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bthump · 6 months

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What are your thoughts or analyses on the phallic imagery in berserk? Less so the more obvious ones like seen in Casca’s nightmares which are obviously pointing to her sexual trauma, but like we see with the vagina-esque monsters and how Guts’ sword is alluded to being like a penis in some cases. Sorry if it’s a weird question lol

Sorry for the wait on this lol, I was on vacation for a while, and it's also a topic I wanted to spend some time on because I love it and I wanted to be relatively thorough. Thanks for the ask!

So yeah, disclaimers out of the way, Freudian analytical theory is very silly, very gender essentialist in ways that can often be transphobic and misogynist, and as far as I'm aware pretty much wholly unrelated to real psychology. Back in the 70s and 80s you had film theorists who took it seriously as a genuine glimpse into the subconsciousness of humanity or whatever, but now it's pretty much just a readily available source of sex and gender related symbolism that's easy to understand.

And in Berserk I do genuinely think it's a valid lens to view the story through because Miura is often quite heavy handed in utilizing it as symbolism. I mean, Guts literally gives someone an orgasm by stabbing her at one point. Some of this can definitely be a stretch, taking established symbols and running with them, but some of it is also almost certainly purposeful. I'll leave it to you to decide what you see as legit and what you see as stretching believability here.

This is very long lol

So yeah, it starts off strong in Berserk with Guts' oversized sword. Swords are dicks, ie sources of masculine power, especially in Berserk

and in the context of the story the dragonslayer is Guts overcompensating imo. And it's not compensating for a small dick lol, which would be more the purview of comedy, but for a loss of masculinity, ie Guts' childhood abuse from Gambino, and rape trauma. It's about his need to prove himself because he was made to feel like he had to, imo.

And it's not just the size of his sword, his obsession with it is also a major factor. He has a grandiose speech about how his sword is like a part of his body (hmm) and that it's been at his side through everything and he's always relied on it. The dream he lands on is to be the best and strongest sword fighter ever. He's currently having a breakdown over not being able to hit someone with his sword. He has a recurring tendency to break other guy's swords lol. At one point Casca screams at him that he essentially cares about his sword more than her. etc etc.

In the story dreams are at odds with emotionally healing human relationships, and dreams are represented by swords (Guts' sword obviously, Casca becoming Griffith's sword, Griffith calling the throne a sword while taunting the king in the dungeon as well as his vision of himself throwing him a sword and pointing to the castle in chapter 72).

So through a Freudian lens, Guts' sword can also be said to represent emotional isolation, positioning masculinity as emotionally isolating. Which, yk, fits with Griffith also equating dreams and masculinity in his Promrose Hall speech (a man must achieve a dream before he can have a family or lover) and, I suppose lol, Casca getting "softer" and more feminine as she falls for Guts, as femininity is therefore the opposite: emotional reliance on and support of others.

So if swords are dicks, then it follows that wounds are vaginas, ie yonic symbols. Also pretty obvious when you read some of the lines during the Guts and Casca sex scene lol. "I too want a wound I can say you gave me." These can represent weakness and victimization (I did warn for misogyny lol) and/or (often sexual) relationships and emotional openness.

So you have the relationships - "licking wounds" with Casca; Guts letting Casca stab him when he thinks about abandoning Griffith; the Beast of Darkness calling Casca the wound Griffith left so Guts can keep feeling the pain Griffith caused; Griffith scratching his own shoulder where Guts' sword pointedly didn't wound him; Griffith being out of reach of Guts' sword post-Eclipse; "let's give him a heap of raw iron;" and Farnese grinding on Guts' sword while possessed and Slan directly treating being stabbed as sexual penetration for the most obvious examples...

Also I'd argue that any time Guts gets his ass kicked in a fight it functions as an echo of his rape trauma symbolically and subconsciously to Guts. Both kinda obviously at times, like eg when Slan overpowers him and tears off his shirt while wounding his chest, and kisses him after the stabbing, causing Guts to feel a burst of fear

or when Rosine stabs Guts through the mouth as another enemy who flirts with Guts mid-fight. And of course the first duel with Griffith in which Guts unilaterally sets the stakes to sex slavery because he's projecting.

But also a little more subtlely, such as when Zodd is given the same position as Nightmare Donovan in Guts' concussion nightmare after he kills Adonis, or all this consistent imagery that rapists and apostles tend to get.

Or, interestingly, the way the Berserk armour functions as self-harm as Guts fights by penetrating Guts to "heal" him.

Something that solidifies its hold over Guts and makes him lose more and more of his positive humanity to his urge to kill.

So yeah, from a Freudian angle I'd suggest that Guts is driven to fight to reclaim the sense of masculine power he was stripped of when he was raped, and every fight can be said to be a repetition of his rape trauma in which he (usually) successfully fights back, but also continuously retraumatizes himself rather than healing.

I'm going to delve a little deeper into how phallic and yonic symbols intersect with the characters' relationships now that we've outlined some of the preliminary symbolism, starting from the Golden Age.

The first duel between Guts and Griffith is rife with Freudian symbolism, very overtly. Griffith stabs Guts and then Guts proceeds to have a nightmare about his rape trauma. Then he projects that trauma onto Griffith when he assumes Griffith wants to fuck him and adds sexual stakes to their duel. Then, yk, he takes Griffith's sword into his mouth lol.

Griffith winning by dislocating Guts' arm can be easily taken as a symbolic unmanning/castration, nicely introducing us into Guts' three years of growth towards prioritizing relationships instead of aimless sword-swinging to prove himself. It's also suggestive of penetration when you're primed to look for sexual symbolism (and if Guts offering Griffith his ass and then biting a sword doesn't prime you for it, what does?):

And the two of them losing their swords in the course of the fight and resorting to unarmed combat can also be taken as a telling symbol of the conflict between dreams and their relationship with each other. They lose the symbols of their dreams and contend only with each other, in a more positive contrast to the second duel that ends their relationship, in which they fight only with swords and never touch each other.

