This blog post is part of “Deal with the Devil,” a third promotion originally inspired by the first and second ones I did with Harmony Corrupted: “Brace for Impact” and “Searching for Secrets” (2024). The first promotion was meant to promote and provide Volume Two, part one’s individual pieces for easy public viewing (it has since become a full, published book module: the Poetry Module). “Deal with the Devil” shall do the same, but with Volume Two, part two’s opening/thesis section and one of its two Monster Modules, Demons (the “Searching for Secrets” promotion covered the Undead Module, which is now live). As usual, this promotion was written, illustrated and invigilated by me as part of my larger Sex Positivity (2023) book series.
Click here to see “Deal with the Devil’s” Table of Contents and Full Disclaimer.
Volume Two, part two (the Demon Module) is out (2/14/2025)! Go to my book’s 1-page promo to download the latest version of the PDF (which will contain additions/corrections the original blog posts will not have)!
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Concerning Buggy Images: Sometimes the images on my site don’t always load and you get a little white-and-green placeholder symbol, instead. Sometimes I use a plugin for loading multiple images in one spot, called Envira Gallery, and not all of the images will load (resulting in blank white squares you can still right-click on). I‘ve optimized most of the images on my site, so I think it’s a server issue? Not sure. You should still be able to access the unloaded image by clicking on the placeholder/right-clicking on the white square (sometimes you have to delete the “?ssl=1” bit at the end of the url). Barring that, completed volumes will always contain all of the images, whose PDFs you can always download on my 1-page promo.
“Call of the Wild,” part two: Dark Xenophilia; or, “Far Out, Dude!” Monster-fucking and Magic Girls Helping Foster Dark Radical (Communist) Empathy During Healthy Sex Education (for Children and Young Adults into Adulthood) [opening]
“She’s not like other girls, Booger!” / “Why, does she have a penis?” [maybe, you stupid creep]
—Harold and Booger, Revenge of the Nerds (1984)
Picking up where “Call of the Wild; or “Sex Education,” Trans-forming the World (opening and part zero)” left off…
The remainder of this chapter is composed of two parts, each concerned with a particular aspect of totemic demonology as a dark xenophilic means of relating to nature or expressing it in a queer fashion tied to nature; i.e., as being “like a good (or bad, depending on the drugs/trauma) acid trip,” permanently altering us by taking us outside Plato’s cave; re: Communism’s dark radical empathy versus capital’s dark radical apathy during good vs bad sex education with monsters: monster-fucking and magical affinity wielded by the traditional and hauntological guardians of nature reclaiming these devices from the guardians of Capitalism, Cartesian thought and profit. It matters because without the Earth as our home, we’re ultimately colonizing and destroying the very place (and people, flora and fauna) that make up what we need to live. Men cannot eat gold, or digest what they treat like gold.
(exhibit 52c2: Poltergeist II: the Other Side [1987] pits the same white family against a ghost of colonialism—this time played by Father Kane/the Beast that manages to abject said sins onto Indigenous cultures and Pagan belief systems during a War on Drugs with all the usual double standards/exceptions for the White Man; i.e., Father Kane—an allusion to Cain and Able from the Bible and Beowulf—speaks seemingly to Mormonism, the Jehovah’s Witnesses and other “radical’s racial” forms of Puritanism [an American religion; re: the Mayflower Puritans]. Except, the movie treats the false preacher as a witch-in-preacher’s clothing [an inversion of Matthew Lewis’ Monk subterfuge]: an infiltrator of the normal American family’s home, drawn to their Christ-like child’s “pure spirit” as something to forcefully invade/rape [who would die in real life in 1988 from cardiac arrest caused by septic shock due to a congenital birth defect of the intestines. By comparison, the actor playing Kane was already dying of cancer when the film was shot—diagnosed in 1983 with stomach cancer and dying in 1985 before shooting was finished].
To survive, the white family find “common ground” with a Native American; i.e., the latter who basically serves as White Man’s Yoda during Red Skin, White Masks. It’s very appropriative, turning the Indigenous character into “the help” and the false preacher into a witch to whitewash Puritanism, and speaking through mysticism, drug use and vision quests that apologize for the Protestant ethic and Manifest Destiny as a whole. It’s horrid, but the monster is the best part of the movie; i.e., doubling for Vampire Capitalism’s dead labor feeding on living labor to turn the little girl into an old man without getting physically bigger—it’s frankly great!)
But also, we desperately need to shy away from cultural appropriation and nuclear superiority (above) by treating drug use and Indigenous cultures not simply as things to imbibe during Capitalist Realism—i.e., as upheld by the process, which furthers abjection when chasing the usual dragons of the counterfeit; re: Poltergeist II’s continuation of Spielberg’s tokenized run, crystallizing Capitalist Realism under a Protestant ethic (with Giger being hired to design the Freudian reverse-Genesis scene because of course he fucking was)—but to consume in ways that see beyond said Realism, and in ways demonstrably conducive to Gothic-Communist development: by reversing said abjection through the same surreal pathways conjuring up relationships of power that are friendly to us and those we summon; e.g., Puff the magic dragon (from 1978, below) someone to befriend in more ways than one (often through regressive states of mind under the influence of excited emotions and drugs)…
Such heroic/monstrous things “of the gods” are haunted by drug abuse tied to war trauma, Paganism (mysticism/shamanism) and child abuse/disassociation and imaginary friends, which we won’t have time to explore, save by expressing a desire to use drugs (and sex, monsters) as a responsible conduit of acclimating children to the Gothic; i.e., as sex education that, in the wrong hands, easily becomes fear-and-dogma propaganda that rapes nature (and those of it) all over again, thus alienates/fetishizes workers in all the usual ways from an early age: leading to the above criminogenic factors.
