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cuddlytogas · 2 months

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So I accidentally almost got into an argument on Twitter, and now I'm thinking about bad historical costuming tropes. Specifically, Action Hero Leather Pants.

See, I was light-heartedly pointing out the inaccuracies of the costumes in Black Sails, and someone came out of the woodwork to defend the show. The misunderstanding was that they thought I was dismissing the show just for its costumes, which I wasn't - I was simply pointing out that it can't entirely care about material history (meaning specifically physical objects/culture) if it treats its clothes like that.

But this person was slightly offended on behalf of their show - especially, quote, "And from a fan of OFMD, no less!" Which got me thinking - it's true! I can abide a lot more historical costuming inaccuracy from Our Flag than I can Black Sails or Vikings. And I don't think it's just because one has my blorbos in it. But really, when it comes down to it...

What is the difference between this and this?

Here's the thing. Leather pants in period dramas isn't new. You've got your Vikings, Tudors, Outlander, Pirates of the Caribbean, Once Upon a Time, Will, The Musketeers, even Shakespeare in Love - they love to shove people in leather and call it a day. But where does this come from?

Obviously we have the modern connotations. Modern leather clothes developed in a few subcultures: cowboys drew on Native American clothing. (Allegedly. This is a little beyond my purview, I haven't seen any solid evidence, and it sounds like the kind of fact that people repeat a lot but is based on an assumption. I wouldn't know, though.) Leather was used in some WWI and II uniforms.

But the big boom came in the mid-C20th in motorcycle, punk/goth, and gay subcultures, all intertwined with each other and the above. Motorcyclists wear leather as practical protective gear, and it gets picked up by rock and punk artists as a symbol of counterculture, and transferred to movie designs. It gets wrapped up in gay and kink communities, with even more countercultural and taboo meanings. By the late C20th, leather has entered mainstream fashion, but it still carries those references to goths, punks, BDSM, and motorbike gangs, to James Dean, Marlon Brando, and Mick Jagger. This is whence we get our Spikes and Dave Listers in 1980s/90s media, bad boys and working-class punks.

And some of the above "historical" design choices clearly build on these meanings. William Shakespeare is dressed in a black leather doublet to evoke the swaggering bad boy artist heartthrob, probably down on his luck. So is Kit Marlowe.

But the associations get a little fuzzier after that. Hook, with his eyeliner and jewellery, sure. King Henry, yeah, I see it. It's hideously ahistorical, but sure. But what about Jamie and Will and Ragnar, in their browns and shabby, battle-ready chic? Well, here we get the other strain of Bad Period Drama Leather.

See, designers like to point to history, but it's just not true. Leather armour, especially in the western/European world, is very, very rare, and not just because it decays faster than metal. (Yes, even in ancient Greece/Rome, despite many articles claiming that as the start of the leather armour trend!) It simply wasn't used a lot, because it's frankly useless at defending the body compared to metal. Leather was used as a backing for some splint armour pieces, and for belts, sheathes, and buckles, but it simply wasn't worn like the costumes above. It's heavy, uncomfortable, and hard to repair - it's simply not practical for a garment when you have perfectly comfortable, insulating, and widely available linen, wool, and cotton!

As far as I can see, the real influence on leather in period dramas is fantasy. Fantasy media has proliferated the idea of leather armour as the lightweight choice for rangers, elves, and rogues, a natural, quiet, flexible material, less flashy or restrictive than metal. And it is cheaper for a costume department to make, and easier for an actor to wear on set. It's in Dungeons and Dragons and Lord of the Rings, King Arthur, Runescape, and World of Warcraft.

And I think this is how we get to characters like Ragnar and Vane. This idea of leather as practical gear and light armour, it's fantasy, but it has this lineage, behind which sits cowboy chaps and bomber/flight jackets. It's usually brown compared to the punk bad boy's black, less shiny, and more often piecemeal or decorated. In fact, there's a great distinction between the two Period Leather Modes within the same piece of media: Robin Hood (2006)! Compare the brooding, fascist-coded villain Guy of Gisborne with the shabby, bow-wielding, forest-dwelling Robin:

So, back to the original question: What's the difference between Charles Vane in Black Sails, and Edward Teach in Our Flag Means Death?

Simply put, it's intention. There is nothing intentional about Vane's leather in Black Sails. It's not the only leather in the show, and it only says what all shabby period leather says, relying on the same tropes as fantasy armour: he's a bad boy and a fighter in workaday leather, poor, flexible, and practical. None of these connotations are based in reality or history, and they've been done countless times before. It's boring design, neither historically accurate nor particularly creative, but much the same as all the other shabby chic fighters on our screens. He has a broad lineage in Lord of the Rings and Pirates of the Caribbean and such, but that's it.

