scenery buildings to CG buildings even better than the first time around. It’s a much more complete experience.”

“We got more of a feeling of New York in this movie,” added Ziskin. “The movie is being shot in widescreen, which is appropriate because this is a different story, so it required a different approach.”

Production began on the campus of Columbia University in uptown Manhattan, which served as the university Peter Parker attends while he struggles with the responsibilities of his academic workload and his superhero duties. The rooftop of the Hotel Intercontinental, across from the Waldorf Astoria, was the location where Spider-Man contemplates his next move, while downtown, in the Wall Street area, another rooftop served as the “launch-pad” for the Spydercam camera, as it dipped and swooped over several blocks to replicate one of Spider-Man’s high-stakes aerial journeys through the city.

“We executed one of the longest wire shots the Spydercam has ever done,” said executive producer Joseph M. Maracciolo. “The Wall Street shot was around 2,400 feet. I’m an ex New Yorker, so I didn’t find the location shoot particularly daunting. But there are always difficulties when you’re doing wire work in New York, including the placement of the cranes on the buildings, the movement of the cast, crew and equipment, and of course, the crowds.”

“It was a challenge for us to move our production to the tops of buildings, but we couldn’t have been happier, because rooftops are Spider-Man’s world and that is his view of the city as he swings through it,” noted co-producer Grant Curtis. “It was breathtaking to see the world from 70 stories up – a world unto itself. You can’t fully really appreciate the beautiful architecture of New York’s skyscrapers from ground level. We showed some of that in the first film, but we wanted to show more of Spider-Man’s vertiginous world, and I think we really captured that with this film.”

In Spider-Man 2, Doc Ock sweeps Aunt May off her feet – literally – and takes her up several stories of a tall building. Rosemary Harris performed her stunts in a variety of harnesses, but only after she had managed to talk the filmmakers into letting her give her stunt double a rest. “I was a bit miffed at first, because my wonderful stunt double was going to do a lot of these harness maneuvers,” recalled Harris. “So I asked Sam and Laura, ‘Why not let me have a go at it?’ At first they were reluctant. But I begged them to at least let me try and they finally relented.”

Returning to Los Angeles, Spider-Man 2 shot on several stages on the Sony Pictures Studios lot in Culver City. Stage 15 was home to the Daily Bugle offices, as well as Peter’s tiny apartment and Dr. Octavius’ elaborate home laboratory. On Stage 29, the Osborn mansion, where Harry Osborn now lives, was recreated. Stage 27 housed MJ’s apartment set, a giant spider web, the interior of the Planetarium, the massive clock tower set as well as various other set pieces. A series of elevated trains were built on Stage 14, where Spider-Man and Doc Ock match wits.

One of the most elaborate sets for Spider-Man 2 was the pier set, designed by Spisak and built over the course of 15 weeks on Soundstage 30. “In contrast to Dr. Octavius’ lab, which was part of his apartment – a streamlined, organized and clean space – the pier is a maniacal, decaying, decrepit space,” explained Spisak. “It follows his character development in terms of his becoming a wilder, more dangerous and more formidable adversary for Spider-Man.”

The set, approximately 60 feet wide by 120 feet long and 40 feet tall, was constructed over a water tank and enhanced by several different components, including CG/plate work and miniatures.

“Before we built the set, we created an exact ¾ scale model of it, about 7 feet long and 4 feet wide, from drawings and blueprints. The model was extremely useful to the carpenters, who could take measurements to help them construct the full-sized pier, as well as for the miniatures team, so they could ascertain the dimensions, textures and materials that were used,” explained art director Tom Wilkins. “We shot plates down in San Pedro, where we panned from a real pier to the water. In post-production a New York background was added. We also built a miniature pier – interiors and exteriors – to complete the composition on the East River.” The art department team designed a 136 foot by 40 foot-high vinyl backing to represent Ock’s view of Manhattan through a large window at the end of the pier set. Wave machines were rigged in the water to create movement under the pier.

The production then moved to the Universal backlot for two weeks of shooting. Several city streets were transformed into a variety of New York neighborhoods including the exterior of the Lyric Theatre where MJ performances in an off-Broadway production of Oscar Wilde’s The Importance of Being Earnest. Ari’s Village Deli and Bakery became the site of an extremely complex scene involving a quiet conversation between Peter and MJ, which is interrupted by Peter’s “spider sense” – and a car careening through the plate glass window, followed by the arrival of Doc Ock.

“It was a great luxury to be able to build that set from every aspect, so that we could do everything we needed for the scene,” said Spisak. “The walls were made of french plate so that when the car smashed through it, the buildings around it were protected. We were able to design what we thought it should look like visually, then as tricks, gags and stunts became clearer, we were able to add them to the set before it was completely finished.”

“The deli was a full, 360 degree set, with a kitchen, deli counters, pastries, ceiling fans and chandeliers,” added art director Steve Saklad, who worked closely with Spisak. “We dressed the exterior streets so that you could look out of the window and see the intersection of Lafayette Street and Astor Place. It required an enormous amount of signage, billboards, street dressing, trees and traffic lights.”

For Raimi,  “The diner was a complex technical scene, because it brought together so many different departments, each relying on the other to fulfil their function  and communicate with each other so that each individual shot would work. We utilized mechanical effects and the stunt department had to take an automobile, spin it and flip it through the deli window, with the prop department providing the breakaway items. What made it even more complex was that we had to fly Doc Ock in, using something we dubbed the “walk rig.”

The “walk rig” was created for Doc Ock, because the character not only moves himself, but his tentacles move him around as well. When he walks on the tentacles, they support his weight, so a device was constructed to harness him and move him through space as if the tentacles were supporting him. The visual effects department also created “virtual” tentacles where practical ones weren’t feasible.

When he was in full costume, Molina’s tentacles weighed between 75 to 100 pounds, depending upon the action required for the scene. Each of the tentacles was fully articulated. In their expanded, 13-foot length, each upper tentacle consisted of approximately 76 individual pieces Each vertabra was handmade, hand molded, sanded, individually hand painted, chromed, then painted again and assembled by hand. The entire collection of Doc Ock tentacles, bases, heads and wrists, if laid end to end, would be taller than a 20-story building.