Note: I’m also not a habitual drug-user but have dated my fair share (e.g., Jadis used to drink, Cuwu smoked weed like a chimney and Bay’s a wizard when it comes to that shit). I’ve also studied the British Romantics and similar poets/artists, who happily abused drugs (e.g., Blake, Coleridge, Rimbaud and Jim Morrison, who we’ll look at here), as well as anti-war art either implied (re: Walpole’s Capitalocene) or overt (re: Goya) during Gothic surrealism; i.e., informed by ancient-to-medieval drug users, such as Ovid and Shakespeare. We’ll only have time to briefly outline them, here, and I’ll be sticking to more prominent examples to save time. —Perse
- Part one: “Monster-Fucking and Furry Panic, from Ace to Ass”: Delves further into undead qualities of natural monsters, expressing “monster-fucking” and dark xenophilia as a potentially ace-yet-pornographic form of sex-positive education through public nudism: featuring lycans, chimeras, and sentient animals to cope with trauma that is often something to live with; e.g., furry panic; e.g., Dario Argento’s “Pelts” (2006), Erika Eleniak from Under Siege (1989), Sonic the Hedgehog (1991) and Pippi Longstocking.
(artist: TMFD)
- Part two: “‘Follow the White-to-Black Rabbit’; or Magic, Drugs and Acid Communism” (feat. the Monstrous-Feminine of Magic Girls, Unicorns and Xenomorphs): Applies the same dark xenophilic logic to explore sex(-positive) education (from children to adults) through demons and acid Communism; i.e., spells and drugs, featuring the transformative monstrous-feminine of magic girls, unicorns and xenomorphs; e.g., Sailor Moon, The Last Unicorn, Nimona and Alien (among others). A witch is a witch, but which witch will you be? We’ll consider this question, too, vis-à-vis GNC ideologies from an ideological and morphological standpoint; re: “the trans, intersex and non-binary mode of being” as tied to older dead cultures and andro/gynodiversity in Gothic art, before closing things out with an exploration of radical drug use and revolution per Mark Fisher’s acid Communism inside capitalist hauntologies (which then segues into the rebirth of the Communist mind in dead capitalist retro-future spaces, figuratively the shopping mall of the zombie apocalypse).
“Good sex education through monster sex and drugs?” you say? Fret not; we’ll unpack things during this opening before diving in, but will be conversational as we go—i.e., covering a wide swath of patchwork elements; e.g., Once Upon a Time in Hollywood, The Matrix, The Life and Death of Peoples Temple, etc; i.e., with a central theme of dark empathy amid theatres of trauma and rejection, tying everything together as a matter of performance.
Note: When discussing Jonestown, we will be showing footage stills from the 2006 Life and Death documentary, which contains images of actual dead people. —Perse
So while “monster-fucking” is the mutually consensual act of fucking monsters of any type, part one frankly considers monster-fucking as an erotic enterprise; i.e., happening through totemic demons like lycanthropes (aka furries), chimeras and sentient animals, but also magical spirits like fairies that exist in relation to nature, sexuality and gender expression as fundamentally queer (we’ll explore their ace side in Volume Three). Communism is queer because its radical empathy challenges heteronormativity thus Patriarchal Capitalism’s established order through anisotropic drug use (and sex/ancient theatre emulating drug use).
Queerness, though not inherently pornographic, tends to be closer to sexuality (re: Reznor); i.e., as something that is openly expressed without shame, thus liberated from heteronormativity’s rigid, colonial binary and the state’s abject treatment of gender and sex: outside of state-ordained marriage, hence its valorizing of war/rape and the sexually dimorphic gender roles associated with these interlinked activities’ reactive abuse. In particular, part one will explore furries as a criminalized class of natural demons living under the status quo; i.e., inside its usual states of exception, which drug use exposes; re: furry panic and those who suffer under/escape from its exploitation all the time (as theatre nerds do, on and offstage, in weirdly iconoclastic nerdy acts of such things versus their canonical doubles)!
In doing so, we’ll be touching on the state’s deliberate tendency to associate its own victims “of nature” with hard drugs and sex abuse/work, mid-DARVO, which we disassociate from trauma with drugs as having a 1-to-1 comparison: hard drugs means hard emotions tied to hard trauma and time, etc; e.g., like Nic Cage chasing a bigger and bigger high in Mandy after his wife is killed by the biker cult (re: “Mandy, Homophobia and the Problem of Futile Revenge,” 2024); i.e., echoes of middle-class pearl-clutching from Wes Craven’s Last House on the Left (1972) and Charlie Manson’s warping of the Beatles’ “Helter Skelter” (1968), themselves being a fascist inversion of revolutionary action—one whose apathy during class war punches up in admittedly cult-like, thus predatory ways: turning to cults, drugs and orderly prison-like places of concealment to escape capital’s usual systems of inequity and harm. People don’t join cults to get raped; they do so to escape rape and rape finds them afterwards, far away from home (re: “Magic Man“)!
In short, we’re abused in situations where drug use is criminogenic, and turn to drugs (or poetry as drug-like) in ways that romantically and cryptonymically subvert our own harm during acid Communism; i.e., as a forever process of chasing our own tails, thus seeking a way out of Capitalist Realism while, in the same breath, chasing our collective generational trauma (and sexual predators) down, solo or as a pack: the revenge of the abused—already gaslit and infantilized by their abusers’ army of enablers keeping up appearances—cutting the abuser off from future prey inside a particular hunting grounds dancing with monsters.