In Our Flag, however, the lineage is much, much more intentional. Ed is a direct homage to Mad Max, the costuming in which is both practical (Max is an ex-cop and road warrior), and draws on punk and kink designs to evoke a counterculture gone mad to the point of social breakdown, exploiting the thrill of the taboo to frighten and titillate the audience.

In particular, Ed is styled after Max in the second movie, having lost his family, been badly injured, and watched the world turn into an apocalypse. He's a broken man, withdrawn, violent, and deliberately cutting himself off from others to avoid getting hurt again. The plot of Mad Max 2 is him learning to open up and help others, making himself vulnerable to more loss, but more human in the process.

This ties directly into the themes of Our Flag - it's a deliberate intertext. Ed's emotional journey is also one from isolation and pain to vulnerability, community, and love. Mad Max (intentionally and unintentionally) explores themes of masculinity, violence, and power, while Max has become simplified in the popular imagination as a stoic, badass action hero rather than the more complex character he is, struggling with loss and humanity. Similarly, Our Flag explores masculinity, both textually (Stede is trying to build a less abusive pirate culture) and metatextually (the show champions complex, banal, and tender masculinities, especially when we're used to only seeing pirates in either gritty action movies or childish comedies).

Our Flag also draws on the specific countercultures of motorcycles, rockers, and gay/BDSM culture in its design and themes. Naturally, in such a queer show, one can't help but make the connection between leather pirates and leather daddies, and the design certainly nods at this, with its vests and studs. I always think about this guy, with his flat cap so reminiscient of gay leather fashions.

More overtly, though, Blackbeard and his crew are styled as both violent gangsters and countercultural rockstars. They rove the seas like a bikie gang, free and violent, and are seen as icons, bad boys and celebrities. Other pirates revere Blackbeard and wish they could be on his crew, while civilians are awed by his reputation, desperate for juicy, gory details.

This isn't all of why I like the costuming in Our Flag Means Death (especially season 1). Stede's outfits are by no means accurate, but they're a lot more accurate than most pirate media, and they're bright and colourful, with accurate and delightful silks, lace, velvets, and brocades, and lovely, puffy skirts on his jackets. Many of the Revenge crew wear recognisable sailor's trousers, and practical but bright, varied gear that easily conveys personality and flair. There is a surprising dedication to little details, like changing Ed's trousers to fall-fronts for a historical feel, Izzy's puffy sleeves, the handmade fringe on Lucius's red jacket, or the increasing absurdity of navy uniform cuffs between Nigel and Chauncey.

A really big one is the fact that they don't shy away from historical footwear! In almost every example above, we see the period drama's obsession with putting men in skinny jeans and bucket-top boots, but not only does Stede wear his little red-heeled shoes with stockings, but most of his crew, and the ordinary people of Barbados, wear low boots or pumps, and even rough, masculine characters like Pete wear knee breeches and bright colours. It's inaccurate, but at least it's a new kind of inaccuracy, that builds much more on actual historical fashions, and eschews the shortcuts of other, grittier period dramas in favour of colour and personality.

But also. At least it fucking says something with its leather.

#everyone say 'thank you togas' for not including a long tangent about evil rimmer in red dwarf 5x05 #Our Flag Means Death #Togas does meta #and yes these principles DO fall apart slightly in s2 and i DON'T like those costumes as much #don't get me wrong they're fun and gorgeous - but generally a bit less deep and more inaccurate. so. :(#I'm not sure this really says anything new about Our Flag but I just needed to get my thoughts out #i hate hate hate Gritty Period Drama costumes they're so boring and so ugly and so wrong #god bless OFMD for using more than 3 muted colours and actually putting men in heels (and not as a shorthand for rich/foppish villainy) <3 #looking at that Tudors still is insane like they really will go to any lengths to not make men feel like they've got bare legs XD #image descriptions in alt text #and yes i DID just sink about two hours into those so you'd better appreciate them

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shortnotsweet · 4 months

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This technically applies to my Stepmother AU in which Alicent is around six years older than Rhaenyra, and occupies a wicked stepmother role as opposed to ex ‘friends-to-first loves-to-enemies’. Despite lacking the foundation of shared girlhood, both find simultaneous comfort and rivalry in one another, and undergo a gravitational pull. A young Rhaenyra’s eagerness to participate in swordplay and political affairs at a young is accommodated for, and she grows up with a sword in one hand and the weight of experience in another, which further helps pave her way to the throne.

Alicent’s Costuming

Alicent’s clothing is almost entirely bottle, emerald, or forest green. While there is layering present in her skirts and jackets, the accent should always be a darker green than the base color. The fabric is deep, rich, and retains an undeniably high-quality luster. Look to velvets and silks. Gold embroidery lingers around her sleeves, neck, and hemline to elevate the coloring.