Wounds come into it when Griffith nearly gets killed rushing in against Zodd to save Guts, leading to the most impactful moment of their relationship, where Griffith admits he did it solely for Guts' sake and had no other reason. Griffith also points out how wounded Guts is after that fight, in what I'd call a nearly flirtatious way:

And if you follow these symbols completely strictly this scene suggests Guts retreating into his defensive masculinity in his sword exercises after being defeated/emasculated by Zodd and accused of not valuing his personal relationships by Casca, and finally finding a new, more constructive purpose for his sword after Griffith essentially confesses his devotion to him.

Dedicating his sword to Griffith in return for the wounds Griffith suffered for his sake, with, it has to be noted when the topic is freudian symbolism, his sword held at exactly crotch level.

In the second duel Guts destroys Griffith's sword before leaving, a symbolic castration which is most likely intended to represent and foreshadow Griffith's subsequent loss of power when he throws his life away and ends up tortured in a dungeon for a year. More interestingly imo, is Griffith tracing scratch-markes on his shoulder after sleeping with Charlotte and while crying over Guts - the same shoulder Guts' sword didn't quite hit when he won the duel, drawing attention to the lack of a wound by Guts' hand, a wound he created himself and traces in his devastation.

You have a nice... I don't know what the comic terminology is lol so I'm just going to call it a match-cut here, with Griffith and Casca both getting penetrated by the same number of arrows/skewers, to signify Griffith and the Hawks' fall from power, in contrast to Guts' growing phallic power as he pursues his sword swinging. Power which he demonstrates when he returns and saves the Hawks and Casca and Griffith by swinging his sword a lot and defeating a lot of powerful enemies and, if I'm gonna be crass, healing Casca's suicidal despair with his dick lol.

Interestingly though, before he does that he lets Casca stab him while experiencing the guilt of having driven Griffith into a torture chamber by leaving. It's a wound that highlights his emotional connection to Griffith and vulnerability to those emotions, even as he tries to deny them. He then manages to successfully deny them for a little while longer after having sex with Casca.

In this Freudian context, Guts and Casca's sex scene is an affirmation of a relationship, but one which is emotionally uneven, with Casca ready and willing to emotionally rely on and support Guts, but Guts still dedicated to his sword-swinging dream, inviting Casca with him but only as long as she doesn't get in the way of what he wants to do. This does fit with phallic symbols being associated with emotional distance and yonic symbols being associated with emotional closeness lol. (Also fittingly, the one way he does open up to her is about his rape trauma after a flashback.)

It's worth noting that in this disconnect Casca erroneously assumes Guts fought the hundred men and "bled" for her, making her want "a wound" from him in return. Guts fighting those hundred men is much more reminiscent of his fights against apostles, the fights that revolve around replaying his rape trauma to make himself feel better. Casca assumes they already have an emotional bond due to Guts' wounds, but she's wrong - Guts specifically thinks to himself during the hundred man fight that he's not doing it for Casca.

This is reflected in the Wyald fight when Guts insists on fighting Wyald, again as part of the whole reaffirmation of masculinity thing I outlined at the start of this, when Casca just wants him to run away. The Wyald fight is pretty overt about being about Guts' rape trauma imo, moreso than most fights in the story. Wyald's rapiness is made a point of from Guts' point of view when he sees him wielding the torso of a woman sexually impaled on a pike and gets extra angry, and when he literally cuts off Wyald's dick when he's about to rape Casca, and then has his pointed line about needing to "settle the score with him... with them... by his own sword."

SO ESSENTIALLY to sum up this subsection, I think you can argue that what prevents Guts and Casca from being an equal relationship is Guts stlil being hung up over needing to prove his masculine power through sword-swinging, rather than embracing his emasculation (which, remember, tends to signify positive relationships in this context) and coming to terms with it ("immersing himself in sorrow" as Godo says much later.)

Like, to return to Griffith, it's fitting that after Guts destroys his sword and he goes through a year of torture and is thoroughly emasculated, he's able to recognize his feelings for Guts and understand that Guts is more important to him than the dream, the "sword called the throne."

But he doesn't quite come to terms with his emasculation either. This symbolism is one explanation for the wagon scene where he propositions Casca - a desperate bid for some form of power. Not the strongest explanation imo, but since we're currently in the business of actively looking for this symbolism, it definitely fits. Casca's rejection and pity reinforce Griffith's emasculation, and overhearing her tell Guts to leave again is the final straw. Relationships are a bust, swords are now his only recourse, as we see when he has a vision of himself throwing him a sword and pointing to the castle.

You could take the nightmarish vision he has of a life with Casca as Griffith rejecting emasculation, but an alternate way of taking it is Griffith regaining a form of phallic power, and the emotional isolation that goes with it. After all, it's implied that he has a child with Casca, while totally withdrawn and emotionally isolated.

I once said in a different silly essay that Griffith choosing the dream is, in a way, Griffith choosing another version that nightmare, and that take also fits here.

And hey, it's another reason for Femto to rape Casca lol, if we want to ascribe meaning there, and of course we must in this kind of analysis. In the wagon Griffith essentially offers sex to Casca for the faint vestige of masculine power it could give him (emotional isolation and a child); in his nightmare he imagines that life and it drives him to suicide; and after becoming Femto he forces sex onto Casca and then continues on to embody emotional distance and masculine power.

This power is painfully demonstrated through the rape of Casca, but also subsequently through his pure untouchability (often in pointedly sexualized contexts); through his phony relationship with Charlotte and ascending to the ultimate patriarchal role of king/emperor and taking that sword called the throne; and I guess also through his actual sword lol which he still uses.

