Hey All, Today I’ve Released A 7 Part Limited Sci-Fi Horror Audio Drama Series Called DEVISER. It’s

Untitled.

i made a comic in google slides for some ungodly reason

Permanent Damage

If you look long enough into the void, the void begins to look back through you.

Draco Malfoy will never be able to hold anything for long. Constant crucios over 3 years has damaged his nerves.Voldemort was most displeased with his inability to finish his task, the Carrow’s annoyed with his refusal to torture students for their detentions. His hands shake and shiver, nerves constantly shaking with invisible, imaginary pain that stopped years ago. He yells in frustration as his shaking body repeatedly clinks his teacup loudly against its saucer, another futile attempt to keep his hands steady, and smashes it against the floor, a thousand white shards glittering against the black tile.

Harry Potter breaks down every time he gets a headache. Hand clapping to his forehead as the pain sets on, muttering to himself that ‘hes not back.’ ‘I killed him.’ ‘Its over’ as he scans the room; flinching at too pale skin, hand twitching towards his wand as brown eyes reflect red in the flickering, fluorescent light. The cold tile beneath his fingers grounds him as he tries to convince himself that he’s okay. The feeling that some part of him died that day in the forest, surrendering before Voldemort’s wand never leaves, the hollow feeling leaving an aching, painful hole in its wake.

Ron Weasley finds himself scanning rooms over and over again. Planning exit strategies and ways to take out everyone in the room in order to escape. He imagines everyone as an enemy in disguise, subconsciously moving people like chess pieces and picking his small flat, not because it was cheap or because the neighborhood was good (its dismal really) but because it had the best strategic advantage in regards to the city and places around him, in order to hide in case of attacks. He once again comes to his senses after a nightmare and sighs as he realizes that in his delirium he once again had filled pages upon pages of his notebook with battle tactics and the floor plans of places hes been and fought (Hogwarts, the Ministry, the Burrow...). He rips them out and adds them to a growing folder before making a cup of tea.

Hermione Granger finds herself hording food, slipping apples into pockets and bread into her purse. She comes home to find herself with pockets of tarts and a bag of crackers, handfuls of berries slipped between pages of paperwork and cereal bars snuck into file folders. The months of hiding and foraging have made her paranoid and hyper aware of how much food she’ll need to get through the day. She’ll find herself counting calories and balancing proteins, carbs and fats before she can stop herself and measuring how much she eats, intuitively leaving some over for Harry and Ron, forgetting that they are no longer on the run, having to ration food.

Luna is no longer as carefree and dreamy as she was. Her creatures turn from whimsical and delicate to horrifying. Claws and teeth grow to protect and attack. She won’t leave the house for days, wandering around inside with closed eyes to avoid Blibbering Humdingers who now have poisonous spines and Nargles with razor teeth, her mind having twisted them from cures for loneliness to share with her father, to weapons of destruction to protect her from the outside world. They are real enough to her that she convinces herself they’ve locked her inside her house and won’t let her leave, she thinks they’ve kidnapped and hurt her friends because ‘It’s  to protect you’ ‘They are spies’ ‘It’s not real Luna’ ‘They only want to hurt you’. The whispers follow everywhere and consume her, dragging her into the void. It’s when she locks Hermione in her basement under the influence of her broken mind, twisted by false images and under the guise of Hermione being someone else using polyjuice, that she gets a room in the Janus Thickney ward of St Mungos. She has moments of clarity but they are few and far between. her mind crumbled, her spirit broken, a twisted shadow of the young, bright girl who hummed happily as she waltzed barefoot through the halls.

Dennis Creevey perpetually has a broken, cracked, dirty camera on a shelf in his bedroom, never to be touched.

George Weasley has smashed every mirror in his flat and refuses to repair them

Percy Weasley takes to straight vodka and tequila out of the bottle because his guilt over Fred.

Kreacher forever wears a cracked and blood stained locket till the day he dies.