Metallic embellishments should be almost military-like, and appear heavy. Contribute to the imagery of chains or shackles in addition to her status

Draws inspiration from historically accurate stiffness and Victorian shapes, with a tapered waist, imposing, puffy sleeves, and a high neckline. Despite inaccuracies, this shape is evocative of someone elegantly and conservatively feminine, repressed, and capable of exerting power over others. Reference a classic, trussed hourglass shape. Skirts should be notably heavy and full; may make noise in movement

The coloring and shapes remain relatively consistent but lack variation; this is to demonstrate a lack of freedom and exploration, as well as an adherence to conventional feminine roles

Despite these limitations, her costuming should always be put-together, coordinated, and unquestionably fashionable. Tight sleeve cuffs may be accompanied by a more traditionally medieval fan sleeve

Shoes should stick mostly to slippers, or flat designs

In this AU, her hair leans more towards a dark brown instead of auburn, as her show counterpart. This is mostly due to faux-book accuracy and to simplify the sketch process, since keeping her hair darker in comparison to Rhaenyra’s lighter hair translates more easily in uncolored renderings.

Keep her hair either in a tidy bun or pulled back and loose; avoid too many intricate shapes, braids, or styles. Occasionally, the hair will hang loose. Lean into medieval or royal headpieces, clips, coverings, etc.

Rhaenyra’s Costuming

Rhaenyra’s clothes are primarily black and red, occasionally accented or substituted with neutrals such as beige, white, or gray. Exceptions may include blue or yellow, but she generally stays in this color palette.

Strong focus is drawn to her shoulders and neckline, sometimes with embroidered or embellished detailing. She often has strong, angular shoulders in her dresses or jackets, occasionally theatrically pointed. Off-the shoulder necklines emphasize her collarbones and a certain broadness.

There should be decent variety in her clothing; there is a hypothetical outfit for every occasion and more (for battle, for riding, everyday, formal, feasts, everyday, etc.), and most should be composed of multiple pieces and utilize generous layering. This includes under-fabric, belts and corsets, jackets and doublets, draped fabric for aesthetic purpose, and even functional capes.

Most of her clothes should provide visual aid for movement; additional fabric to her skirts, for example. Her clothes should be highly stylized but still easy to move in. In riding and battle gear, it is presumed that she wears pants and boots under her skirts, even if they are not visible.

Shoes lean more into boot cuts, still practical but should have a sleek and uniform quality to them. When she walks, she should make some kind of noise. Shoes should usually be black or potentially red, the latter for decorative purposes.

Overall her style should be more contemporary and lean into the fantasy element. She’s not opposed to oriental details or showing skin, and her costumes should reflect both couture-height drama and period-reliant aspects. Longer lines and diagonal hems mean she is not as devoted to an hourglass shape, and her high collars should always be decorative in some respect.

Keep her hair long and mostly loose, sometimes pulled back. Small braids should be implied as incorporated. Occasional hairstyles feature complicated braids. With the exception of highly decorative braided styles, simple buns should be avoided unless accompanied with very high necklines.

Avoid headpieces that are not either a) her crown or b) ceremonial.

#rhaenicent #rhaenyra targaryen #alicent hightower #house of the dragon #hotd #rhaenyra x alicent #asoiaf #my art #thinking about how their character and costume designs are so communicative and are designed with each other in mind. for example havijg bc #the strong shoulders and embroidered necklines keeps them connected although imo they could’ve played around with it a lot more #I just have a lot of thoughts about them ok

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dcmcboxers · 6 months

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My shout-out to queer youtubers

Hbombs list was great but obviously not comprehensive. I watch a lot of video essayists and wanted to give a little love to the smaller channels that fall under the radar. Please feel free to add to this list!

let's talk about stuff/Sarah Zedig

If you've seen Jesse Gender's videos on the Matrix movies you may already be familiar with Sarah. She does excellent film and culture analysis with a lot of great conversations on paratext and outside influence in engaging with text. Her video on Tunic is one of my favorites.

youtube

Pamphleteer

No one makes videos like hers, which has the side effect making them a bit hard to describe. I will link one of my favorites which describes the disconnected temporality of being older when you discover you're queer.

youtube

Turbo Queer

Really really under watched channel. Skylar covers a lot of topics from video games, to anarchist history and modern events, to autistic life, to current politics. For a fun one check out her video on the SpongeBob strike episode.

youtube

Kaz Rowe

Kaz does a fantastic job examining modern myths and manufactured history primarily pertaining to western Europe, Victorian & Edwardian England, and 1800-1900s US. And of course, talking about historical queerness in all its ambiguities and evolutions. I highly recommend their video on Weimar Germany.

youtube

drapetomania

drapetomania interrogates the politics of low class and high class art and entertainment from a queer and Black perspective. Their art history videos alone cover many angles of white supremacist history I haven't seen anyone else discuss and I'm very excited to see more from them. They are also a very under viewed channel that more people should see!