Academy Award winning costume designer James Acheson welcomed the opportunity to further explore and improve upon the already classic Spider-Man costume for Spider-Man 2. “Creating the Spider-Man suit for the first film was a real challenge since we were designing for a kind of Cirque du Soleil acrobat, someone who had a unbelievable kinetic spiraling ability,” he said. “So the suit had to be extremely flexible. For the new installment we made several improvements, though you’d have to be a real enthusiast to spot them. The colors are slightly different, and we have made subtle changes in terms of the movement inside the costume’s hood. We also adjusted the eyepieces of Spider-Man’s mask as well as certain aspects of the spider design on the front and the back of the suit.”

For Spider-Man 2’s Doc Ock, Acheson and Raimi spent close to a year collaborating with Spisak and visual effects designer John Dykstra and working with Edge FX in what began as a series of “group think” sessions, according to Raimi. “I needed John Dykstra’s input, because it was John who was going to have to handle Doc Ock’s movements in CG, so he had to be involved in designing the character, along with Jim, who was going to determine the look of the character,” recalled Raimi. “Part of the look determined the movement, and what the arms look like began to govern how it functioned. Neil was involved because Ock had to be a part of Neil’s world in the film. A great interdependence developed among the department heads in order to achieve the complex nature and physicality of the character,”

“The challenge with Doc Ock is to visually create a believable world, focusing on a man with four tentacles growing out of his back,” said Spisak. “Now, that can be a tough swallow. So, in creating Ock and his world, we needed to design and play it so that everything was credible. Ove the course of several months, it became clear what was physically possible for Ock and what would have to be achieved via CG. We conceptualized the look and only then did we deal with the physical limitations, rather than letting them stop us at the beginning.”

Added Dykstra: “It was a huge challenge to make Doc Ock come to life. His tentacles had to meet several criteria. They had to be appropriate with regard to the world Neil had created for Spider-Man and Ock. The components of the costume – the texture and the weight – had to bed something an actor could actually wear. Since using the tentacles wasn’t always practical, we had to create ‘virtual’ versions with Edge FX. In the end, integrating the tentacles into the story was a marriage of all those components and the collaboration of everyone involved.”

Spisak and his team designed and dressed more than 100 sets and locations for Spider-Man 2. “There are probably 10 enormous sets, while some are simply street corners. We covered eleven blocks in downtown Los Angeles and used many rooftops, streets and buildings in New Yorj City,” noted Spisak. “This is certainly the biggest film I’ve ever done.”

Spisak worked with director of photography Bill Pope on the color palette for the sets, and they pored over research and location pictures to inspire them for the story’s lighting requirements. “In the first film, Peter Parker was younger, less aware and just beginning to discover his new powers. That was reflected in the overall look of the movie,” said Spisak. “With this film, he has been Spider-Man for a while, so his frustration over how to deal with his life versus his duty is more complex. That’s reflected in the color palette and the tone of this film – it’s a little more sophisticated, more complicated and deeper, in terms of color and look.”

Among the tools Dykstra and his team utilized to achieve the shots presenting Spider-Man’s point-of-view, while he is soaring over the city, was Earl Wiggins’ Spydercam. During the New York portion of the shoot, the specialized camera was launched using a remote-controlled computer suspended on a cable from a Wall Street-area rooftop more than 30 stories in the air, which recorded what DSpider-Man saw as he swung over the city. The camera traveled along a line suspended over four blocks, dipping down into the street and over the tops of several blocks of vehicles and background art that had been placed for the sequence.

“We were dropping the camera and moving it up and down over the course of the shot to follow Spider-Man’s trajectory as he swings through the arch, releasing a web, and shooting a new web as he swings into the traffic below,” explained Dykstra.

“One of the successes of the first film was the empathy the audience had for the main character. He was very sympathetic,” Dykstra said, “This movie explores the character in greater depth, and in terms of the visual effects, we’re hoping to give audiences an event more intimate sense of what it’s like to be Spider-Man. In the first film, we get to fly with him. The idea here is to make the flying sequences poetic enough and evocative enough that you will get an even stronger sense of what it’s like to fly like Spider-Man.”

That approach is reinforced by Raimi, said Ziskin, “One of the really striking aspects about Sam is that he is the audience for this film. He makes the movie for the audience, identifies with the characters and is always aware of the rhythms and how each sequence will play – both to him and the other members of the audience. That makes him the perfect director for this kind of material. Also, he’s at a point in his directing career where he’s at the top of his game. He is brilliant technically, but also works extraordinarily well with the actors. Ultimately, his personal connection to Peter Parker and the other main characters is a great gift to the audience.”

“These are tough, scary times and during such periods we look to heroic stories to give us hope,” noted Raimi. “Maybe that has something to do with why the audience was so taken with Spider-Man when he first appeared two years ago. With Spider-Man 2, I truly hope that audiences will feel that they’re seeing a love story, that they’re participating in another episode of Peter Parker’s life and are seeing the challenges and conflicts he faces and how he overcomes them. I hope it will leave them feeling uplifted and exhilarated.”

ok hi guys. it’s been a while. i wrote this analysis back when Mag 187 aka Checking Out aka The One Where Helen Dies first came out and literally ever since i’ve posted it i’ve wanted to redo it because it feels. lacking. listen if there’s one thing i hate it’s incomplete media analysis and i must right my wrongs lest i be forced to look upon myself and crumble from within. that being said, i’ve been putting off this rewrite for a long long time bc Life Gets Weird. tldr this was written over the course of several months so i apologize for inconsistent quality. anyways let’s get into it!

part one: recap!

it’s been a while! let’s just go over what happened. the scene i wanna focus on in particular is this one:

VICTIM

You’ve got to help me!

ARCHIVIST

[Angrily] Don’t touch me!