An example of sexualized untouchability - check out the positioning of that third thought bubble, in this scene where Griffith lords his invulnerability over Ganishka.

And look at all those pillars, I'm js.

And I'd be remiss not to point out the most recent confrontation with Guts where Guts tries many times to hit his naked body with his giant sword, completely fails, and then Griffith kidnaps Casca. More very on-point emasculation symbolism, it might as well be Guts trying to fuck him but unable to get hard lol. His breakdown afterwards doesn't do much to disabuse you of that notion either.

Anyway, back to post-Eclipse Guts. There's not much else to add that I didn't cover at the start, but in brief:

Guts has lost his arm during the Eclipse, which is an emasculation - he loses it while watching Femto rape ~his woman~ so it's like the most traditional symbolic castration there is lol. And of course he replaces it with a bigger, better, and more overt phallic symbol: a canon. And like the first thing we see him do with it is shove it into the mouth of a monster he's banging and blow her head off. So yk, there's that.

And there's Puck, who exists to help bridge Guts' emotional distance and essentially serves as the feminine counterpart to Guts' masculinity for a while. From his magical empathy, to his tiny size, to his lack of genitalia (note that in Freudian theory the lack of a penis is an indicator of femininity rather than specifically the presence of a vagina), to his connections with female characters Theresia and Jill, even arguably to his introduction where Guts saves him from a bunch of men throwing phallic knives at him by skewering them with his own (bigger) projectiles, this is consistent during the Black Swordsman/Conviction arc era.

Chestnut Puck is a lot more boyish, with his particular humour, his cameraderie with an annoying teenage boy, and now having his own feminine counterpart in Ivalera, but that's fine because his thematic job as a feminine influence on Guts is over after Guts starts collecting more friends.

And as far as the RPG group goes, there are a few notable instances of phallic symbolism for them too. Farnese and Serpico are an obvious example, with Farnese sexualizing the wounds Serpico voluntarily suffers for her, when she demands he duel for her honour a bunch of times.

Farnese brandishing the end of her whip at him doesn't hurt the freudian power dynamic symbolism either lol.

In the Conviction arc Farnese wielded a sword she was incapable of using, suggestive of her true femininity under a brash masculine surface, and when she softens in the Millenium Falcon arc she becomes a caretaker with only a small dagger for self-defense. That said, she does get that epic moment of stabbing a tiger in the eye with a long silver pole (candlestick) when she rejoins Guts' crew rather than becoming a housewife, so she still gets some badass phallic weapon imagery lol.

Serpico wields a thin rapier in the Conviction Arc, which Guts easily grabs in his hand, and in the Millenium Falcon arc he switches to a... limp feather duster lol. Serpico is very feminized compared to Guts and his weapons fit as part of that, but they're still effective weapons. You could maybe argue, within this Freudian lens, that this is indicative of Serpico's healthier relationship with masculinity. He's not compensating for anything, he's at peace with himself.

And god I gotta say something about Guts and Serpico's duels. In the first one you have Serpico delaying Guts while Farnese steals Casca from him, and part of that delay is to force Guts into a fight where he can't wield his sword, a parallel emasculation to Casca being kidnapped.

Then you have their confrontation after Farnese's no good very bad night, which is just incredibly suggestive lol.

You cannot tell me this isn't Guts getting blueballed when Serpico leaves after one quick exchange. Particularly coming in the same chapter featuring possessed Farnese grinding on Guts' sword (which Guts was much less interested in, incidentally). Also: wounds as sexual imagery again. Guts licking the blood off his cheek? Come on.

And finally you have their fight in Farnese's basement, in which Serpico attempts to hinder Guts by surrounding him with giant pillars, which Guts smashes through as he dodges around them. Another neat illustration of Guts' pure phallic power and Serpico's much more effeminate style.

One final note to address part of your ask, which didn't naturally fit into the rest of this lol: I would interpret vaginal imagery in monsters as mainly castration anxiety, yk, vagina dentata vibes, the fear of sticking your dick in a hole you can't see into. There's actually a lot of interesting stuff to consider in terms of the feminine as the unknowable other when it comes to Freudian theory, but that's like, not something I would expect Miura to lean into first of all, and also it would take another essay of explanation. If you're interested in that kind of Freudian analysis though I'd recommend the books Men, Women, and Chainsaws by Carol J. Clover and The Dread of Difference, edited by Barry Keith Grant. I took a course on women and horror films ages ago and read chunks of those, and it was very fun, and iirc both address Freudian imagery in horror.

Okay! So that's the rundown of like, all the examples of Freudian imagery that interest me at least lol. This isn't exhaustive ofc, Berserk is long and not stingy with this stuff, but this response is already so long and meandering lol, so I'm going to wrap it up here.

To sum up, phallic imagery often represents masculine power as well as masculine flaws (like emotional isolation) in Berserk, while yonic/vaginal imagery tends to represent feminine weakness as well as feminine virtues (like emotional connection and vulnerability). As a general rule, the more phallic imagery someone violently swings around, the more fucked up they are. Phallic violence is used to compensate for past trauma, but it only continues the cycle of violence. The way to break that violence is to accept one's wounds and focus on them, to heal, rather than trying to distract from them.

I don't think this is always the best way to interpret Berserk lol, but it adds another dimension that very often complements the surface meaning and thematic resonance of the story, sometimes purposefully, sometimes likely incidental. And either way it's a lot of fun to read into!