Teddy Lupin spends hours staring at pictures of his parents, shifting into one or the other or trying for the perfect mixture of both, never getting it quite right.

Minerva McGonnagal finds a dusty box under Severus Snape’s bed filled with cracked records; a flaky leather jacket; old Polaroids of a girl with a head of flames and eyes of shattered emerald, smiling, arms wrapped tight around a boy with inky hair and sharp, onyx eyes; a fractured glass figurine of a lily lying carefully on top of the pile; folded within an old letter. She sobs over a life spent hating and being hated as she pats the scratched lacquer on a string-less bass guitar

There will always be an empty seat at many tables all over the country as people mourn lives lost unfairly.

You can take people out of the war, but can you take the war out of people?

hey have i ever told you guys about torisai height difference

saiki- 5'6(changes if he uses transformatio)

tori- 5'10(unsure if thats with or without his shoes)

i think what’s on a person’s nightstand is very telling so reblog this and put in the tags the things you have on your nightstand

I saw the handprint through my streaming tears (i was sobbing my eyes out like a baby) and i cried so much harder. That handprint was the turning point for so much in the show. It was a turning point for Sam and Dean's relationship. It was a turning point for the forces and lore of the world. It was a turning point with Castiel showing up. It was the beginning of their relationship.... And it being there when Cas was sacrificing himself? Even if it wasn't burned into Deans skin? It hurt worse than if my heart was ripped out of my body and burned in front of me.

Ok, I’ll admit it: the hand print got me.

Y’know, sometimes you just want to fuck a TV. And you know who doesn’t ask questions? Tumblr. Tumblr fucks that TV with you.

I read somewhere you wrote Ares/aphrodite/Hephaestus In a fic, is this true and where is it? I had that same idea, and so happy!!

Thanks for the interest! I did start a PJO reading the books fanfic where they feature and its still only ne chapter even after all this time 😅, but its on my ao3 account also under RaysReads!!!!!

Why do we love Snape, or the character who was unkindly written

Claire Jordan in one of her Quora essays said that she’s been in fandom for decades and has never seen a character so loved as Snape. I concur. Excluding some recent trends that purposefully misinterpret Snape by projecting onto him a set of stereotypes he was never supposed to embody, Snape remains one of the most loved characters in the Harry Potter universe. Every poll on Harry Potter’s favourite characters confirm that Snape is always on the top 3, sometimes reaching first place.

This is not some “bad boy syndrome”. There are two main reasons for readers to have latched onto Snape so furiously, for Snape to have been so ardently discussed and defended after HBP – and these feelings only intensified after the 7th book. The reasons, I would posit, are:

1.      Snape is a character that the narrative portrays as ambiguous.

2.      Despite this, the narrative is often, objectively, unfair to Snape especially in favour of other characters.

Let’s address the first point. Snape is ambiguous because he has to be. There are two big plot-twists in Harry Potter: Harry is a horcrux and Snape’s loyalties. These two end up closely connected because it is through the knowledge of Snape’s loyalties that Harry discovers he must die to kill the part of Voldemort that is inside him. Snape is therefore largely written as a suspect in a murder mystery. Several commentators have argued that the structure of a Harry Potter book resembles a crime novel, and I agree. Snape has to appear guilty, but the books have to give enough clues to the reader as to his true loyalties. Independently of authorial intent, this is what makes Snape so compelling. Because:

a.      Snape is cruel to his students but he constantly protects them (Harry, Draco, Katie Bell, Luna and Hermione, Neville and Ginny).

b.      Snape is described as ugly but his use of language is the most sophisticated of the series to the point it becomes sensual. Just consider his first speech in class about the beauty of potions and how they “ensnare the senses” and “bewitch the mind”.

c.      Snape is mean and petty but these characteristics are often accompanied by sarcasm and irony which make some of his most awful comments quite funny, such as him telling Crabbe not to suffocate Neville because he would have to mention it in a reference letter if ever Crabbe applied to a job. There is also a lot of incongruent humour in play with Snape. For example, him reading about Harry’s love life is hilarious because Snape and teenage drama are two irreconcilable dimensions.