This larger cryptomimetic process occupies the usual half-real, dialectical-material gradient. The Radcliffean children from It or Stranger Things, for example, have a signature revival of neo-conservative elements, but also Tarantino’s (surprise, surprise) Hollywood whitewash romancing of the usual white sexist men/spaghetti-Western Orientalism—the latter doing so not only to demonize Bruce Lee while celebrating Brad Pitt (the former a relatively privileged Asian actor who fought for worker rights in Hollywood/taught martial arts to people outside his own ethnic group, the latter a gentrified leading white man for Tarantino since Basterds), but also to attack Free Love as, fair enough, not totally without need of criticism; re: its selling out from positions of relative privilege (re: Tom Taylor’s “Steely Dan vs John Lennon” but also Jim Morrison, the latter who we’ll examine more in part two), as well as discount its own predation on vulnerable parties while recruiting from/slumming drugs and sex to expand their own spheres of influence, onstage and off.
To it, white moderacy apologizes for systemic rape by scapegoating criminogenic elements, which is what fascism and Communism are; i.e., recipients of American kayfabe’s moral superiority/panic sweeping its own complicit, guilty role in genocide: through centrist violence/persecution mania presenting and preserving the very side that enjoys such benefits to begin with, then going on to abject real-life examples by cryptonymically replicating them.
Tarantino, then, was and is a rape apologist who other rape apologists apologized for while ranking rape themselves (re: Ebert, “Summoning the Whore“). Rape apologia more broadly attempts to separate the art from the artist, or vice versa; e.g., people cried for Sharon Tate—the kept Madonna of child rapist Roman Polanski (re: Dreading), and who didn’t deserve to get murdered—while she and they ignored the class character of these crimes before Tate’s preventable death; i.e., capital causes rape by design because its divisions feed off rape as something to perpetuate into fiction as a gaslight/whitewash during the cryptonymy process furthering abjection; re: Polanski making a meal out of Tate’s death with his own X-rated Macbeth (1971) carrying the idiot’s tale into fiction, followed by Jane Fonda’s onscreen death in Chinatown (1974) likewise being a film that self-reports—one where the guilty investigate themselves by proxy: “She should have died hereafter”! Cops defend capital and present themselves as “of the people,” but they’re not; they cannibalize them from centrist veneers/rape pastiche.
To it, innocence is the first casualty of rape, but it is not the last and doesn’t die with one set/cycle of victims; it cryptomimetically goes on and on, the proof in the pudding! So while a whitewash is a whitewash, Polanski used Nicholson (a famous Hollywood womanizer) to whitewash his own abuse, onscreen and off (re: his 1973 rape of Samantha Geimer happening at Nicholson’s own house before the two men even made Chinatown); i.e., both men were the Pygmalion molding an underage Galatea into their dutiful apologist through a Radcliffean whitewash (the cops essentially investigating themselves). They suck, and however petty it is to root for Ozymandias buying the farm, I happily await their imminent deaths (Nicholson is 87 and Polanski is 91); i.e., I’ll drag both your shriveled pathetic corpses like Mussolini in the streets! You both suck and deserve nothing short of total exposure!
And while there’s a general power imbalance that needs to be recognized, here, the moment a victim shields a victimizer from criticism and consequence (or partakes of rape, themselves, through “prison sex” rituals), they become complicit, too; re: Polanski was a Holocaust survivor (source: “Mateusz Szczepaniak’s “How Roman Polanski Hid during the Holocaust,” 2019); i.e., in a larger system that has protected powerful men like him through their own victims since Black Penitents and the Middle Ages into second wave feminism, Zionism and similar tokenized betrayals.
I’d say to these jackals, “shame on you,” but such women think they’re the only victims in the world (as do the man they’re protecting/exploiting for his power as angels of mercy circling a corpse). They suck, and being victims of rape doesn’t make you exempt from raping others by enabling your rapist boss (the allure of the Manson gang being a devilish wish fulfillment where the rich are eaten by proxy revenge): these are not gods, but boy do they sure act like it! Security trumps long-term wellness, for such cops, and the worst offenders of rape apologia are white women policing the whore for the pimp. Witch cops! Traitors! I hope you never know a moment’s rest, the lot of you! A pox on you to rival Metallica’s (admittedly awesome) “Creeping Death” (1984)! “So let it be written, so let it be done! Let my people go!” you vultures! The pharaohs had nothing on TERFs and the bourgeoisie; e.g., not just Tilda Swinton—the androgynous muse of gay postpunk, Derek Jarman—but Eva Greene, below, sullying her own memory by protecting the old rapey grandpa. Gross!
(source: Sky News’ “Roman Polanski sex assault victim Samantha Geimer urges judge to end 40-year case,” 2017)
That’s the smoke and mirrors of showbiz selling itself as such. Jonestown, by comparison, becomes a place where the oppressed mysteriously went to, and were consequently led astray by a false preacher/missionary (the showbiz of the ancient world surviving out of the medieval under a Protestant ethic); i.e., a self-righteous lothario-in-disguise who preyed on them after those in power had already turned their backs on these same people: the disposed and homeless/housing challenged, who Jim Jones murdered through his infamous murder-suicide pact, in 1978; re: “drinking the Kool-Aid” to play at Socrates (they used cyanide instead of hemlock, but the effect was the same), then calling it “revolution,” postmortem, and which the media would paint with a Red-Scare brush. All to demonize a desire for rebellion while apologizing for and continuing state hegemony/abuse afterwards, white/token moderates would lament the cries of the dead: “Let all the tales of this People’s Temple be told.” From Lewis’ Bleeding Nun to said gospel of corpses, they reach forwards to speak of the hypnotic and seductive modes of discourse that push-pulled them together and apart. They united seemingly together but, at the same time, were alienated and frightened in their final hours on Earth.