[THE ARCHIVIST PULLS AWAY, AS THE VICTIM FALLS AND IS CRYING]

HELEN

Oopsie. Not so easy, is it? Keeping up your humanity?

(187).

that being said i’m gonna be kind of all over the place but! i do think that’s a good jumping off point.

part two (part one): disparaging everyone’s problematic fav

in my original post my point was that in reflexively reacting to a victim with disgust and anger jon inadvertently reveals the nature of his dedication to helping victims as ego driven, especially because this line is directly preceded by him asserting his moral high ground over helen as being a “protector” as opposed to her indulgence in destruction. what i’m saying is homeboy has a savior complex. honestly there’s a lot of evidence to support that claim but i think the most obvious example would be jordan kennedy. like.

JORDAN

…Yeah. But wrong. Sick.

What did you do to me?

ARCHIVIST

I helped you.

JORDAN

Helped me? I don’t feel right, I, I just – Ah! No I don’t – argh! I don’t want this!

(184). to be clear it’s an action with a good intent! he just wants to help someone who once helped him! BUT it also demonstrates a lack of conscious empathy. i feel like i don’t have to argue this since jordan Literally vocally said he didn’t want this several times throughout the scene but the point remains that while jon’s intent is good the actual application of his saviourism removes the autonomy of those he affects. i’m not gonna touch on the “is it objectively immoral to become an oppressor for the sake of self preservation while existing within an extreme system in which all are oppressed regardless of your individual status” query mostly because i do not have the brainpower available rn to come to my own conclusion about systems of power and the way they’re represented in tma (which is a whole other rant tbh) but jon DOES rob jordan of the ability to come to his own conclusion in this debate and make his own choice, thereby removing his autonomy. you know. autonomy. free will. the thing that is central to jon’s internal conflicts. huh.

anyways i NEED to stress that i’m not saying that he’s the same as jonah or the web or even annabelle (although annabelle is a victim. no i don’t take constructive criticism). i just want to point out that his actions reflect a lack of understanding. while he’s able to empathize with the pain others experience and is eternally hyper- aware of it he is unable to view that pain through any lense besides his own and uses it in his cycle of self pity and blame, minimizing it at any point possible in the quickest way and Not prioritizing the wishes of the victim but instead the efficiency in decreasing his own guilt. anyways back to 187- both the victim and jordan are treated as props by jon (and helen) and once they serve their purpose in reaffirming the two’s sense of self are cast aside and ignored. ok from here i’m gonna get conceptual and self indulgent bc it’s my analysis and i get to bring up vague convoluted philosophy.

part two (part two): part two

let’s talk about the distortion for a sec. i refuse to believe helen and michael were both completely gone and it was just the distortion piloting their visage, mostly because… like that’s not what the text would indicate

HELEN

Michael isn’t me. Not now.

ARCHIVIST

What happened?

HELEN

He got… distracted. Let feelings that shouldn’t have been his overwhelm me.

Lost my way.

(101). it’s heavily implied that there was SOME remainder of michael in there, even if the being wasn’t him. maybe i’m way off base here but the way i interpreted the implosion of michael was that it was driven by his inability to maintain the repressed resentment and anger he had for gertrude. like it’s pretty clear that some warped version of michael’s feelings were trapped inside of the distortion and i’d go as far as to say that they were integral to his formation as it. i’m gonna operate on the assumption that michael and helen are two separate beings here for a sec even though we know they’re not. As opposed to michael’s resentment for the archivist, helen actively sought refuge in the institute and from the small amount we saw of her Pre-Distortion it seems like her paranoia is internally directed. i think you could even say that while michael was caught in an eternal battle with the concept of connection, helen is caught in a battle with the concept of self. the point is that she thinks of jon in a less “The Archivist” sense and more as just That Guy who she had an intense connection with that one time.

ARCHIVIST

So… S-so what do you want?

HELEN

I don’t know. Helen liked you, so… there’s a lot to consider. But I will help you leave.

(101). i would also like to point out that helen’s emergence as the distortion coincides with jon coming to terms with his identity as the archivist. parallels, baby! SO helen is a newly formed being that is grappling with the concept of her own existence and jon is reevaluating his understanding of identity as he comes to terms with the fact that he is turning into the thing he’s fighting against and this is all happening at the same time. live laugh love. stay with me here, i promise i’ll get back to 187. Throughout seasons 4 and 5 helen attempts to validate her own moral decisions via jon who she once saw herself in. conversely, jon sees both an image of what he could become AND arguably a representation of his past failure in her.

ARCHIVIST

It did. I think… I mean, you remember how I was back then, how paranoid. The Not!Sasha was there, and I could sense something wasn’t right, but I just couldn’t place it. It left me a suspicious wreck. Then when Helen Richardson came in, it seemed like… she was in the same place I was, but worse, further along. I thought, maybe if I could help her, that would mean… maybe I wasn’t beyond help?

(188). helen and jon lie at opposite ends of the same spectrum. both of them derive pleasure from the suffering of others

HELEN

Oh, John! This existence can be wonderful, if you just let it.

ARCHIVIST

[Sadly] I know.

(187). needless to say that a LOT of jon's arc and the themes surrounding him focus on the concept of autonomy and addiction and i think it'd be fair to say that this component is an aspect of that. repressing these qualities is both a way of reaffirming his control and also just.. him trying to be what he perceives as Good, and season 5 is the point at which this comes to the forefront of his character- particularly the line between what is intrinsic and what he truly has control over. a battle of the concept of the self, if you will. while the two share similar traits, jon is intensely moralistic while helen indulges in a twisted sense of hedonism and both are fueled by an inability to expand their viewpoint. helen fully immerses herself within these qualities and intentionally blinds herself to any concepts of morality (indulgence), and jon actively pushes back on this as hard as he can and follows black and white moral framework (repression). this means that in order for their relationship to function he must either accept her, choosing to let go in his personal battle with autonomy OR she must break out of her worldview and conform to standards of human morality which goes against her own nature.

part three: questions i do not have the answer to

so. what does it all mean. WELL. 187 is the boiling point of all this tension. we know that helen relies on jon to validate her sense of self and we know that jon sees himself in helen, both past and present

HELEN

But that doesn’t make any sense. You barely met her. You had half an hour together, and she spent most of that ranting about mazes! She was positively delirious with paranoia!