youtube

I am error

Evelynn's channel primarily discusses video games in a presentation style and voice most similar to Action Button reviews. There's something just a bit more personal here though. I hesitate to say cozy since that word has a bit of an infantilizing connotation, maybe comforting is closer. She puts an immense amount of thought and empathy into the experience of playing video games and the personal narratives we build with them.

youtube

Swolesome

For more transmasc perspectives there's Swolesome. He has a lot of interesting insights into the more traditionally masculine and "broish" communities like fitness as well as commentary on recent trans issues.

youtube

Shonalika

Music, disability, and aggressively non-binary. Their video on gender presentation in heavy metal was really insightful. I would also check out the video "Why I Wear Gloves" for more insight on invisible disabilities.

youtube

Vivian Strange

Vivian delights in being a bit of a contrarian- something I really appreciate. She's probably going to challenge you and you're probably going to disagree at times, which is what makes her channel so important. Her video on Marquis De Sade is powerful and a must watch (if you can stomach the subject material, although I would encourage you to try). I haven't seen her most recent video on Saw yet but I am extremely excited to.

youtube

#hbomberguy #james somerton #kaz rowe #sarah zedig #i am error

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mysticcolonialhardware · 2 years

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We’ll tell you how to pick out the right brackets for the job and the different ways you can perfect the design. All of this leads up to how you can use our cast iron shelf brackets for the job!

#cast iron shelf brackets #black iron shelf brackets #metal shelf brackets #historic hardware store #iron shelf brackets #antique shelf brackets #wrought iron shelf brackets #cast iron brackets

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smooth-goat · 2 years

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its literally so sad because i know a guy who says he likes goth girls only for me to find out he likes girls with black hair who wear black lipstick and black shirts. none of the crazy ass goth stuff that actual ppl from the subculture are into

(wrt this post) no that's so shitty. People taking only the most conventionally appealing aspects of a subculture created to highlight things that we as a society specifically *don't* find appealing. If any goths want to chime in, I'd love to hear your perspectives on this. I'm not goth nor do I have any connections to goth culture so there's very little I can say

#asked and answered #ask #birdsong #anon #cause when i think of goth i think of like. appreciating the things broader society finds Wrong and Scary #horror. death positivity. gender nonconformity. metal music. openness about mental health.#so to reduce that to just. wearing black clothes and pretty black makeup? it seems insulting #if im talking about my own experiences with alt fashion that would be like historical dress and historybounding #which i dont think has this problem so much because of the basis in academia. it has Different problems like its not without them #but i don't see the like. Gentrification so much.#closest thing i can personallt relate to is the pushing of modern fashion aesthetics and beauty standards onto historical ones #like costume designers refusing to put women in caps and giving them evening cut dresses in the daytime cause #they want to show the audience Boobs. but thats different cause its not really newcomers to a scene #its media creatives and execs making choices to prioritize modern sex appeal over respect for historical beauty standards #which may seem unconventional today. its a different scenario so i cant super relate personally #ANYWAY would love to hear from other goths (assuming anon is/was one)

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vinceaddams · 9 months

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Early 18th (and late 17th) century fashions are so under-utilized in vampire media and I think it's a damn shame.

I don't actually think I've ever seen a single image of a vampire character in an early 18th century suit. Hardly any movies set in that era either, and hardly any historical costumers who do it. (Even my beloved gay pirate show set in 1717 takes nearly all of its 18th century looks from the second half of the century. Not enough appreciation for baroque fashion!!)

Yes I love late 18th century fashion as much as anyone, and 19th century formal suits are all very well and good, but if you want something that says old, dead, wealthy, and slightly dishevelled, then the 1690's-1730's are where it's at.

(Retrato del Virrey Alencastre Noroña y Silva, Duque de Linares, ca. 1711-1723.)

There was so much dark velvet, and so many little metallic buttons & buttonholes. Blood red linings were VERY fashionable in this era, no matter what the colour of the rest of the suit was.

(Johann Christoph Freiherr von Bartenstein by Martin van Meytens the Younger, 1730's.)

The slits on the front of the shirts are super low, they button only at the collar, and it's fashionable to leave most of the waistcoat unbuttoned so the shirt sticks out, as seen in the above portraits.

(Portrait of Anne Louis Goislard de Montsabert, Comte de Richbourg-le-Toureil, 1734.)

Waistcoats are very long, coats are very full, and the cuffs are huge. But the sleeves are on the shorter side to show off more of that shirt, and the ruffles if it has them! Creepy undead hands with long nails would sit so nicely under those ruffles.

(1720's-30's, LACMA)

Embroidery designs are huge and chunky and often full of metallic threads, and the brocade designs even bigger.

(1730's, V&A, metal and silk embroidery on silk satin.)

Sometimes they did this fun thing where the coat would have contrasting cuffs made from the same fabric as the waistcoat.

(Niklaus Sigmund Steiger by Johann Rudolf Huber, 1724.)

Tell me this look isn't positively made for vampires!