And that includes the cries of their dead and dying (source: Jonestown: The Life and Death of People’s Temple, 2006; timestamp: 1:14:50). Why might they have gone to the ends of the Earth/fallen victim to a white conman who preyed on the weak and vulnerable; e.g., women and people of color as political radicals having offshot and held over from the Free Love/Civil Rights period, driven to seclusion and suicide after Vietnam as a matter of predation in South America as the usual frontier for such things? Bear in mind, they killed the children first so the adults would follow without storming the gunmen. Shit’s heavy.
And their dying screams will haunt you, but you should listen to them, anyways, because one day if we do not, our cries will mirror theirs when Elon Musk marches us off to the camps. Capital cannibalizes through tiered revenge arguments; i.e., those closer to the fires helping burn nature to ashes to warm the bourgeoisie: by scrambling to first avoid it, and them give into the purifying blaze after they’ve betrayed their friends. One of the worst casualties of abuse is questioning empathy—my own empathy something I question during the gaslight as stuck inside me; i.e., why was I not more like those raping me; re: put into a position of self-harm, we rape our own minds: “suffer the little children unto me!”
I don’t normally show actual corpses in my own work, but for witnessing and understanding their trauma and struggle to be heard, I will make an exception: “Remember that you have to die!” So learn from the dead to prevent what they were fighting against, to start with. Let it become a thing of the past to learn from; i.e., unburied testimonies that more cowardly and apathetic souls will scapegoat others to avoid gazing upon (the Medusa): comorbid or congenital, the results of capital are always the same! This is not unusual, but an everyday event that—even in small fragments thereof—threatens to drive us mad, mid-rapture. The mind, to protect itself, will shut out the killing fields’ unburied dead; so does Capitalist Realism do the same to pervert its laborers until they are chosen to die. To survive, we must operate unintuitively through emergent observation, the dead exacting a heavy toll that, for me, gives me strength to help those harmed from any crusade, children’s or otherwise! Empathy for/as the alien is our superpower! And I draw strength from the wretched:
So why did Jonestown happen? Because capital and its rape apologia, which is something I investigate through a palliative Numinous that doesn’t preclude madness and pain. To empathize is to feel pain; i.e., with the world as slowly dying en masse. The fact remains, women (and other vulnerable groups) historically-materially sleep with powerful men to survive (for food, shelter and cash, but also positions of power over other women and marginalized groups; re: Carter). Jones merely capitalized on it to deify himself as a Second Coming.
Except, those with more privilege inside a prison will blame the whore for sleeping with the suspicious individuals—as if the women themselves didn’t know what they were doing! While repressed guilt and awareness do happen, survival is generally a Faustian bargain where you consciously have no other options. Indeed, it’s a circuitous blame game—one where centrism and its moral teams/failings selectively employ DARVO obscurantism to hide the fact that America was, and has always been, a settler colony/police state. Under it, rapists can only fail up (re: canceling is a myth), women more prone to fight exposure because they’ve betrayed their fellow oppressed during spurious rape allegations (re: Federici). Such is the Holocaust as simply being profit at work on multiple registers.
So while assimilation is poor stewardship, rape is the opposite of stewardship; i.e., which, under historical-material cycles of reactive abuse, those who seem good/call themselves good to avoid criticism seldom are, and those who seem oppressed can be oppressed and still prey on others (the church of so-called “law and order” being its own mind prison/menticide factory on which to feast on workers, as cops do, above): the false Morpheus or Hades less kidnapping Persephone, outright, and more installing a neon-lit “Come and Get It” sign during perfidious sanctuary (re: Lewis’ cabin in the woods, but those bandits among the refugees targeting the poor instead of the well-to-do, the former easier to abuse).
So while all monsters are made by capital the system’s historical-material divisions/fractal recursion, the whole point of acid Communism is to reclaim such devices for development demasking cops—including token cops and charlatans—as class, culture and race traitors poisoning the well (rape as a terror weapon, but also monsters and drugs; e.g., the lycanthrope as a sexual deviant). Empathy doesn’t preclude persecution turned on its head, but we must challenge profit or suffer the consequences like those at Jonestown. Tarantino and Green “cry” for them daily!
Even so, the fact remains that we practicing witches (and similar marginalized groups on intersectional rungs of mistreatment) can’t get close to nature without broaching to what made it alien and furious to begin with: drugs, but also paradoxically places of play installed for drug use and regressively Paganized sex during ludo-Gothic BDSM investigating our abusers acting in bad faith; i.e., where no obvious trauma currently is, but cryptonymically serves up a kind of “dead supper” to where trauma previously was—meaning in a chronotopic, fourth-dimensional and trippy/phantasmagorical sense: riding out nightmares like a witch on her broom, communing with the Great Mother (someone furious, who we love and feel a great sadness for when she is raped by the colonizer); e.g., myself and Bay communing across vast gulfs of space-time to find empathy and connection while battling for the fate of the planet through rape victims’ uncovered testimony married to our own! Consider this our take on Tchaikovsky’s already super-gay and drug-infused “Dance of the Sugarplum Fairy” (1892) cracking deez nuts!
(artist: Winton Kidd)
Anyone who apologizes for rape—any rape at all—is a bigot/cop raping an Omelas child; anyone who clutches their pearls at reading The Monk (and similar veins of exposure) is also a cop, thus a rapist by proxy apologizing for said rape (re: Coleridge)! Puritans gonna Puritan, the pilgrims/pioneers of an endless holocaust we must escape nerdily through sex, drugs and rock ‘n roll’s transformative frontier jouissance during persecution mania and subterfuge!