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hottestthingalive · 2 months

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months late to this party but i’m obsessed with how nerdy prudes must die reinforces the series’ point that the cycles are vicious the nightmare never stops. in hatchetfield they go through the nightmares again and again and again and the universal constant is that there is no happy ending and nerdy prudes is really the one that almost tricked us—sure, tgwdlm and black friday came close (with their respective ‘emma getting away’ and ‘omg did they defeat him finally?’ scenes) but I think npmd really perfectly captured the bait and switch of it all. we go from disney dance scene to the chastity must rise reveal and the reversal of the hunted are now the hunters (another pretty consistent hatchetfield theme) and what we learn is that there is no universe where things go right. Grace’s song mirrors Max’s, but the undertone is that Max mirrors the members of the cult years before (and also the adults around him in the present including the mayor but y’all aren’t ready for that talk yet). it doesn’t matter if someone figures it out or not: even if someone defeated Grace, someone else would take over. the cycle never ends; the worst part of the nightmare is when you think you’ve gotten away, only to feel claws at your back. they will never get to stop running

#npmd #Been a starkid fan for ages & I LOVE the themes the writing it goes so hard #I think nerdy prudes is probably their best show to date in general but also its so funny that it was written first because #it ending it also leaves the series open in such an effective way #that really embodies the meaning of the show and the series itself #hatchetfield my beloved #one of these days i’ll watch nightmare time finally and go fucking batshit mark my words

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greenerteacups · 8 days

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What do you think as Hermione's career would be post battle of Hogwarts? To me her being minister for magic really doesn't make sense. She does not have patience or tact to wade through murky waters of politics 😭😭

So hard to say! The Trio are so, so young when we leave them, I find it almost impossible to project their futures farther than a few years out. The job that suited me at 17 would be radically unsuited to me now. That's why of all the Trio, Ron's ending strikes me as the most realistic — he jumps straight into the save-the-world business again, burns out, realizes he's actually Done The Fuck Enough, Thanks, and pivots into a low-stress career where he gets to see his family a lot. Feels accurate! The others are weirder to me because they do seem to just... pick a lane and stay there.

With Hermione, you could spin her a couple ways. You could say that she leans into her bookish side and does research or teaching, which is not my preference for a couple reasons (namely, I don't think Hermione would like academia as a profession; she finds her classwork interesting and enjoys intellectual validation, but she'd be stifled and wasted in a DPhil program, and she'd be infuriated by the administrative politicking of your average higher-ed faculty). You could say that she gets disaffected with politics and ends up as a barrister or a lobbyist of some kind, but if anything that requires more political finesse, because you don't actually have institutional power, you're just handling the people who make decisions and trying to persuade them of your goals. This is not Hermione's preferred method of influence. She's not even particularly good at persuasion, she just happens to be smart enough (and right often enough) that people take her ideas seriously.

Or you could say her brashness fades with the years into a softened flavor of tell-you-like-it-is honesty, which some politicians actually do successfully trade on; as we see in British politics today, you don't have to be all that charming or clever to get ahead, you just need to be really driven and well-connected (which Hermione completely is; she fought shoulder-to-shoulder with the first postwar Minister and her bestie, the Literal Messiah, runs the Auror Office.) But I don't know if Hermione especially wants to be Minister, after the war. She's just watched years of horrendous bureaucratic incompetence plunge the country into a violent civil conflict. She's had not one, but two Ministers of Magic try to bully or shame her friends into complicity with fascism. Her view of government is... likely extremely dark.

But Hermione also isn't the kind of person who sees her life as a quest for happiness. Babygirl has a savior complex that makes Harry look selfish. (She basically kills her parents — yeah, obliviating is a form of murder, #changemymind — "for their own good," and justifies every batshit, vindictive, mean-spirited move she ever pulls on the grounds that it "helps" one of her friends.) She is a mean, lean, dragon-slaying machine, and she needs a dragon. After Voldemort, the Ministry is the no. 1 threat to muggle-borns and non-wizarding Beings. As a war heroine with basically infinite political capital, I'd be surprised if she didn't try to do something there. That said, Hermione is so vivacious and dynamic that she could potentially grow in a hundred different directions; it's possible that all of this, while true of her at 18, becomes completely inaccurate by 22. That's why I'm not too fussed about any particular fanon interpretation.

#greenteacup asks #sidebar: I know Minister “of” Magic is an Americanism but mea culpa #Someday I might actually bite it and pay someone to britpick Lionheart but I can't do it now #because I have a ban on editing published fic unless it's finished. Otherwise I'll never get around to writing the actual ending #I have a Process #is it the best process? likely not! but it makes the words go. so here we are.#I also think the fact that JKR is Gen X makes a difference here. careers worked differently in the 80s and 90s than they do now #i.e. we have the gig economy and a lot more mobility and EXPECTATION of mobility in your early life #that means career changes & professional pivots through your 20s and 30s are increasingly normal #and in fact have always been normal — but the image of the 'true' or 'ideal' career has changed #so we look at those careers and go hm. really? none of them changed?#none of them even went to uni? do wizards... just not?#but again. I believe the epilogue was written almost completely without consideration as to what happened between the BOH and then #I really believe that JKR did not know what happened to Harry except a wedding and 3 kids. because that was the whole point #I don't think she even knew what his career was when she wrote that scene #It existed to marry everyone off and do a quick munchkin headcount #because of the understandable temptation as an author to keep your hand on the wheel. but it didn't even matter!#the epilogue changed NOTHING! it was the most useless chapter in the series! I just — GOD #you can absolutely accuse me of being sour grapes about my ships getting nixed. I AM sour grapes. I AM a hater.#AND I have plot/theme/craft reasons for disliking it.#I'm not objective. I just want credit for being a sophisticated hater. my grapes may be sour but they're still artisinal.