(Portrait of Jean-Baptiste de Roll-Montpellier, 1713.)

(Yeah I am cherry-picking mostly red and black examples for this post, and there are plenty of non-vampire-y looking images from this time, but you get the idea!)

And the wrappers (at-home robes) were also cut very large, and, if you could afford it, made with incredible brocades.

(Portrait of a nobleman by Giovanni Maria delle Piane, no date given but I'd guess maybe 1680's or 90's.)

(Circle of Giovanni Maria delle Piane, no date given but I'd guess very late 17th or very early 18th century.)

Now that looks like a child who's been stuck at the same age for a hundred years if I ever saw one!

I don't know as much about the women's fashion from this era, but they had many equally large and elabourate things.

(1730's, Museo del Traje.)

(Don't believe The Met's shitty dating, this is a robe volante from probably the 1720's.)

(Mantua, c. 1708, The Met. No idea why they had to be that specific when they get other things wrong by entire decades but ok.)

(Portrait of Duchess Colavit Piccolomini, 1690's.)

(Maria van Buttinga-van Berghuys by Hermannus Collenius, 1717.)

Sometimes they also had these cute little devil horn hair curls that came down on either side of the forehead.

(Viago in drag Portrait of a lady, Italian School, c. 1690.)

Enough suave Victorian vampires, I want to see Baroque ones! With huge wigs and brocade coat cuffs so big they go past the elbow!

#long post #vampires #fashion #history #18th century #17th century #someday. SOMEDAY I will make a black/red/dark orange/metallic gold 1720's suit #I've got nearly all the materials I just need to:#1. Learn how to make early 18th century metallic thread buttons‚ preferably without having to buy the super expensive kind of thread #2. get a wig and style it appropriately

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swordsandholly · 20 days

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Fancy

Ch 1: Here’s Your One Chance | Next | Ao3

MDNI

Vampire! Poly! 141 x Plus size! Fem! Reader

Word Count: 3.6k

Summary: A permanent darkness rests over the city. You’ve lived here your whole life - in the slums, just another human to be pushed and pulled at the whims of the vampires that run it. Another human made to bleed and crawl their way through a meager life.

Maybe, just maybe, a meeting by happenstance will change your fate for the better.

A permanent darkness rests over the city. Cold, too. Despite living here your whole life you’ve never quite adjusted to the artificial nature of it - to the shadow hanging above the miles and miles of city and the constant chill on your skin.

Really, you aren’t meant to be here. This place isn’t built for humans despite the mass that live within the confines of the city’s dome. It’s made for creatures - beings of the night that stalk and rule. The air has become rotten in the lower neighborhoods over a century due to pollution and overpopulation. It will turn your lungs black before the age of five without the proper protection.

Apartment buildings are crowded and decent living conditions are hard to come by. Many have a waitlist longer than the human lifespan. Most operate on a dorm system - at least one person per room. Randomly assigned of course, based entirely on who can pay the rent. You’ve lucked out enough to earn a shitty studio to yourself. It’s cracked and crumbling but the locks are tight and it has a window - even if the view is just a building across the alleyway.

You squeeze into a black mini dress, tying your hair up to show off the double string of pearls on your neck. They’re the nicest thing you own - the only thing worthy of this club. The only thing that can project the image needed to get proper tips. Red lipstick as a final touch. It’s corny, you know, but the vampire clients are always suckers for it. Pun intended.

This job is important. There can’t be a hair out of place. This is your chance. Your one chance to make enough money to get out of the slums. To at least make it to the middle city. You can practically hear the grime on the sidewalk as you make your way toward the metro station. Dirt and debris so caked into the very air down here that you have to wear a respirator as you go. It’ll leave marks when you first take it off, but they usually disappear by the time you’ve made it from the depot to the club.

You don’t bother with sitting on the train. Hell will freeze over before you chance catching whatever new disease has grown in that Petri dish. Instead you join the rest of the patrons in awkwardly standing in the center of the cart, damn near falling over when the train lurches to begin its journey from the slums to the upper city. There are actual names for the two areas, but nobody uses them anymore.

The respirator makes a hissing sound as you remove it after stepping out of the train. The cool, clean air of the upper city fills your lungs. It’s satisfying in a way its sticky, filtered sister could never be. The faux fur of your cropped coat tickles a bit as you walk, blown by that strange breeze that never seems to stop in the upper city. The one that blows all the grime and smog downhill.

The club sits square in central downtown - the bottom level of a historical hotel. It’s an elegant building. Red with curled metal accents over the windows and doors. Modeled after the ancient art nouveau movement. It sparkles underneath the artificial LEDs of the city - all signs and glowing windows. You can always tell where the humans are, catching glimpses of that unmistakable glow only a UV light gives off.

You duck down the alley behind the hotel. Grimy and dark, the complete opposite of the front entrance. Your heels clack on the concrete loudly - echoing off the hard walls of the building surrounding you.