The Wisdom of the Ancients, then, is always of a space of play hauntologized for “ancient” animal theatre; i.e., with medieval and intersectional persecution language to escape capital by camping its canon; e.g., Link and the Triforce, chasing the whore (the Twilight Princess, below) and using Zelda as a beard to a frankly much-more-fun imp, Midna (and her oscillating betwixt transient and final forms for which no ideal version exists). Cryptonymy is dualistic, hence goes both ways: communicating through the paradox of escape haunted by shadows of rape, alienation and fetishized sacrifice (surrender) giving us power in the real world: “She tall! She thicc!”
(artist: Persephone van der Waard)
To it, the idea walks as much a tightrope between predator/prey half-real media between or of two (or more) worlds, but also addiction (of sex, music, theatre and/or drugs); i.e., as something to foster/speak to in animalized forms of danger and delight: we don’t owe our captors squat, and can make the illustration of mutual consent during praxial synthesis supplying an addictive hermeneutic that engenders good education as dialogic; i.e., when addressing overtly chemical addiction versus porn and social addiction (towards power), these being the dialectic of shelter and the alien’s carrot-and-stick as dangled in front of us by white moderates as much as reactionaries; re: Malcolm X’s wolf much less concerned with appearing good than foxes (centrists) do, and both reactionaries and moderates being just as hungry in their shared voracious weaponization of cryptonymy—always of such things abused against workers “of nature” within the colonial binary’s various exceptions and double standards!
Camping that absolutely matters, and it happens where canon does; i.e., during holistic liminal expression anisotropically reversing terror/counterterror to empower workers during dialectical-material struggle invested in such things: we’re the avatar who can be for capital or not using the same basic aesthetics of power and death, hero and whore, rape and “rape” (above)!
That’s part one, in a nutshell and unpacked; part two explores some of the “magic girl” personas attached to natural demons/acid Communism, but also the trauma they face as queer educators working with policed materials; i.e., canonical magic, music, sex and drugs that transform those who are queer into increasingly suitable forms of sacrifice that capital can/will market and sell; re: antagonizing nature as monstrous-feminine by putting it (and its bio-power) cheaply to work through prostitute/pimp refrains (where the best revenge is the whore subverting the pimp’s dreams, mid-paradox-of-terror and -rape)!
To be clear in my intention, the “magic” class obviously includes a panoply of male, female, and intersex wizards and witches of various genders and anthropomorphism—all interacting with nature through a wide performative array of fantastical beings, playful roles and illicit substances: fairies, furries, and unicorns as nature-oriented, magical forms of genderqueer “perpetual bachelor/spinster” expression per Gothic (gay-anarcho) Communism; but also the undead-occult variants enraged by or suffering from colonial traumas. There’s just no conceivable way to list them all (or their revolutionary chatter), requiring some degree of generalization (thus abstraction) to talk about two warring hyperobjects; re: Capitalism and Communism chasing a dualistic Numinous while ranking rape (what Bacon, Descartes and their cartography divided between Nature vs Society as a means of conquering the former by the latter and calling it “progress”).
The state is straight, nature a queer whore for it to pimp, and one whose pimping we must camp (during the whore’s dark revenge); i.e., to thrive and survive on such staged (cryptonymic) artificial wilderness, from Matthew Lewis onwards! Behold the sweet, sweaty terror of a false Madonna exposing the state as inhumane: mighty Alruna’s Venus fly-snatch, loaded with honey to catch prey to play with and eat for different hauntological, animal-masquerade reasons (a “trap” in more ways than one, if you feel me; i.e., bourgeois prey versus proletarian “prey” in the same overarching predation dialogs masking rebellion in animal prostitution)!
(artist: Winton Kidd)
On an increasingly darkening path/Promethean Quest subverting the monomyth, then, part two will progress from total innocence, leading into experiences that become increasingly animalized and drug-like. It will begin with the bright, sparkling “magic girl” genre in Sailor Moon (which is centralized in an urban, “city pop” environment). From there, we’ll move onto other monstrous-feminine’s own dark powers of forbidden love speaking to rape differently than Sailor Moon does—Lady Amalthea’s complicated journey as a non-human, shapeshifting animal in The Last Unicorn, before ending on the most transgressive, undead and drug-like of the three sex demons; re: the xenomorph being an Archaic Mother demon lover/killer baby but also a GNC mode of trans(gressive), intersex, and non-binary ancient animal theatre masks, kayfabe, and Amazonomachia mid-courtship/calculated risk during ludo-Gothic BDSM’s own frontier revolutionary cryptonymy reversing abjection/profit as an anisotropic rape process (the Sphinx dooming Oedipus Rex)!
In both sections, then, we’ll also identify the patriarchal, “orderly” forces that hunt and tame nature’s historically female/monstrous-feminine persona; i.e., using colonial, thus prosecutorial violence (re: blood libel, sodomy and witch hunts) through Man Box heroes/tokens who hammer its dark outliers into increasingly acceptable, “useful” forms of submission: pimping the mysterious mother!
To that, we’ll consider how
- these hunters demonize the drug-like, transformative effects that beings of or aligned with nature manifest as a kind of “double method”: queer representation and sex-positive education. The status quo will repress both through violence by demonizing drug-users and animalized practitioners of magic as chattel/vermin to tame, hunt and kill (thus concentrate and exterminate through tokenized, fish-in-a-barrel farming methods).
- the hunted components of nature and how they—including their injured, angry and black, undead-supernatural variants like the xenomorph, but also more strictly organic and animalistic demons like the furry as equally stigmatized—must be reclaimed and subverted from the tamers of nature (token or not); i.e., to restore our holistic bond with nature, moving forward.