d.      Snape is cruel and bullying but the narrative offers several reasons for this. While Dumbledore’s past is revealed mostly through conversation, Snape’s past is slowly revealed in images which makes it much more vivid. Snape getting a glimpse of a werewolf at the end of a tunnel. Snape’s father yelling at his cowering mother. Snape upside down and petrified by Sirius and James. Petunia calling him “an awful boy”. More than any other character, Snape is rooted in a social context that brings with it inescapable references: poverty, domestic abuse, neglect, bullying.

e.      Snape is often ridiculed (by Neville’s Boggart and by the map) but he is also given the title of “Prince”, a character with whom Harry sympathizes. He is also one of the characters who carries a sword, and whose love is presented as “the best part” of him. These are characteristics that ennoble Snape.

f.       Snape is dismissive of people’s feelings but he is also the character who is defending children because of their mothers. Lily because of his guilt, and Narcissa whom he allows to trap him in an unbreakable vow to protect her son.  

g.      Snape is taken as evil but the character whom the narrator uses as a morality mouthpiece – Hermione – often defends him.

h.      Snape kills a man but the narrative is quick to add that his soul would likely remain intact as it would be an act of mercy, arranged between the victim and the perpetrator as Harry reinforces. Harry goes as far saying that Snape “finished him” instead of using the verb kill or murder. Furthermore, we know remorse is something that mends the soul and Snape’s whole arc is about guilt and remorse – immortalized in the scene where Snape weeps at 13 Grimmauld Palace.

i.       Snape is apparently a murderer but the narrative goes to some lengths to show that just like Harry Snape has a thing for saving people. “Lately, only those I could not save” and him risking his cover to save Lupin.

j.       Snape’s trauma is often discredited but the narrative allows part of his tragedy to come at the expense of the hero’s father whom Harry spent years admiring. A relevant part of James’s goodness is sacrificed in favour of Snape’s own character construction.

k.      Snape’s trauma in relation to having been bullied is more often discredited by the narrative, although Fudge’s comment “the man is quite unbalanced” and the comparison established between James and Sirius’s use of Levicorpus and the Death Eaters using it on a muggle woman shows that it is something to be taken serious, although never acknowledged.

This last point leads me to my second assertion that the narrative is fundamentally unfair and cruel to Snape. For two main reasons:

a.      Snape’s trauma in relation to the Mauraders is discredited by everyone that counts, namely, Lily and Dumbledore. Only Harry comes closer to understand its dimensions. We can argue as to why this is, and as to whether there was authorial intent or it is simply that JKR didn’t realise how it would sound. Lily nearly smiles when Snape is being bullied which puts in question Lily’s character as well as her friendship with Snape. Both in Snape’s Worst Memory and in the conversation about the prank, she also fails to show concern that her friend was being bullied by the boy she liked.

b.      The second instance of unfairness is more serious because it is far more insidious. A careful reading of text will tell us that Snape was set up for death by Dumbledore. That Dumbledore planted the Elder Wand on Snape while thinking its power had died with him and while knowing that Voldemort would eventually reach conclusions about the Elder Wand and wish to possess it, thus killing its current owner. Not only Dumbledore never tells Snape, but he plans it beforehand. This is why he “admits” to Harry that the intention was to let Snape have the wand. Harry understands exactly what this means, and in the Final Battle tells Voldemort that Dumbledore intended the power of the wand to die with him.