It’s easy enough to slip into the routine of your job. Going back and forth to the bartender, carrying various drinks and placating the egos of cowardly men and the vampires they lie to themselves about being equal to. You can see the hunger in their eyes when you tilt your head, exposing more of your neck to the light. When your wrists just pass their noses as you set down their glasses.

It’s hard work. Long hours and more days of the week than you would like, but it pays enough for you to afford your little apartment and save some for your future.

“Hey! New girl!” The owner barks at you as you gently set your tray back into the stack to be washed.

You whirl on your heel. Shit, did you fuck up? Ruin everything? Your mind runs through every interaction over the course of the night - every comment, every stilted moment. “Y-yes, sir?”

“Need you as a Companion.” He stands in front of you, the pinstripes of his suit warping over his massive crossed arms. The wrinkle in his nose makes his mustache twitch.

“C-companion!” You squeak. “I’m not-“

“We had a call out. Need you to take the private booth in the back.”

Your eyes are saucers - heart beating so hard you almost can’t hear his words. You don’t know what to make of this. His words are harsh and cut right though you, but the prospect they hold…

“You paying attention?” He grunts.

Your voice shakes. “Just… why me?”

“You match their preference.” Its blunt. Uncaring. Not that you would ever expect much sympathy from the owner of a place like this - feeding girls to vampires and their kin.

Generally, you’re not the type to be preferred - too big and soft for most. It’s what kept you as a server exclusively, you’re sure. Companion is such a major step up, too. You haven’t had any training. You never thought you’d get there - only a few girls make it from Server to Companion. To have it by happenstance…

With a deep breath you remind yourself that this is temporary. Just for tonight. You are acting as a replacement, nothing more. If you pull this off maybe you’ll get enough tips to finally replace the air filtration in your apartment. Maybe you can even get an overhead UV light. Oh, wouldn’t that be lovely!

Another tray is shoved into your hands. Is this… actual gold? Ornate designs line the outer rim - all weaving in and out of each other inlaid with iridescent mother of pearl. It’s cold on your hands and so shiny you catch your reflection in it before the bartender sets a bottle of wine and four glasses on it. You’re fairly certain between the wine and the tray you are holding upwards of four thousand dollars a in your hands. It takes everything to keep your hands from trembling.

You slowly head for the back booth - just beyond the main floor of the bar. It’s far more quiet here. The music from the floor muffled by distance. There are only a few private booths and they are only ever occupied by the city’s elite. The top of the top. You pause at the heavy, velvet burgundy curtain separating you and your clients for tonight. They could be anyone.

You hope they aren’t the type to get rough.

Balancing the tray on one hand, you use the other the push the heavy curtain to the side - entire body alert and tense as your eyes land on the four men sitting around the rounded booth. Their eyes meet yours, and you freeze. A shiver runs down your spine.

They’re beautiful in that way only vampires can be. Untouchable. Marble-esque. Eyes clear and bright even in the low light of the booth - that sheen of night vision apparent. Lions staring down their prey and you, who walked into the den willingly.

“Good evening.” It takes everything to keep your voice steady. To slip back into that comfortable customer service headspace you’ve curated over the years. “I’ll be your Companion tonight.”

“What happened t’ Cherry?” The man on the outer right side of the booth asks. His arm is slung carelessly over the back of the booth, body slack and comfortable.

“She was unfortunately unable to come in tonight.” You say softly, carefully sliding the tray onto the table. “If I’m not to your standards-“

“Well, now, none of us said that.” A man with an imperial beard smiles. It softens his face - makes him look less like stone. “What’s your name, dove?”

“Fancy.” You murmur. It’s your chosen work name - based on a song your mother used to play from a century ago. One of your earliest memories is her lifting you into her arms and spinning around to the song. All the workers names are single words. Easy to remember. Easy to request for returning quests.

“Fittin’.” The man to your left grins, bright blue eyes sparkling. His fangs catch the light - your hands tremble for a brief moment.

“Do you know who we are?” The masked man beside him asks. His voice rumbles through your nerves, all the way into your bones. You can hardly look at him - the skull covering the top half of his face makes your gut churn.

Should you know them? Oh, fuck, you probably should. Vampires live forever - their names and legacies travel across centuries. Millenia. It’s going to give you away. You’re just a low class human from the slums. You don’t know Vampires from the uppers.

The illusion of luxury only goes so far.

“It’s not a trick question.” The man to your right smiles gently, tilting his head to the side.

“No, sir.”

“Well,” The one with the beard sits a little straighter. “I’m John Price and these are my… confidants. Cohorts. Kyle Garrick, Johnny MacTavish and Simon Riley.” He gestures to each as he goes.

John Price… John Price… Nothing comes to mind. Nothing about any of them, for that matter.