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rearranging-deck-chairs · 3 months

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my writing is honestly way less stories than like,,, collages around a certain theme

#usually barely know the theme myself #im really not a writer #i tend to say poet half jokingly but im not really a poet either i have no poetical skill #im just a collage artist #just bc it's words youre collaging doesnt mean youre writing anything #but like my fic and my videos function in v v similar ways #am i writing dialogue when i arrange snippets of audio in a specific way to imply new meanings?#no more than i am writing dialogue when it's just my keyboard and my google docs #t b h #i mean half the lines in my written dialogue tend to be actual lines from the show too #repurposed

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miqojak · 4 months

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#just jak things #[The Jackal and the Wolf]#Not Even Bones #book series #whump #whump books #the two 'protagonists' have a dynamic that's so like Jak/Kets #like I have literally written this exact scene almost word for word before #except these two are totally asexual!#so if you like dark themes/whump this is an excellent series that doesn't focus on the sex of it all and the romance is kept light #it's the kind that's relegated to maybe hand-holding & cuddling some; these two connect SO deeply though that it's still beautiful & fucked #this is VERY dark material though - the exploration of morality is just up my alley (also it is modern/supernatural creature themed)

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damianosismyking · 6 months

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So you have an au about damen being abusive with laurent ?????

Please let me know more?? Any hcs or thoughts or anything pls

The capri fandom needs some dark aus fr

~🦌🌺

hello my darling!

I've been gone so long that I have no idea when you sent this and I'm deeply sorry for that!

I came up with the idea for an AU in which Damen's abusive way back in 2019/2020 (2021?) and to say I was a different person altogether back then is an understatement. I also haven't re-read the books in a long while so I can't say I recall everything I had imagined for this fic to begin with BUT!, I've got some fuzzy thoughts stored in the back of my mind that may satisfy some of the crave for Dark Damianos (a concept deeply slept on in my honest opinion but with how much people like to hate on him for free, it's best if we keep it sleeping lol).

DISCLAIMER: in my very private opinion, Damen has a natural darkness to his character that I find appealing (or would be appealing if I wasn't a coward) to explore. Those are the lenses through which I approach the abusive patterns he could come to develop in a relationship with an already emotionally/psychologically vulnerable Laurent. And also in my very private opinion, Laurent is a vulnerable character (for all reasons we as a fandom dwelled on to the point of exhaustion, but, most of all, in relation to how he sees and thinks of Damen — in terms not only of admiration but almost adoration, just as he did with his brother).

We all rememeber the scene at the end (?) of PG when Laurent is stepping on Damen's toes by saying bad things regarding his family and how Damen loses his temper and hits Laurent hard enough to draw blood. The guards step in to arrest Damen for hurting the prince and Damen takes full blame for doing it without showing a single bit of remorse whatsoever. Laurent is the one to talk his guards down from arresting Damen by pinning the blame of being assaulted on himself and that is it.

This idea (of an AU that never came to be) was forged mostly on the side of Damen's character that has a tendency to jump believe he is always right in the assessments he makes and proceed to never question the truth behind his own reasoning. And on the side of Laurent's character that always blames himself for every bad thing that has ever happened to him despite his own helplessness, and nurtures an unhealthy need for a role model to hold on to — once his brother, now his lover.

I'm going to leave all my thoughts for this AU bellow the cut, in case some people may find the matter too upsetting to read about. Trigger warnings for domestic, physical and psychological abuse, obviously! Proceed at your own accord and don't come whinning later🫰

so putting two and two together:

Damen is prone to angry outbursts or just violence in general. We see in more than one occasion that it doesn't take much for his 'bad side' to come out, which is a characteristic a lot of aggressors in this very patriarcal society we live in also showcase. And as their universe is ALSO incredibly patriarcal, this would check out.

As aforementioned, one of the most significative intances of Damen's violence is the day (after he had already slept with Laurent, after he admitted to himself he was in love with Laurent) where he he baits into Laurent's provocations and hits him.

Laurent's edge, I personally believe, though attenuated as it may be by the end of the cicle of abuse he endured all the way from his late childhood throughout his adolescence, will continue to be in place. It was wired into him as a survival mechanisms and old habits die hard. Whenever he is overwhelmed or any of his emotions slip from his iron-cast grip, he will likely spit fire and try and hurt whoever is within his reach.

Honeymoon phase being over, let's say the kingdoms were in fact merged (not going to get into any of that). Let's say Damen is the king of Vere as much as Laurent is the king of Akielos. Let's say their troups, their guards, palace servants — they are all unbiased and answer to both Laurent and Damen as their true kings equally.

Let's say Damen and Laurent continue to get at each other's throats. Lets's say they still got plenty to disagree upon and that their personalities continue to make them butt heads. Let's say their grudges, though they have agreed to leave the past be in the past, hold and come up again. An underlying resentment inate to their love. There's a lot of tension that I can see surrounding L/D's relationship. If you don't believe that it's fine, if you don't see it, that's more than okay. But I'm asking you to bear with me here.

They are having a heated argument in their palace about something that wasn't (shouldn't be) personal, but all of a sudden is. Damen says something that offsets a chain reaction in Laurent and he becomes a boy in selfdefense mode resorting to the good old habit of pushing Damen's weak spots just for the pleasure of making him angry and miserable. Damen has had a long day, he is weary, he is fed-up with all the kyroi, all the councelors making demands and telling him how to do his job. Laurent says the wrong thing at the wrong time and a moment later he is on the floor, with his hand on his cheek touching the burning spot where Damen slapped him. He bit his tongue in the impact and he can feel the blood in his mouth which he swallows.

There are no guards that come in this time, because they know better than to step into their king's quarrels. Damen tells himself it was Laurent who pushed him too far, he didn't mean to do it. Laurent agrees — Damen would never have done that if Laurent himself hadn't asked for it. Damen was good. He's only ever been good. He doesn't do anything without a good reason. Laurent is the one who fucks things up and pushes people too far. They make up.

Next time isn't that different. Nerves were high for a thousand different reasons. Laurent maybe got up from the wrong side of the bed. They argue. Damen pisses him off so he goes on to piss him off in return — just to give him a taste of what that feels like. In the back of his mind he remembers what happened last time they argued but he brushes it off as a mistake. Damen wouldn't dare to make the same mistake twice.