ARCHIVIST

True. But as you’ll recall, I was pretty paranoid myself at that point.

HELEN

So what? You saw yourself in her? A sad reflection? A possible future?

(187). I’d argue that 187 is demonstrative of jon’s inability to either fall into complete indulgence in intrinsic values that lack moral validity vs. maintain and image of self that does not conflict with the values he attempts to uphold in order to find internal satisfaction and yes both of those concepts are inherently egocentric as he bases his moral judgement on what he can justify to himself instead of what can be calculated via empathy. however. paired with the alternative (helen). is that BAD. is it inherently selfish to do what you perceive as good in order to feed your own savior complex? and if so, is it inherently selfish to indulge in destructive qualities as to not delude yourself? is honesty vs deception a black and white question? if not, where does helen even fall? in not deluding herself does she achieve a moral high ground? IS she deluding herself by denying the potential to be facetiously benevolent at the detriment of both her personal enjoyment and her honesty? does helen even posses the capability to repress her violent qualities? if she doesn't, does she have any autonomy? if she and jon are both inherently selfish and intentionally resistant to introspection, what makes them different? i do not have answers but i do think the text is meant to invoke these questions. i mean,

MICHAEL (STATEMENT)

There was a great evil, she said, and Michael was going to help her fight it. Am I evil, Archivist? Is a thing evil when it simply obeys its own nature? When it embodies its nature? When that nature is created by those which revile it? Perhaps Gertrude believed so. Michael certainly did. He believed everything she told him.

(101).

part 5: conclusion

so once again. what does it all mean. well! even post helen’s death jon continues to fight for autonomy and preserve his moral worldview so. i think that probably indicates something good.

MARTIN

Huh. She couldn’t help what she was, I guess.

ARCHIVIST

She didn’t even try.

(188). i honestly don’t have a thesis i just find it incredibly interesting how the themes surrounding these two intersect and play off of each other. anyways looping back to 187 i do think in a broad sense jon killing helen is representative of him choosing to stick by his convictions and keep fighting. i don’t have any good way to end this but thanks for sticking around during my self indulgent rambling!

Osblaineweek2021, Day 2: Prose

I love book quotes. Looking at quotes is one of my favorite ways to to inspire myself to write more fic.

Here’s a small collection of book quotes (and recs!) of where I’ve “found” June and Nick.

This post contains spoilers for the following books/series:

- Lover Mine by JR Ward

- The Wrath and The Dawn duology by Renée Ahdieh

- A Court of Thorns and Roses series by Sarah J. Maas

Lover Mine by J.R. Ward

Summary:

John Matthew has come a long way since he was found living among humans, his vampire nature unknown to himself and to those around him. After he was taken in by the Brotherhood, no one could guess what his true history was- or his true identity. Indeed, the fallen Brother Darius has returned, but with a different face and a very different destiny. As a vicious personal vendetta takes John into the heart of the war, he will need to call up on both who he is now and who he once was in order to face off against evil incarnate. Xhex, a symphath assassin, has long steeled herself against the attraction between her and John Matthew. Having already lost one lover to madness, she will not allow the male of worth to fall prey to the darkness of her twisted life. When fate intervenes, however, the two discover that love, like destiny, is inevitable between soul mates.

It's basically a paranormal love story between two warriors. He's really young (although he's actually a reincarnation of a very old vampire warrior, but he doesn't know that), and she's like 300 years older than him. In this book, she's been raped and abused by a guy who also used to bully him. She escapes, but he saves her life. She's hungry for revenge and wants to die after achieving that goal, but of course eventually changes her mind. In the end he actually serves her rapist to her on a silver platter so that she can kill him (sound like anyone we know?). He literally holds the guy down while she kills him.

They're my ultimate favorite ship in this series, and IMO their relationship eventually develops into one of the strongest ones. This series is a bit of a hit-or-miss for most people, because the language and the writing style are pretty ridiculous in all seriousness. If you decide to read this, I recommend starting the series from the beginning because John and Xhex meet for the first time several books before this one, LOL.

Here are some of the quotes that make me think of Nick and June:

“Besides, the story of the two of them was written in the language of collision; they were ever crashing into each other and ricocheting away—only to find themselves pulled back into another impact.” ― J.R. Ward, Lover Mine

“As his ears rang and his heart broke for her, he stayed strong against the gale force she let loose. After all, there was a reason why here and hear were seperated by so little and sounded one like the other. Bearing witness to her, he heard her and was there for her because that was all you could do during a fall apart. But God, it pained him to see how she suffered.” ― J.R. Ward, Lover Mine

“...the only thing that had tethered her to the earth had been him and it was strange, but she felt welded to him on some core level now. He had seen her at her absolute worst, at her weakest and most insane, and he hadn't looked away. He hadn't judged and he hadn't been burned. It was as if in the heat of her meltdown they had melted together. This was more than emotion. It was a matter of soul.” ― J.R. Ward, Lover Mine

The Wrath and the Dawn duology by Renée Ahdieh

Summary:

One Life to One Dawn. In a land ruled by a murderous boy-king, each dawn brings heartache to a new family. Khalid, the eighteen-year-old Caliph of Khorasan, is a monster. Each night he takes a new bride only to have a silk cord wrapped around her throat come morning. When sixteen-year-old Shahrzad's dearest friend falls victim to Khalid, Shahrzad vows vengeance and volunteers to be his next bride. Shahrzad is determined not only to stay alive, but to end the caliph's reign of terror once and for all. Night after night, Shahrzad beguiles Khalid, weaving stories that enchant, ensuring her survival, though she knows each dawn could be her last. But something she never expected begins to happen: Khalid is nothing like what she'd imagined him to be. This monster is a boy with a tormented heart. Incredibly, Shahrzad finds herself falling in love. How is this possible? It's an unforgivable betrayal. Still, Shahrzad has come to understand all is not as it seems in this palace of marble and stone. She resolves to uncover whatever secrets lurk and, despite her love, be ready to take Khalid's life as retribution for the many lives he's stolen. Can their love survive this world of stories and secrets?