“Lovely to meet you.” You smile pleasantly, slipping back into the script. Swallowing roughly and steadying yourself, you reach for the bottle and slowly pouring a tester amount into the four glasses. “Tonight we have a vintage red from 2089.”

John hums, swirling the glass before taking a sip. His eyes glow in the low bar light. “You remember the 80’s, Simon?”

“Which one?” The makes you pause. How many 80’s could there be?

John laughs, whole and hearty. Little crows feet appear in the corners of his eyes. “Which d’you think?”

“I remember the blood.” The masked man mutters. He doesn’t look at John - dark eyes locked on you. You keep up the well trained smile. Neutral, comfortable.

“Och, ye would.” Johnny scoffs, taking his own glass after John gives you a nod to fill the four properly. “Cannae ever remember the good.”

“Well what’s your finest memory then Johnny?”

“There’s was this lass… think her name was Cassandra. Had the biggest tits and-“

“Enough of that. Theres a lady present.” John waves his hand. To your surprise, Johnny actually listens despite looking muffed about it. You can’t help but snort. Lady. As if.

How old are they, anyway? They look young - especially Johnny and Kyle. Definitely below thirty when they were turned. John obviously leads but that doesn’t necessarily mean he turned the rest of them. They could have just come together over the years. Vampire covens vary heavily as to why they came together. Sometimes friendship, sometimes relation, sometimes just convenience.

Simon is still staring you down, hooking a thumb under his mask to raise it just over the end of his nose. Scarred lips sip from his glass.

“Come sit, luv.” Kyle pats the booth beside him.

You snap out of your thoughts at the prompt - moving to sit in the empty spot beside Kyle. The next thing you know hands are on your hips, passing you over until you’re sat square in the middle as if you weigh nothing. You know vampires are strong - you’ve gotten thrown around by your fair share in the slums, whether a mugging or fucking - but it still startles you. They could crush you with barely a flick of the wrist.

Fingers brush over your shoulders, tracing the shape of them before lowering to rest between your exposed shoulder blades. They’re cold and leave a trail of goosebumps in their wake.

“Tell us about yourself, hm?” John prompts.

“Oh, not much to tell.” You shrug and smile. “I’m from the city. Started here about a year ago-“

“How have we never seen ye then?” Johnny interrupts, eyes locked on your chest. “A bonnie thing like ye…”

“Well…” You raise your hand to your mouth like you would when whispering a secret. “I’m not supposed to tell but I’m actually a server, normally.”

“Oh, really?” Kyle leans his chin on his palm. “In a dress like that?”

“What’s wrong with my dress?” You huff, letting the pliant facade slip just enough to make yourself seem real. Just a little less doll like before you return to the script.

“Absolutely nothin’.” Simon hums beside you, eyes near black under the shadow of his mask.

Your face heats. Client compliments never get to you and you’re not sure what about his feels so different. All of their attention is so intense. It dives under your skin and burrows deep in your marrow.

“So, seeing as you implied I should know who you are-“ You tilt your head and meeting John’s eye, “who are you?”

John chuckles, leaning close. “Oh, no one important. Contractors. Independently employed.”

“Ah, so, criminals.” You laugh.

“If you say so.”

“I can’t exactly judge.” You lean in as well, shoulder pressing against his broad chest. The material of his suit is soft and thick. High quality. “I mean, look where I am, hm?”

“Are ye a criminal, lassie?” Johnny grins at you, tilting his head. How he makes a mo-hawk cute is beyond you.

“Shh.” You press a finger to your lips.

It’s easy enough to look sultry, to play the part, to mindlessly flirt. Easy enough to fall into the simple back and forth. Scripted. Basic. Nothing out of the ordinary. They’re just clients at the end of the day, even if they have more money and power than your usual crowd.

You carefully refill each of their glasses. You can feel their eyes on you - boring through your very being. It takes more concentration than you’d like to keep your breath from hitching when John’s hand rests on your upper thigh. You lean forward, pushing each glass back to their respective owners.

Johnny takes your hand before you can retract it, placing gentle kisses from your palm to your wrist. He sighs shakily, teeth catching your skin ever so slightly.

“Johnny.” The masked man rumbles in warning.

“Not gonnae bite, LT… she just smells incredible.” Johnny murmurs against your wrist.

“Have you ever been bitten, dove?” John asks, eyes half lidded as he stares you down. That feeling comes back.

Prey. You’re just prey.

“N-no…” You shake your head, voice smaller than you’d like. You’re not supposed to. Clients aren’t allowed to bite the girls here - it’s not one of those clubs - but in reality you’re at your mercy. To book one of these rooms they surely have the money to pay whoever necessary to do whatever they might want with you.

“Donnae look so afraid.” Johnny chuckles.

“We’re not goin’ t’bite.” Kyle leans forward. “Just curious.”

“Oh…” You whisper. Johnny drops your wrist and you pray that they don’t notice how quickly you retract it.