Then Damen does. And just like the other time Laurent loses his footing from the strength of the blow. His eyes tear from the pain but they don't fall. Damen is fumming over him, telling him how Laurent pushes him over the edge. Damen, who is such a just, charming, fair king. A much better king than Laurent is, with his head in place at all times in a way Laurent's own never is. If he lost his temper, it was because he was forced into it.

Laurent is the one who went too far again; Damen simply reacted to it. He stands and tells Damen he was wrong for saying the things he said. He shouldn't have. Damen agrees; Laurent shouldn't have. They make up.

Every time Damen is forced to loose his temper with Laurent he get angrier with Laurent and becomes a little wilder. Laurent should not make him keep doing it! He doesn't mean to do it! When the anger subdues, after they make love, in the morning after, Damen shows Laurent the tokens of the love he still has for him — a new mare of an excellent breed for Laurent's private stables, a new imported book he would like for his personal library, a new delicacy their cooks learns to make as sweet as a human can handle just the way Laurent likes it.

Damen is a good lover. Most of the time. If only Laurent stopped bringing out his bad side.

Laurent understands how every time Damen hits him it's his own fault. He tries to stop himself from causing their arguments but he can't. He always ends up saying the wrong thing, he always disappoints Damen somehow and though he can keep his stance straight and his face void, deep down he's terrified he will eventually drive Damen away.

After the loss of his entire family, after the death of Auguste, of living so many years under the sadistic regime of his uncle, Damen is everything Laurent has. And Laurent, warped as he is by nature, tainted and wrong and bad at his very core, doesn't deserve him. He knows he doesn't deserve Damen, who is so honorable, so good a leader, so righteous and mighty. But he wants Damen and he wants him to stay. He wants to be good for him and for Damen to think he is good.

So when the slapping evolves into punching, Laurent searches his own words, his own actions for where the fault lies. And always he finds it. The exact word he said in a meeting with their kiroi and councelors that undermined Damen's authority. The exact moment he stopped to speak with an ill-intentioned courtier who flirted with him and he must have unintentionally flirted back. The provokation implied in a comment he thought was innocuous. And the fact Damen only found more and more of reasons to be dissatisfied with Laurent, despite him becoming evermore self-aware and trying so hard, so much of the time, to please Damen, meant nothing more than the fact that Laurent was a man full of flaws. It wasn't on Damen.

They both agree Damen's assessment and his morals could never be wrong. He is too good and honest a man for that. Laurent is causing all of it.

The oldest members of their guards notice the slow, steady shift. Those that used to compose the old Veretian prince's guard are worried. They whisper among themselves when they see a new bruise blooming in their king's fair skin or hear the shouts coming from inside the royal chambers. But no one dares to raise a voice against king Damianos. Jord or Lazar (or whichever of the prince's guards you like best) goes to Laurent to raise their concerns and ask if everything is all right between him and Exalted. If there is anything Laurent needs. Anything at all. They will stand by him come what will. But Laurent berates them and tells them to keep their noses out of royal business.

Damen is approached by Nikandros and inquired about it when one day Damen unintentionally leaves Laurent with a black eye. Damen finds that is the perfect opportunity to lament about all the ways Laurent has been driving him insane and making him miserable. That he is getting worse with time where Damen had hoped he would have settled and his temperament improved. That years after the events they lived through, he keeps holding Damen accountable for things that should be left in the past. That Damen doesn't blame Laurent for killing Kastor, or torturing him in Vere anymore, so why should Laurent still resent him for Auguste.

Nikandros understands. He feels sorry for Damen, that Laurent makes his life so difficult. He has witnessed their quarrels before, had seen the way Laurent evokes Auguste's name as a dagger to dig into Damen's heart.

Then it becomes common knowledge all around their court: Laurent is as unbearable and hard to reconcile with as he'd ever been, prideful and resentful and cruel. And Damen is the poor man who has to handle him atop a whole kingdom he has to rule. There is no soul in their kingdom that doesn't feel bad for Damen's situation.

What no one seems to notice is that Laurent has taken to flinch whenever Damen lifts his hand. That he tenses when he raises his voice. That he is much more succint and careful with his words whenever Damen is around, because he doesn't want to upset him.

All they notice is Laurent's worsening moods. His renewed bouts of broodiness and anger. That he takes anything and everything out on everyone — the servants, the guards, officials, nobles of the court, the walls and the furniture. Nothing seems to please him anymore. Everything sets off his rage. Which is something else Damen has taken to punish him for, in the privacy of their chambers.

Laurent never cries. Not when Damen tell him how difficult he is, how impossible he makes to love him. Not when he sees the several shades of new and healing bruises all over his body, not when he gulps mouthfuls of his own blood. Laurent hasn't cried since he was thirteen. But he gets more and more hopeless each day that passes and he is proven again no good man could ever truly love him because nothing good and pure remains so in his presence.

Laurent always brings out the worse in people, no matter how he tries to get things right.

But he keeps on trying. Because maybe one day he can. And maybe Damen will see there is good left in him to love even though he makes his life hard and harder every day. And maybe one day Damen will love him easily.

Because all he really wants is to be worth it of Damen's love.

And that's all Damen wants too. He already loves Laurent so much. He would never, ever hurt him again if only Laurent would stop provoking him into it.