Part one will examine the furry as demonized/fetishized by the state; part two, will explore the canonical demonization of queer sex education through natural rituals and magic-/drug-themed heroes; re: ranging from the magic girls previously mentioned—witches and the unicorn, but also the xenomorph as hunted and killed by the status quo’s idea of virgin/whore nature: a subservient, purified “natural” order whipped into shape by weird canonical nerds chasing darkness.
Revolution isn’t clean, then, but a spectacular mess. Chaos, as something to subsequently define, becomes bottled up, twisted by agony during a naturalized process—that of violence during the Hero’s Journey as commodified in defense of the state; it’s only released through unironic violence in canonical forms, and subverted during empathetic rituals—of workers bound up with nature through humanizing procedures of social acceptance and love (sex)—in iconoclastic forms hugging or fucking the alien: a wild animal cannot be tamed in captivity/crossing into civilized life out of the jungle, but merely fetishized as wild in ways that speak as much to liberation and exploitation from a young age onwards! My heart was always young and free, thus goes out to the whores of the world. Born slutty! Represent!
(artist: Lumidetsu)
To that, we’ll also examine the gradual push towards eroticism (e.g., above); i.e., through children’s literature as linked to animal signifiers of virtue and vice (children’s books* often featuring an anthropomorphic, talkative animal with access to magic powers; e.g., Mother Goose, exhibit 56a) that become increasingly erotic, but also Gothically ace/publicly nudist interrogations of power and trauma as children age. So as fandoms “grow up” alongside material written around them, they gradually experience exposure to rape, abuse and death as it presents to them, in the natural-material world; i.e., as a dark radicalism and empathy to cryptonymically chase the usual hard stuff through acid Communism, on the Aegis. Such is our revenge; i.e., when we become fluent in the art of cryptonymy’s shadow war with such demons: on the surface of the image and inside its dualistic thresholds, remediating praxis!
To it, such monkey business can be deliberately introduced back into the wild while in captivity for those exposed to such things; i.e., unto children curious about what many are actually currently living through, thus helping them acclimate to the natural side of the struggle against the state: without feeling hopeless/turning to harmful sex and drug use (though acid Communism doesn’t preclude sex and drug use at large) but also Paganized aesthetics and therapy animals (re: a hauntological “Rite of Spring”) while riding the proverbial lighting in whatever forms we want those “thunderbolts” to take (e.g., Smaug’s boast): a death sentence for indulging in what is forbidden, doing so in ways that free the bridled through a recultivating of the Superstructure as a matter of dark empathy with ludo-Gothic BDSM go-tos! Vice characters dug up and played with like animal bones to rock and roll!
So do we pull a Peter Gabriel and “shock the monkey“; i.e., to subvert Pygmalion’s Pavlovian conditionings and dogma—said socio-material structure blossoming phallically (or whatever it’s called that mushrooms do) into our aforementioned Alruna avenger (spectres of the Medusa having the whore’s revenge in BDSM forms of exchange and transformation)! Capital is dead labor feeding on living labor in ways we exchange/transform and feed vis-à-vis trauma to escape through poetic cryptonymy paradoxically concealing/exposing through a dialectic of the alien friendly to said alien. Now the shoe’s on the other foot!
This being said, it’s a work-in-progress under constant changing factors while flying “straight on till morning” to Never, Neverland (a balancing act)! You’re close and you wanna race to the finish (towards Communism), but also don’t want to ejaculate prematurely. You wanna finish strong and give the Dark Queen you’re topping a nice big cum tribute (the paradox of sex being you want it to last but marathons/the drug high/furry suit and sex brain chemicals [e.g., Macbeth tripping on his own guilt towards the path to killing King Duncan; re: “O fatal vision”] overstaying their welcome)! Obscuring fetishes under high-control systems doesn’t negate the rebellion taking place; we just want to make it uncontrolled in its “ancient” subterfuge” toking on the “fire of the gods,” during a shared and at times unreliable pedagogy of the oppressed healing freakily (as the theatre nerd does) from rape as a shadow of itself, of itself, of itself…
A few extra exhibits (for fun) before we proceed onto part one!
*Regarding children’s books, the same idea applies to cartoons; e.g., Bugs Bunny and company being increasingly sexualized in ways that actually predate the character (the animals in Bambi featuring a tremendous amount of heteronormative sexualizing in a coming-of-age story); but also furry art as predominantly cartoonish, as well as various fantastical BDSM scenarios that invite cartoonish forms of “Pavlovian” subversion. We won’t have time to go into all of these, here; but I wanted to give a good few examples before proceeding onto part one. —Perse
(exhibit 51c: Artist, top-right: Catjira; mid-left: M_D00dles; middle: Pucchixo [AI-generated]; mid-right: Alex Su Sama.
There’s often a satirical element to radical empathy and theatre; e.g., Bugs Bunny and drag go hand-in-hand [seducing the hunter] and have for over eighty years [with men being historically allowed to cross-dress for the status quo during theatre since ancient times, whereas women could not; i.e., Loony Toons‘ numerous allusions to Shakespeare, and classical music, which extends to demonic/”Satanic” poetics]. However, the rabbit is also an ancient symbol of fertility that maintains its erotic Paganized function well into the present space and time: the hares of March making Caesar and his Ides anxious.