This is a young adult fantasy romance, and basically, Khalid is a lot like Nick. He’s made mistakes that he needs to own, but at the same time he’s forced to commit atrocities he doesn’t want to do. He hates himself and doesn’t believe himself to be worthy of love, and yet he falls in love with Shazi. He's viewed as the villain of the story by everyone aside from Shazi and a few other characters until almost the end of the 2nd book.

“I love you, a thousand times over. And I will never apologize for it.”

―Renee Ahdieh, The Wrath and the Dawn

“It’s a fitting punishment for a monster. to want something so much—to hold it in your arms — and know beyond a doubt you will never deserve it.”

― Renee Ahdieh, The Wrath and the Dawn

“When I was a boy, my mother would tell me that one of the best things in life is the knowledge that our story isn't over yet. Our story may have come to a close, but your story is still yet to be told.

Make it a story worthy of you”

― Renee Ahdieh, The Wrath and the Dawn

“In that moment of perfect balance, she understood. This peace? These worries silenced without effort? It was because they were two parts of a whole. He did not belong to her. And she did not belong to him. It was never about belonging to someone. It was about belonging together.”

― Renee Ahdieh, The Rose & the Dagger

“A boy who'd thrived in the shadows.

Now he had to live in the light.

To live . . . fiercely.

To fight for every breath.”

― Renee Ahdieh, The Rose & the Dagger

A Court of Thorns and Roses by Sarah J. Maas

Summaries:

Book 1

Feyre's survival rests upon her ability to hunt and kill – the forest where she lives is a cold, bleak place in the long winter months. So when she spots a deer in the forest being pursued by a wolf, she cannot resist fighting it for the flesh. But to do so, she must kill the predator and killing something so precious comes at a price ... Dragged to a magical kingdom for the murder of a faerie, Feyre discovers that her captor, his face obscured by a jewelled mask, is hiding far more than his piercing green eyes would suggest. Feyre's presence at the court is closely guarded, and as she begins to learn why, her feelings for him turn from hostility to passion and the faerie lands become an even more dangerous place. Feyre must fight to break an ancient curse, or she will lose him forever.

Book 2

Feyre survived Amarantha's clutches to return to the Spring Court—but at a steep cost. Though she now has the powers of the High Fae, her heart remains human, and it can't forget the terrible deeds she performed to save Tamlin's people. Nor has Feyre forgotten her bargain with Rhysand, High Lord of the feared Night Court. As Feyre navigates its dark web of politics, passion, and dazzling power, a greater evil looms—and she might be key to stopping it. But only if she can harness her harrowing gifts, heal her fractured soul, and decide how she wishes to shape her future—and the future of a world cleaved in two. With more than a million copies sold of her beloved Throne of Glass series, Sarah J. Maas's masterful storytelling brings this second book in her seductive and action-packed series to new heights.

Fantasy romance with explicit sex scenes, and book 2 is a lot better than book 1. Our main character Feyre falls for a really boring fae guy, but also meets the hottest guy she’s ever known. The first guy of course isn't the real love interest (this is a twist this author loves to do). They all end up as prisoners, and the 2nd guy saves her life when the 1st one is totally useless. He also makes her hate him as he does it because he has to. After getting out, she tries to make her old relationship work, but it doesn’t, and guess who swoops in?

I do see some Nick in Rhysand (in addition to his role in the love triangle). They’re both traumatized and prefer to keep a lot of their feelings to themselves. I also see some of the same selflessness in both of them. Rhysand wants Feyre to choose him because she loves him, but he’s willing to accept that she may not, and doesn’t tell her that they’re pretty much destined to be together (it’s a supernatural thing, and he will suffer a lot if she decides she doesn’t want him).

“Everything I love has always had a tendency to be taken from me.”

―Sarah J. Maas, A Court of Thorns and Roses

“It took me a long while to realize that Rhysand, whether he knew it or not, had effectively kept me from shattering completely.”

― Sarah J. Maas, A Court of Thorns and Roses

“Regardless of his motives or his methods, Rhysand was keeping me alive. And had done so even before I set foot Under the Mountain.”

― Sarah J. Maas, A Court of Thorns and Roses

“Because," he went on, his eyes locked with mine, "I didn't want you to fight alone. Or die alone."

― Sarah J. Maas, A Court of Thorns and Roses

“He thinks he'll be remembered as the villain in the story. But I forgot to tell him that the villain is usually the person who locks up the maiden and throws away the key. He was the one who let me out.”

― Sarah J. Maas, A Court of Mist and Fury

“And I wondered if love was too weak a word for what he felt, what he’d done for me. For what I felt for him.”

― Sarah J. Maas, A Court of Mist and Fury

“I was his and he was mine, and we were the beginning and middle and end. We were a song that had been sung from the very first ember of light in the world.”

― Sarah J. Maas, A Court of Mist and Fury

The Alienist. By Caleb Carr. New York: Random House, 1994.

Rating: 4/5 stars

Genre: historical fiction, mystery, suspense

Part of a Series? Yes, The Kreizler Series #1

Summary:   The year is 1896. The city is New York. Newspaper reporter John Schuyler Moore is summoned by his friend Dr. Laszlo Kreizler—a psychologist, or “alienist”—to view the horribly mutilated body of an adolescent boy abandoned on the unfinished Williamsburg Bridge. From there the two embark on a revolutionary effort in criminology: creating a psychological profile of the perpetrator based on the details of his crimes. Their dangerous quest takes them into the tortured past and twisted mind of a murderer who will kill again before their hunt is over.