#to be COMPLETELY CLEAR #the author doesn't believe a single word the author herself has said in this thing #the author is an avid defender of Lovey-Dovey Lamen #of: Damen treats Laurent like fine porcelain and Laurent basks in it #of: Laurent learns what it means to be truly loved in Damen after so many years of pain #but you ask and you shall receive my loves my children my darlings #Pandemic version of me was in a dark place #captive prince #i'm not going to get into any potential grapey themes regarding L/D in this post sorry not sorry #because though canon would back me up good just writing what i wrote already cost me many more years of life than i'm willing to sacrifice #alright now #dark ficlet-ish #damianos of akielos #dark damen #laurent of vere #and all the other tags idk i don't remember how tumblr goes #i'm begging you to never ask me to write this fic #but if you're brave enough please go ahead take the prompt and run with it #just credit me and etc i think it's more than enough #i ain't gon read it but i'd like to know it was written in case one day dark gabe returns and SHE wants to read it #kinda meta but not really #kinda fic but not really #kinda character study but not really #what is this really? the frankenstein monster probably #any typos are the beauty marks of the text i refuse to read it again to extinguish them

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skrunksthatwunk · 8 days

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why the fuck did i write about birds this fucking sucks. i just found out birds only sleep for a few minutes at a time, hundreds of times a day. do you know what this is going to do to my structure? the logistics of their road trip? this is already like three days late and i've been fighting for my life to get A Plot Like Any Plot That Makes Sense out and now the birds fucking sleep for 5 minutes at a time.

#i should've just bailed and written another story when i had the chance #i'm not joking i've never fought a fiction piece this hard before. usually because i'm not writing for specific deadlines #and not a piece so big. and not one that's gonna be workshopped. i wanna blow them away but if things keep going the way they are everyone'#gonna tell me the pacing sucks and it feels pointless and the characters feel really confused. I KNOW. I KNOW THAT. FUCKK #i'm the type to do about 15 passes before i let someone see my 'first draft' and i'm just not gonna be able to do that if i want to get it #in time for a workshop. every day i delay is making things harder for my classmates y'know?? but i've been writing like 1k words a day #and it's still not done. GUHH #I DON'T LIKE WRITING THESE CHARACTERS THAT MUCH THEY'RE NOT FUNNY OR ENDEARING AND THAT'S MY LIKE.#MAIN SKILL AND VIBE WITH SHORT STORY DUOS. BUT NOOOO I HAD TO MAKE THEM DIFFERENT CUZ I WAS SICK OF DOING #THE SAME DYNAMIC OVER AND OVER. BITCH THIS IS YOUR FINAL!!!!!!!!!!!!!!! TRIED AND TRUE GETS THE BLUE (RIBBON)!!!!!!!!!!!!!!!!!!!!!!!!!#head in my hands head in my hands head in my hands head in my hands head #going to work on it some more. fuckk #the voices aren't consistent and i'm trying to make it clear that this is toxic bird yuri and not a mother/daughter thing but the maternal #themes are kind of fucking with that but they're important and i don't wanna get rid of them but it feels forced cuz im forcing it #sigh. i'm gonna have to cut the yuri. these two don't work romantically at all. what a waste of time.#i watched the entirety of mnthly girls' nozaki-kun in the past two days while avoiding writing. did you know that? the lengths to which i'l #go? anyway it was fun i appreciate fellow creative agony and i uh never knew how they did screen tones and wasn't expecting that somehow #so i learned something new (hooray). anyway back to. fucking. bird story stuff #i'm so mad i hate these two (<- lying. just pissy) i hate this story (<- mostly exaggerating. throwing a tantrum)#eughhhhhh i just wanna lie on the floor and cryyyyyyyyyy (<- completely deadpan irl. not That upset just kind of sick of shit)#i'm so burnt out and it's only gonna get worse. ughh #why can't someone just come in and write it for meeeeeeeeeeheheuhhh (<- would hate that)

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araekniarchive · 2 years

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hi! would you be able to do a web weave about artists haunting the muse?

U2, The Fly

David Sedaris, Repeat After Me

Charlie Kaufman, Eternal Sunshine of the Spotless Mind: The Shooting Script / Eternal Sunshine of the Spotless Mind (2004) dir. Michel Gondry

Agatha Christie, The Mirror Crack’d From Side to Side

The World Was Wide Enough, from Hamilton; written by Lin-Manuel Miranda

Sanober Khan (via)

#webs #web weaving #theme: the written word #theme: subjectivity #theme: art #mine #requests #u2 #david sedaris #(i ended up going down a hole with that one and. i think he is a very good writer but not a very good guy)#lin manuel miranda #charlie kaufman #eternal sunshine of the spotless mind (2004)#agatha christie #sanober khan

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crimeronan · 7 months

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yesterday a guy at irl critique group whose stuff i Really Really Like was critiquing this week's piece, and as part of his critique, he just straight-up said "okay, this is nitpicky and only because i keep writing fantasy stuff about healing myself, but there's a line here about this healing magic making this girl 'whole' and 'as she was meant to be' that reads...... really ableist." & the guy who wrote it was like "oh wow, you're right and that completely blew past me, thanks" & noted it down.

& i was sitting there trying not to visibly perk my ears like a dog like. SORRY TO BE SO SURPRISED I KNOW I'M BEING BIASED AND CONDESCENDING AS HELL. HEY. YOU KNOW THE WORD ABLEISM???

#i gotta stop assuming that i'm the only person with active leftist politics in. fuckin portland oregon. im doing everyone a disservice #this guy has written very nuanced cool shit in the past he has my fave pieces we've critiqued so far #him knowing the word ableism is not worth its own tumblr post Except.#ohhh my god i'm suddenly so excited to get to talk about the original fiction project.#like it's ugly horror so it might not be well-received. but i now know FOR SURE theres at least one dude whos gonna Get The Themes.#u know. like i see ur writjng magic horror healing for a reason. the critique partner version of soulmateship??#original fiction #autoimmune tag

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squidyyy23 · 1 year

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gallacrafts: big fic energy 🎂

okay, so i actually had a non-baking idea for this month's @gallacrafts at first but then @auds-and-evens jogged my memory about the M8TE cake! and how could i resist bringing the best pal lyle's cake to life???

so, congratulations to mickey's now-plundered hole, congratulations to M8TE's celebratory milestone, and congratulations to the wildly genius, out-of-this-world amazing, cherished soul that is @gallawitchxx for creating it all!