This being said, the revival and persistence of this Paganized imagery is generally policed within modular and tokenized double standards; i.e., that furiously treat sexuality and strength as wholly discrete, yet animalized all the same. Just as the virgin and the whore archetypes are segregated to control both female and monstrous-feminine bodies, the myth of the rabbit woman becomes that of a smart-and-sexy or sexy-and-strong straight woman/token Sapphic worshipping Marston and Beauvoir [the Amazon] dressed up in anthropomorphic language [which can also apply to feminized AMAB persons and GNC individuals at large]. Yet, the debate also argues for sexiness as a virtue of animal strength unto itself: that sexiness and strength are not mutually exclusive and that it is possible to depict an animal’s body [female or not] as “strong” through its sexiness or least public nudism; i.e., as an animalistic expression of its athleticism and vice versa being not in conflict, but holistic coordination tying to ancient Greco-Roman ideas of nude anthromorph bodies competing for godly favors [the wish fulfillment of a Promethean neoliberal aping the Ancients’ giving of fame and fortune, thus empty promises of immortality for all but the smallest of select special earners; e.g., Space Jam‘s tokenized athletes, including Michael Jordan]!
Such Omelas debates and their poetry are regularly conducted in relation to popular media as something to sell to children by corporations. Through canon, the elite teach customers how to perform and identify in standardized ways geared towards corporate profit, while also giving future artists the means to rebel against capital with reclaimed language. As nature-themed symbols of eroticism, anthropomorphic rabbits and their nudism become a profound means of genderqueer empowerment for the iconoclast; i.e., as something to subvert heteronormative gender roles and sexuality with in ways that resist worker exploitation: a rabbit to chase. The uniform and the “rabbit” inside it aren’t “just for men” as the universal clientele, to which “sexy” becomes entirely relative, thus decided as much by the artist creating their own representations thereof. We give and receive as ring-bearers “sharing the load” [versus carrying it alone; e.g., Lois Lowry’s god-awful 1993 The Giver little more than Red-Scare screed kicking Socialism while it was down]!)
(exhibit 51d1: Artist: Bassenji. Trauma and resistance to abusive power are commonly conveyed in animalistic expressions of anthropomorphic BDSM [and demonic power exchange] that just as quickly yield trans, non-binary and intersex sentiment and identity through a struggle to self-express by these policed means. In doing so, these groups become monster-fuckers in the eyes of those demonizing them; i.e., by using or encouraging state violence during moral panics against so-called “groomers.”
Except under these xenophobic conditions, power isn’t exclusive to the elite. Instead, state power becomes something to resist by reclaiming our own xenophilic sense of autonomy through demonic poetics as essential to proletarian praxis; i.e., the ludo-Gothic BDSM umbrella extending to a kingdom of anthropomorphized BDSM, kink and transgression: as didactic fantasies to realize with responsible, caring parties. Such parties include the infamous theatrical humiliation of orgasm denial, dick-shaming and -worship, cock-and-ball torture/cock cages, humans dolls, fur suits you can’t put on or remove yourself [similar to a lady’s corset] and various forms of chattelized play emblematic to BDSM, such as age play or pony/puppy play with “parental” elements [daddy/mommy doms] and so on and so forth!
In fact, the number of ways one can play in BDSM is so myriad, endless and complex that I could easily write an entire book on one type alone, let alone try to catalog all of them [with my own bias leaning towards mommy doms/Amazons, Gothic castles/Metroidvania and the Numinous having power over me, for example: exhibit 51d2, below]! To seek power is to seek arrangements of power to perform; i.e., with other people, ours using animalized warriors to abjure fascism [with Nazis furies being a thing sadly].
Through such iconoclastic countermeasures, we workers can illustrate mutual consent through the establishing of trust via negotiated, ironic power exchange; i.e., in pointedly sex-positive monster-fucking exhibits that showcase intersex persons as a lived, physical reality and trans and cis people working with disempowerment as both ironic to them, but also supplied by animal “gods” that project our audience backwards: to a reimagined, xenophilic Antiquity the likes of Ancient Egypt minus the pharaohs. Wherever we go, it becomes an Other Place where the animalized GNC peoples speaking to it dare to suggest its arrival on Earth; i.e., through performative dreams and drug-like threatres breaking Capitalist Realism as a liminal matter of seeing the Medusa as human: a mighty being that wouldn’t have been abject at all, but loved, worshipped and bowed before by their legions of adoring fans [or at least people who don’t want to impound and euthanize us]! A world without sin, thus profit and rape! One can dream!
In turn, the fluid gender performances that transpire during these rituals are divorced from heteronormative standards; i.e., becoming something to play with, not around, by queer agents and straights allies accommodating the needs of both parties, mid-performance. Ideally the chaser doesn’t harm the chased, even during instances of negotiated humiliation and cathartic objectification/CNC, etc—doing so to allow the cis person to enjoy the fantasy of fucking a queer monster like a doll/fetish without actually dehumanizing them, because negotiation prevents that by design: by decreasing the risk of harm.)
(exhibit 51d2: Artist, top-left: Raspbearyart; top-mid: Morry Evans; top-right/bottom-right: Oda Non; bottom-mid: Kukumomo; bottom-left: Bamuth Chen.
Fantastical gender roles and play during ludo-Gothic BDSM can oscillate between what is classically expected as something to subvert. For example, the female knight is often assigned animalistic qualities that can just as easily be expressed through sheer height, brawn or equipment, but also social positions; e.g., Urbosa from 2017’s Breath of the Wild [bottom-middle/right] as a “big sister” deflowering cliché [the “incest” trope] that more broadly translates to a protector archetype that reverses the role of protector and ward, but can be reversed again while keeping the Amazonian aesthetic for fun!