***Full review under the cut.***

Content Warnings: ableism, homophobia/transphobia, racism (including slurs), sexism, rape, abuse, child abuse and sexual assault, child prostitution, animal cruelty, blood, gore, violence

Overview: This book has been on my TBR list for a while, so I figured I’d finally get around to reading it. I wasn’t sure what I was expecting, but I was actually surprised by how much I enjoyed the reading experience. Carr writes in a way that pretty closely imitates 19th century detective fiction, and while such a style might not be for everyone, I thought it went a long way in creating atmosphere. My criticisms have mostly to do with pace and the creative decisions that probably didn’t have to be made (such as depictions of child sexual assault, use of slurs, etc), but even with those faults, I have to give Carr’s craft and research a lot of credit, so this book gets 4 stars from me.

Writing: As I mentioned above, this book mimics detective fiction of the 19th century. If you’ve read any of Arthur Conan Doyle’s Sherlock Holmes stories, you might get the idea: first person, characters displaying almost whimsical behavior, stuffed with contextual details that may or may not be relevant. At first, I thought the reading experience was going to be a slog, but once I realized what Carr was trying to do, I readjusted my expectations and found the prose to be quite engaging. If you like 19th century literature, you might appreciate what Carr does, but if you find older lit to be a challenge, this book might not be the thriller you’re hoping for.

That being said, I do think there were some areas where Carr could have picked up the pace or even cut some of the contextual details. It’s obvious that Carr did a lot of research before writing this book, and it’s understandable that he would want to show off some of that research, but there were times where I felt like it was a little much.

I also think there are a lot of things in this book that will offend modern sensibilities. I recall at least one use of the N-word (which is spoken by a racist minor character) as well as remarks that make it clear that characters think same-sex intimacy is “deviant” or abhorrent. I can understand why Carr put them in his book; if we’re trying to evoke an atmosphere and make the story feel like it’s set in the 19th century, it’s not realistic to expect everyone to be accepting of gay sex or treat POC with respect. But also, I think it’s on Carr to bear the responsibility of creating plot points and characters that have those attitudes in the first place. The character who uses the N-word could have easily not done so, and characters could have been more clear that their revulsion was at child prostitution rather than same-sex relationships.

Still, I was able to follow the plot with no problem and the sentences flowed in a way that made the reading experience feel quick (no 10-line sentences, thank god). So while there may be some things I would have liked to see adjusted to fit my own tastes, I think Carr did a wonderful job of making me feel like I was reading an older work.

Plot: The plot of this book follows a group of investigators as they try to use psychology to catch a serial killer. As far as being an “original” or unique thriller, this book doesn’t necessarily deliver a plot we haven’t seen before; but what made it so interesting (at least to me) was that it was less interested in the thrill of catching the killer and more interested in thinking through the “whys.” Why did the killer do X? Why did he do Y and Z when he could have done A or B? In this sense, the suspense doesn’t come from the action or the “chase,” but from the building of ideas and a foggy picture becoming more and more clear.

If I can fault Carr for anything, it’s that I think he crafted his mystery around some subjects that are... touchy (for lack of a better word). Most of the murder victims are children - specifically child prostitutes - and a lot of the killer’s motivations are rooted in some combination of racism and exposure to abuse. If you’re looking for a book which handles these issues with sensitivity, I think you’ll be disappointed. But I have to give Carr some credit for not overly sensationalizing these things; for example, while he did include characters who were racist towards Native Americans, he also included characters who were sympathetic and who insisted on not judging tribes for their defensive violence. Not everything is perfect, and there were some moments that made me uncomfortable, but I felt like Carr painted a complex picture of 19th century America, so I was able to keep going.

Characters: The plot of this book is told from the perspective of John Schuyler Moore - a newspaper reporter who teams up with his friend, eminent psychologist Dr. Laszlo Kreizler, to catch a serial killer. As a protagonist, Moore isn’t overly compelling - he’s more like a neutral, blank slate that the reader can project themselves onto. He serves much of the same function as Watson in the Sherlock Holmes stories: to be a witness to other characters’ brilliance while occasionally making some helpful insights. Still, I didn’t outright hate Moore - he was kind and loyal, and I admired how he went out of his way to try to help people.

Kreizler, the psychologist (or “alienist” as they were called in those days), is somewhat of a Sherlockian character in that he’s eccentric, confident, and had abilities that stun the people around him. For the most part, Kreizler was fun to follow. I think the only times I got truly frustrated with him were when he would allude to some knowledge and then leave Moore in the dark - like “aha! This thing is obvious!” “What thing?” “No time to explain! I’ll tell you at dinner!” Those moments were a little irritating.

Sarah, the most prominent female character, was more complex than I expected her to be. She has clear career aspirations and doesn’t let anyone hold her back, and I liked that she was presented as this kick-ass woman who still felt human. She struggles when faced with the horrors of the murder, but she doesn’t let the horror put her off of her task. She’s confident and never seems to have a moment of self-doubt (which is refreshing). She notices interpersonal things without being boxed in as “the woman who notices emotions.” Granted, Sarah does serve some token function - she’s brought on in order to provide a “female perspective,” which was a little frustrating, but she held her own so well that my annoyance melted away.

Marcus and Lucius, the two brothers who work for the police department, are also quite charming characters. I loved how they brought technical expertise to the group by being knowledgeable about anatomy, fingerprints, photography, and the like, and I especially enjoyed the way they bickered with one another. Their presence immediately made scenes feel lighter, and they brought something of a family aspect to the whole band.

Supporting characters were well-crafted in that no two felt quite the same. Teddy Roosevelt (yes, that one) was cheerful and warm while still demanding absolute cooperation and loyalty from his men. Cyrus and Stevie - two of Kreizler’s employees - were charming, though I wish Cyrus had gotten to do more than just kind of silently stand by awaiting orders. Mary - Kreizler’s maid - was a lovely character, and I appreciated the positive disability representation we got with her, though I do not like how her character arc ended and how it related to the main plot. The crime bosses were intimidating without feeling too much like stock characters, the thugs did their job. I don’t think there was a character that was poorly written, just characters who served purposes that may or may not have been needed.