The candles flicker yellow and gold like Ian’s rut-aroused stare, which Mickey can still see as clearly in his mind’s eye as the sheet cake in front of him. Blue icing reads, Congrats! You got fucked! "To Mickey,” Lyle announces, dressed in head to toe leather and holding up a bulbous stemmed glass, scarlet wine sloshing about, “who finally let someone get their dick wet”—he pauses, really playing up the emotions—“inside of his tight, previously unplundered hole." -- M8TE by @gallawitchxx

#i've never written on a cake before. so we don't need to talk about it okay? 😂#hey bee babe. have i told you i love you today? and your feral wolf boys?#cause i do. madly and always.#next cake is delivered straight to your door.#please note this cake was fed to my family including my in laws.#after the words were scraped off. 🤣🤣🤣#ps. i cheated.#it is not a yellow cake inside per the fic. it's chocolate and dulce de leche. because that's what i wanted to eat. 🤫#gallacrafts #theme 19 #big fic energy #fic writers have my ❤️#ian the baker 🧁#<- kinda sorta?

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coconi · 2 years

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revalink, 16? :)

16. "Thank you."

"I said I'm fine."

Although Revali doesn't raise his voice more than usual, the echoing walls of Zora's Domain care not for anyone's privacy — Link hears it clearly from the healing pool in which he just woke, dazed and alone, at the very back of the chamber.

Despite his soreness, Link heaves a sigh of relief: if Revali has the presence of mind to complain, it means he's not at death's door anymore.

"You are the farthest thing away from fine!" Comes Mipha's voice, its pitch higher than usual out of either frustration or exhaustion. Or both. Something splashes wildly. "Please Revali, you lost too much blood and my Grace is at its limit. You need rest!"

The splashing becomes gradually weaker, then stops altogether.

"Tch, fine! Might as well linger here since my feathers are soaked through."

Revali's words are met by a heavy silence Link knows all too well; he can almost feel the force of Mipha's glare, so unexpected to those who hardly know her. After a moment, Revali clacks his beak in defeat.

"I won't try to leave, you have my word. Now go take care of yourself for a change. It’d be rather hypocritical not to, wouldn’t you agree?”

When Mipha giggles, it is hard for Link not to do the same.

"I’ll do just that. Rest well."

Link follows the sound of Mipha exiting Revali's pool. She gives someone instructions, far too quietly for Link to make out any words.

"...Mipha?"

The whispers stop. "Yes, Revali?”

The gentle rumor of waterfalls fills the air as Revali gingerly clears his throat. "Well, I wouldn't imagine that pesky kn—" A pause. "Link didn't make it out unscathed, did he?"

Link blinks. Quietly, he shifts and peeks over the edge of his pool, until Mipha's silhouette and the top of Revali's head become visible.

"Indeed, he did not." Mipha says, crestfallen. "He received several blows while shielding you, far more than he should have. It's a miracle he was still conscious when we came to your aid.” She takes a step in Revali’s direction. “But I assure you he'll be alright. He's not in danger anymore."

Revali’s crest bristles. "I wasn't worried about him."

"Clearly not.” Mipha smooths down Revali’s feathers and edges away before he can muster a squawk. She gives him a tired smile. "Recover your strength, Revali. And, if I may… don't forget who saved your life today."

As Mipha retreats, Link lowers himself back into the cool pond, careful to keep his head afloat. Without conversation the chamber becomes eerily quiet, with only the occasional droplet disturbing the peace. Link's eyelids flutter close; a comfortable drowsiness envelops him; his freshly-healed injuries beg for respite…

A sudden, resounding splash rattles Link’s spine, followed by a grunt and the distinct scraping of sharp talons on a hard surface. Not leaving the room or pacing...

...but approaching at the excruciating pace of a stalking beast of prey.

Link's breath seizes in his throat. He keeps his eyes closed, forces himself to exhale evenly as the steps get closer.

Clack. Stumble. Clack.

Cold water drips over Link's cheeks, his eyelids, his nose, and it takes every ounce of his training not to move. He hears labored breaths somewhere above him, feels the burning gaze of the Rito he shielded with his own body as death knocked at their door...

Even if Revali were to kill him now, Link doesn't think he could regret it if he tried.

"This is a debt that shall be repaid, you hear me?” Revali hisses, voice strained and wavering. “I bear little love for unfinished business, and will not stand to owe you a miserable plucking thing, you… you—”

Link does not move, tongue held firmly between his teeth. Revali's shadow looms over his closed eyes, hovering near, and suddenly Link can’t hear anything but the desperate clamor of his pulse within his flesh.

“I will not repeat myself, so hear me now or remain unconscious. Why, perish if you’re so inclined! It hardly matters to me.” Revali’s angry muttering is barely intelligible. Link holds his breath.

“I... thank you.”

What?

The shade retreats, allowing light to filter through Link’s eyelids once more. Link’s hands twitch at his sides, itching to break the water's surface, to bring the shade back, to—

"And never do that again." Revali spits bitterly as he limps away, leaving Link adrift in a sea of his own making.

#revalink #revali #link #botw #breath of the wild #my writing #ghirahimbo #writing ask #not the happiest with this but it is written and that has to count for something 😅#i could've made my life much easier and had link say 'thank you' instead #especially if i wanted to stick with the whole love language theme #or... you know... have them be in an established relationship for once #but idk this idea took hold and by the time my hubris hollered at me i was 600 words in so ¯\_(ツ)_/¯ bon appetit i guess?#sorry mipha sweetie i keep tossing you into the mix but The Bird (derogatory) desperately needs a voice of reason 24/7

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