“Alright boys, time for business.” John sighs. He suddenly grabs your chin, turning you to face him. It’s a light touch, not too rough but solid. His pupils dilate and yours with them. “You’ll forget everything we say from now until I snap my fingers.”

The next thing you know you’re blinking blearily, sitting in John’s lap with your legs across Kyle’s. The younger man’s hand rests on your leg, thumb gently stroking your ankle as you come back to sentience.

It’s like coming up from the undertow and getting your first gasp of air.

“There she is.” Johnny murmurs, smiling softly.

You were compelled - you know that much. It’s disorienting. You rub the corner of your eye, purposefully evening your breath. At least your clothes are all still in place. You don’t feel… touched. Not bitten either. A choked sigh escapes you against your will, hands trembling in your lap.

“You’re alright, dove.” John coos, cold breath puffing against your neck. A shiver runs down your spine. How much time has passed? When… what… “Can be hard t’come out of it, hm?”

“I’m okay...” You whisper.

“Have some water.” Kyle pushes a glass toward you. The concern on his face feels foreign.

A large, empty decanter of scotch sits in the center of the table accompanied by several empty glasses. That’s the closest hint you have to how long you’ve been here. You take the glass of water shakily and sip, leaving an imprint of red lipstick on the rim.

John continues to coo and soothe down your hair. His other hand travels down to rest on your hip, holding you in place against him. It’s strange… this feeling. You’ve been compelled before briefly but it wasn’t like this. John has to be strong. Old. He’s been around a while to have that kind of power - for it to be this difficult for you to come out of the haze. It’s taking more concentration to keep from crying than you’d like.

Stranger, though, is the way they watch you. The way John works you back to reality. Most vampires would have been inappropriate while you were gone, wouldn’t bother with the borderline aftercare needed when coming out from under their spell. Most would have left you slumped in the booth - drained of blood and pleasure - laughing as they went.

You clear your throat, sitting up a little straighter and gathering your wits. “Can I get you gentleman anything else?”

They share a look, one that you can’t quite interpret.

“You’re sure you’re alright?” John asks, voice low.

You look up at him with big eyes. Childlike, almost, staring up in wonder. It’s so strange how vampires aren’t quite white - they just lack the redness of life. The pink under the skin that signifies a beating heart and limited life span.

“I’m sure.”

John presses closer, breath caressing the shell of your ear. “Thank you for being so gracious f’us, tonight.

“Always…” There’s an honestly behind the word that startles you. A craving deep in your bones to prove yourself worthy of him and his men.

Strange.

“We best be on our way.” Simon rumbles, prompting Johnny to let him out of the booth.

John’s eyes flick between yours briefly before he moves you off of his lap with the gentle touch one might use when handling fine china. As much as you want to stay there, dazed and still coming down, you have work to do. So, you stand after them and begin slowly gathering the empty glasses on the tray. They feel heavier in your hand the normal.

A cold touch runs up your back and you freeze. Fingers trace the curve of your spine. You straighten, turning slowly only to meet those soft blue eyes again. John takes your hand, eyes alight with something you don’t understand. “I’ll tell the owner he’s wasting you as a servin’ girl. You’re made for more.”

Before you can even possibly decide how to respond, he’s gone. Disappeared through the curtain and into the forever night. Something crinkles in your hand. When you look down, slowly opening your fingers, the contents make your heart jump into your throat.

Cash. A massive roll of neatly banded cash.

How much is this? A thousand? More?

With frightened eyes and slippery hands you tuck the cash into the secret pocket of your coat. Having that much cash on your person is so out of your wheelhouse - out of the realm of possibility- you don’t know how to react.

You didn’t even get to say thank you.

Your mind whirls as you finish up your shift, eyes glazed over while slipping on your coat. The other girls look off put. A few whisper and stare.

What do they think you did?

Then again, you think as you brace yourself for the lurching and squealing of the metro, there isn’t any way to know what happened. Not unless one of the vampires tells you, and good luck prying any information out of one of them. Even if they tell you, they can just make you forget all over again.

How did you behave? Were you the same as always? Were you an entirely different person?

Some people forget themselves when under compulsion - every inhibition thrown to the wind carelessly. You need your inhibitions. They keep your job secure and yourself safe. You can’t afford carelessness.

The walk back home is tense. That small bulk in your pocket burns a hole though you as your mind runs with every possibility of what might have happened. What you might have done to earn such a massive tip. It can’t have been dignified, could it?

There’s no way they just like you. That’s not how vampires are.

It takes everything to motivate yourself to actually take off your clothing and jewelry before falling into bed. However long they had you, it drained you. Left you tired and shaky as you crawl under the thick bundle of quilts that make up for the lack of heating in your home.

Your eyes meet the wad of cash that barely fit in the inner pocket of your coat. It feels like a threat. Use me well or lose me forever! Make me count because you’ll never see me again!

For now, at least, you can bask in it.

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