This is so insidious – and cruel – that it is never openly acknowledged. Dumbledore betrays Snape, showing an impressive disregard for his life – far more than he showed for Harry’s because he knew Harry had a good chance of survival. But Snape is never given the satisfaction of having this acknowledged in the text. Snape yearned for Dumbledore’s affection but not only Dumbledore denied him that, he also denied him the truth of what he really wanted of him. Snape is betrayed by both his masters at the end. But we are never explicitly told this. This happens because the narrative is unwilling to portray Dumbledore in a truly badly light. His apparent sorrow (“poor Severus”) and his “admission” of guilt are not enough to show him remorseful because the narrative cannot bring itself to say: “I set Snape to die by planting the wand on him so Voldemort would come to possess a useless weapon”. This would change the readers’ view of Dumbledore, especially after Prince’s Tale. Remark on how cruel it is: Snape had to agree to kill Dumbledore in “good faith” so the power of the wand died with him, but all the while Dumbledore knows that Snape would get a target on his back and die from it. Dumbledore manipulates Snape into – possibly – ripping his soul and tricks Snape into his own demise. Snape thought Dumbledore was raising Harry as a pig for slaughter, but he is wrong. It is him whom Dumbledore is raising to die. The fact that this is never openly stated, and is purposefully obfuscated by the language, is somewhat cowardly. Dumbledore barely apologises, he barely recognizes it. If he did, the readers would be horrified. As with Lily, Snape is again sacrificed in favour of apparently “better” characters whom the narrative wants the readers to like more.

However, the flaw in the plan is that…readers aren’t stupid. I caught on to this when I was a teenager, and it has only intensified as I grew older.

Even at the end, Snape understands from the moment Voldemort mentions the wand that he is going to die. JKR said in a tweet that Snape could’ve saved himself, presumably by setting Voldemort straight, and so his silence ensured Harry’s victory. It is a possible interpretation. More possible still is that Snape accepted death after giving Harry his memories. The fact that he stops trying to staunch the bleeding once Harry appears shows it. His “look at me” is the request of a man who knows he’s going to die and just wants to do so by looking at the eyes of the woman he loves. In this sense, following Dumbledore’s words that “there are things far worse than death” and that for an organized mind death is “the next big adventure”, Snape showed far more courage than both Dumbledore and Voldemort who on several occasions tried to fight the inevitability of death.

It is true the narrative offers some vindication for Snape. Harry tells Tom Riddle of Snape’s true loyalties. Riddle is not allowed to die before knowing that Snape had betrayed him and colluded with Dumbledore, all because of a power Riddle doesn’t understand – love. Harry also names the son with his – and his mother’s – green eyes Severus. Finally, Harry tells him that Snape was probably the bravest man he knew.

But still, Snape is not kindly written. There is an underlying cruelty in how Snape is treated throughout the books. Because he is so profoundly unloved, because he is barely shown kindness and because no one ever takes responsibility for what happened to him, the readers feel compelled to do so. That, I think, explains why Snape is so widely loved, and why people are so ready to defend him in unprecedented ways.mak

what does horror mean to you guys? Like, is it an artistic expression, maybe a type of comfort, etc etc. Love your podcasts!!! 🫶

I guess I see it much like any genre - as a kind of licence, based on audience expectation and audience trust, to take them to certain places.

For me the only difference with horror, and what really excites me about it, is that it's a particularly flexible licence, with fewer hard requirements, and the driver is given more scope to go to stranger, bleaker, and darker destinations in pursuit of something interesting.

So we can debate whether elevated horror or torture porn or soft Halloween spookadoodles or whatever counts as 'real' horror (or indeed whether The Silt Verses should be called contemporary dark fantasy instead), or like Stephen King in On Writing, we can try and impose some kind of hierarchy of the audience's emotional responses, but horror resists these attempts to clearly classify it: humanity's collective understanding of the genre remains broad and mutable enough to include existential terror, cosy ghost stories, transgressive body horror, bleak and violent nihilism, and goofy Lovecraftian kitsch.

I love some of this stuff as great art and hate some of it as trash (and love some of it as trash as well), but the joy of horror lies in the fact that it's such a big, anarchic, permissive playground.

Horror is the sign on the door that simply promises, 'Bad things are going to happen.'