As for the murderer... we don’t get to see him very much, but I felt like I got to know him because so much of the book was focused on mapping out his life and psychology. It worked much better than books where the antagonist is looming off to the side, acting as a vaguely threatening force but not really a character, and one that doesn’t even show up until the last quarter of the book. When the killer finally does appear on page, I felt like he had been involved in the story, even without being physically present, so I was able to accept him as an active force on the narrative, not just a surprise twist at the end.

TL;DR: The Alienist is a well-crafted mystery that uses atmosphere and psychology to create an engaging mystery. While some readers may struggle with the period-like prose or the more disturbing aspects of the story, Carr creates a compelling narrative by focusing on understanding and knowledge over spectacle and action, and by using well-developed characters.

Terezi seriously deserves so much better... post canon would've been the perfect place to revive her friendship with both Dave and Karkat. but also, her and Vriska's relationship got totally shafted in post canon. for self proclaimed Vriska fans, they don't really seem to be including her? like they basically just replaced her with a bland teen version? what the hell was the point of that? to go off a bit: the most interesting parts of Vriska's story are centered around her traumatic upbringing, which she deals with in ways that make her difficult to love, and Terezi is tied to her through repeated attempts to love her anyway, in spite of how hard it can be.

the trolls actually have a lot of relationships where one person has to decide when to stick by someone, and when to give up. Sollux ends up in a kind of limbo state with Aradia... he still likes who she was, but she's not that anymore when we first meet her as a ghost. Kanaya is interested in Vriska for a bit, but eventually feels unappreciated and used after spending probably longer than she should've trying to become interesting to her. Feferi has to figure out how to give up on Eridan without it resulting in widespread destruction, and that threat is why their relationship is exhausting to her in the first place. and Terezi has probably the most complex conundrum of all with Vriska. the two of them grew up together, and spent a long time killing a lot of their peers. for Vriska, it was essential to her survival and she had no choice, while for Terezi, it was just a recreational activity... and this is why Terezi eventually feels more guilt over it, and is able to realize that she should try to reform herself. meanwhile, Vriska built so much of her identity and self worth around taking pride in her ruthless persona, that it seems inextricable from who she is.

Vriska can't give up her kill-or-be-killed ways, even when she doesn't need to appease her lusus anymore, because this is the metric by which she judges people, and she can't stand to see herself as a victim. to her, weakness makes you killable... the way her lusus threatened her taught her that. failure results in death. and that's what bothers her so much about Tavros. by the standards she grew up under, he shouldn't have even made it as far as he did. but he also didn't even grow up by the same standards as Vriska to begin with. his lusus is tiny and cute, and he's clearly never even been asked to do anything violent before. even the fact that he had a choice is a novel concept. he didn't earn the right to live... not the way Vriska had to. to her, that's not fair. he even wanders into a game called "fatal live action roleplaying" like... the word "fatal" is in the name, looking for a fun adventure. as if Vriska hadn't been using this game to hunt her peers all this time. and she's probably killed a ton of more capable trolls than Tavros. what gives him a pass compared to them? the basic existence of someone like Tavros is like a wound that Vriska can't stop picking at, even while she's too prideful to admit she would've wanted a better life than what she got. instead, she has to hold others to this ruthless standard. if she doesn't, she might have to admit that her struggle was optional, or that it might not have made any sense to demand that much murder from a child. she didn't have to be raised like that. but like hell she's gonna play the victim. and it's alienating to be hated because of the one thing you feel like you've really accomplished. nobody could ever stomach being proud of Vriska, so she does it herself. she only has herself to rely on anyway.

all of this signifies a person who is damaged. she's in survival mode all the time, and it prevents her from forming connections with people. and Terezi sees this. Vriska's connection to Tavros is unhealthy, not just because Tavros is being bullied, but because Vriska isn't moving on. she's still all wrapped up in the idealized superiority of power, and won't admit that she even needs anyone or anything, even though she's genuinely not okay with losing so many of her friends over the Scourge/Charge debacle. so many of them consider this a step too far, but Vriska has genuine trouble discerning what the difference is between this, and her whole lifetime's worth of behavior. this is what she's had to do, and they're all more horrified at her, than they are at the things that made it necessary for her to turn out this way. and they don't have any solutions either. none of her friends can say "oh, well you should've handled it this way. then we could accept you" because the morally responsible thing to do would've been to die. Vriska not existing could've technically saved a lot of lives... if Vriska isn't proud of her strength, she might have to actually start feeling guilty for what she's done. and if Vriska felt a level of guilt that others think is appropriate for what she's done, she'd basically be ruined. people consider her unsalvageable, and she knows they see her that way. it breeds mistrust, and leads to her making all her decisions on her own, without asking anyone's advice or permission. they won't forgive her for even being alive, so screw them anyway. it drives a deeper wedge.

and Terezi is the one who actually understands all of this. she gets it... she was there. but she also knows that it would be healthier for Vriska to admit that she doesn't have to, or want to, live that way anymore. pride be damned, the things they did were awful, and their behavior should change. Terezi always had less riding on her adherence to these standards, so she was able to discard them easier. and now that she's on the other side of it, she knows that the longer you spend acting like that, the more the shame stacks up in hindsight. Vriska is digging herself a hole, and it's painful to watch, because Vriska is still basically Terezi's best friend. it's a hard position... if Vriska is never held accountable for anything, and never suffers consequences, then she may never change. but Terezi also irrationally wants to forgive her. because Terezi also wants to forgive herself. she doesn't want to believe that either of them are irredeemable, but when she kills Vriska, it seems as though they both were. it feels like they were both ruined. from the very beginning, as kids growing up in a fucked up environment, they never stood a chance. it's why they needed each other.

I just really wish post canon could focus on these two healing. they're both so well written, and so complex and interesting... and I was even really liking the hints of John and Terezi picking on each other. let Terezi have low stakes contention with someone! shenanigans that don't result in death would be good for both her and Vriska tbh. and it'd be so funny cuz like, Vriska is fond of John, and Terezi is so peeved by him. I think Vriska really started healing by knowing John, cuz as a human, she has a blank slate with him, and he couldn't have been raised ruthless, even if he would've been adept at being that way. to Vriska, John is an alien and doesn't work on the same scale as her. it leaves the point of survivability pretty moot, so Vriska isn't viewing everything in terms of that with him. and it's nice. she has fun. she gets to feel like a kid in a way that she never got to, because everything really is so simple. what I wouldn't give for the three of them to be able to pal around on earth C, that'd be so interesting!

(I’m not gonna add anything bc this is just, so good)

People break up for reasons besides just infidelity or abuse. Yet, most of the time in the RPC, the only exes that a character ever has seem to be either abusers or cheaters. There’s rarely any middle ground between “absolute true love forever soulmate” and “absolute ex from hell that it’s absurd they ever got with in the first place given how two-dimensionally awful they are” And, frankly, I think that’s an immature perspective. The reality is that a great many failed relationships are far less dramatic, and there can be many other reasons why a couple doesn’t work out, and many of those are NOT the fault of either party (though perhaps that’s why they don’t appeal to many people, since it means their character wasn’t the victim and the other person wasn’t the villain; I notice a lot of people have a real thing for that) Here are some non-abusive, non-cheating reasons for a breakup: - Differing political views. Maybe their differing politics didn’t matter to them when they first got together, but a few years down the road, it became a bigger issue, especially if something very politically divisive started going on in the country. Or perhaps they didn’t differ politically at first, but one or both of them changed their views later on. This can also apply to religion or any other strong belief (veganism, feminism, even following a certain band if they make a lifestyle out of it) People can certainly believe very different things and still be in love, but our political, religious, etc beliefs do permeate our everyday life very strongly---what media we consume (or refuse to consume), what religious centers we attend or holidays we observe, what crowds we hang out with---and it can make a lot of relationship hurdles come up that many people aren’t prepared to deal with. - They got together without intending for it to be something lifelong, but then one person wanted it to be, and the other person still didn’t, so they broke it off then. The person who caught feelings isn’t in the wrong, they couldn’t help that, nor is the person who DIDN’T in the wrong either. They probably both made the healthiest choice in that scenario by splitting. - Wanting to live different places, wanting different lifestyles, etc. John and Burt work well as a couple, but now that they’re getting serious, they have a discussion about what they each really want, and John wants to raise a family in the city, while Burt wants to travel the wilderness in a camper with just the two of them and maybe a dog. They might try to compromise, but these ideals are so far from each other that they decide it’s for the best to split up now before things get any more serious and one of them has to sacrifice his dreams. - Somebody moves for whatever reason (for a job, to take care of ailing family, etc) and the other person can’t or won’t come, and they grow apart. Sometimes long distance relationships work, sometimes they don’t. It has nothing to do with how “truly in love” the pair are or how good/faithful/devoted/etc someone is. Sometimes it just doesn’t work. - One or both of them changed. Maybe Susan and Jim were great together for awhile when they were BOTH stoner college kids, but now Susan has gotten serious, has a steady job, etc., while Jim is still a stoner college kid without the college. - One person is mentally ill and the other person cannot support them as well as they thought they could. Again, this does not make anyone bad or evil. It doesn’t mean that the other person didn’t love them enough, it’s just one of those shitty things that’s not anyone’s fault. Similarly, one person goes through some huge emotional upheaval and the other person can’t handle it. Which, okay, bailing on someone in their time of need IS shitty, but in a different way than the “abusive and/or cheater” cliche. Also, an emotional upheaval can dramatically change someone’s personality, often for the worse, and it can be more than the other person ever thought they were signing up for. - Incompatible sexuality. I don’t just mean that somebody came out of the closet (though that can be an option as well) but as in what each person wants in the bedroom is very different. Compromise is a part of any relationship, of course, including in bed (or wherever you’re doing it) but as with John and Burt, if you’re just so different that one person won’t be enjoying themselves no matter what you do, it’s sometimes healthier to call it quits. - One person realizes they’re polyamorous, the other isn’t. Again, no bad guys here. The polyamorous person is not a slut who threw away true love to chase strange tail, the monogamous person is not a close-minded stick in the mud who should have forced themselves to do something they’re not comfortable with. They’re two people with different needs who may have been otherwise compatible, but must go their separate ways on this. - Cultural differences. What wasn’t a big deal while dating might become a very big deal when it comes to becoming a part of someone’s family. - One of them had emotional/trust issues and always split when things were at their best, so they could never be disappointed. -  One of them had emotional/trust issues and always split before they got too close to someone -  One of them had emotional/trust issues and always split. . .you get the idea. Basically, think of any muse you’ve ever written as or with, and why they would split without the other person being to blame, and that can be why this muse’s ex did. - Beginning to feel like a mother rather than a girlfriend. I left the others gender-neutral, but from what I’ve found, this seems to happen mainly to women in m/f relationships. The guy seems great in all other regards, dating goes well, etc., but once they’re living together, it seems like he depends on her to clean up after him, do his laundry for him, manage all the bills and taxes and other paperwork, etc. There can be a multitude of reasons for this, but if he won’t change, the lady isn’t in the wrong to leave. And, okay, this one is definitely someone’s fault (his) but it’s still different than being an abuser or a cheater. - Addiction. It can happen to the best people, and it destroys them. A person is not bad to put their own well-being first if their addicted partner won’t---or can’t---change. - One person was just a real slob. Look, I had a roommate once who was great in almost every other way, but our condo was a fucking biohazard because of her. And she had good reasons---she struggled with mental illness, as do I---but I now know that’s a big fat dealbreaker for me, and I’m sure it is for a lot of people. - They went through something dramatic together, like an abortion, and just couldn’t soldier through together after. Not all relationships are as strong as the people involved think, and they aren’t bad, shallow, or stupid for it. So, if you need or want for your character to have exes in the past, these are all some good reasons for a “no-fault” breakup! Or some fault, in some cases, but still non-cliche.