For example, Link tops the formidable-looking Urbosa as someone to “tame” in the classical scheme of “conquering Hippolyta,” including her “death by Snu-Snu,” albeit with the added irony of a blushing and, physically diminutive and femme male top who is being “steered” from below by a gentle mommy dom. It strikes a good balance between feeling wrong and right in ways that—upon closer examination—fall on the side of right; i.e., during dialectical-material scrutiny and context: “rape” isn’t rape during ludo-Gothic BDSM any more than doggystyle is bestiality [though sodomy laws will treat it as such—meaning in more Puritanical forms of guilty pleasure and wish fulfillment double standards that capital always decays towards, which we’ll examine more in Volume Three]!
[artist: Oda Non]
So does the wearing of mask-like costumes shield us from criticism and give us a cryptonymic means to camp what is policed; re: the uncanny thrill of friend/foe masks, but also the equally ambiguous predator/prey confusions of the calculated-risk Amazon or knight; i.e., making themselves sexy by giving us the ability to play when we feel like we need to: in order to regain control and have fun in times of crisis and confusion! Play = play as something to rely on during crisis; i.e., when synthesizing praxis. Sluttiness and invention aren’t a source of shame, here, but dark empathy recultivating old ancient pathways towards dark empathy using the corruption of trauma as something to address and heal with at the same time.
As such, it’s both a canonical vice and Communist virtue during the same larger war for territory and value, on the Aegis! So while rape hasn’t gone anywhere, we can always camp it to synthesize catharsis and convert capital into a post-scarcity [thus rape] device! We condition such things to become easily enough a second-nature game; e.g., not just Amazons, but pussy pirates camping the canon, the whore coming for your booty [very 1960s slutty Sapphic, below]!
[artist: Mandy Frizzle]
While this irony works easily enough in cis-gendered, Radcliffean fantasies calculating risk for second wave feminists [who would view the kind of nudity on the left as atrocious, because they’re SWERFs]—and which promote gender swappings with a binary structure of power—GNC cuties’ gender trouble and parody campily expand the realms of play within the same archetypes geared towards intersectional feminism, gender studies and liberated sex work; i.e., as divorced from oppressive binaries and said binaries’ compelled rulesets: the crossdressing double standard that prevents women from acting like men in good faith, but also men from behaving like sweet little brides should they earnestly want to. We ration such indulgence as something to give into through selective performance and mating rituals; i.e., as spiced up with “rape” in quotes during ace public nudism just as often [much of ludo-Gothic BDSM is ace, insofar as it focuses on informed labor exchange as a de facto educational device]! The ghost of the counterfeit, then, becomes a furry slut to empathize with, yielding ironically non-violent forms of ghost-hunting in search of the Medusa’s mythical mutual consent!
With these restrictions further and further eliminated, male performers can likewise adopt the pale satin, bound-and-gagged bride-under-duress with a physically stronger partner they trust not to harm them during a ritual of exquisite “torture,” power exchange, and forbidden knowledge; i.e., as monomorphic according to the “dom/sub” parent dichotomy as something to switch, merge and fiddle with absent of canonical gender trouble and abuse: demons as potentially dominant/submissive, but also knights, tomboys, and palace guards, pillow princesses, etc. All of this can be easily animalized, and indeed would have readily been by the likes of Chaucer during his infamously bawdy and layered Canterbury Tales‘; i.e., “The Miller’s Tale,” in particular, celebrating humans as deliciously animalistic.
Inside increasingly sex-positive iterations, these instructional games of discipline and obedience would be “Pavlovian” in quotes; i.e., minus the threat of actual violence, and meant to reward “good behavior” with “treats” negotiated by both parties in advance, during ludo-Gothic BDSM. As certain animals, but especially dogs, would have been historically conditioned to serve men, “good play” variants made by game-and-intelligent players automatically subvert the historical norms during emergent play while preserving the imagery of a happy groomed dog with its bone [cats and other domesticated animals come with their own clichés, which Volume Zero explores a fair bit].)
(exhibit 51d3: Artist, top-left: Blxxd Bunny; top-middle/bottom-middle-and-bottom-right: Quinnvincible; top-right: Dani Is Online; bottom-left: Bay. The imagery of the happy puppy during puppy play becomes its own form of animalized submission that lends itself surprisingly well to any gender [as well as gender swaps and irony]. It can be campy or canonical, embracing the animal as structured accordingly per ludo-Gothic BDSM as a matter of performative context.
For example, a white cis-het man is normally expected to be strong and iron-willed like a ferocious war dog would, but a male puppy can be someone’s pet—their guardian and/or small, cute delight to tease, train and reward by a given handler/owner/what-have-you; i.e., “grooming” through the language of permission and denial as instructed through the ritualized wearing of collars and use of animal kennels/cages and chew toys [useful for neurodivergent “stimming”] but also adorable, animalized body language. “Melting” for master into a pile of wiggles and wagging tails is par for the course regardless of the performers’ genders, and anthropomorphizing a human subject means supplying them with animalistic qualities that can be ethically sexualized. In other words, they have a humane, descriptively sexual application; i.e., one conducive to liberation as avoiding exploitation while walking the tightrope: to show us how to pull off such gimmicks and not harm ourselves/others, humanizing the harvest!
As our thesis volume argues, animals embody the canonical language of power and resistance as something to camp; e.g., Odessa Stone from Overwatch 2 [with Sojourn, on her knees, next page] as a “war boss” with a kayfabe rival; i.e., whose “queen bitch” status is undermined by fairly standard bedroom reversals [out of the public eye, except our cryptonymy shows the hidden escapades unfolding through transparent places of voyeuristic concealment]: the black soldier putting down her mantle to play in ways normally denied to both of them, literally swallowing her enemy’s pride!
Keeping with ludo-Gothic BDSM, the two sworn enemies playing together can be made campy again, and in ways more inclusive than the palimpsest movies were; i.e., through play as a form of study in its ludo-Gothic BDSM interpretations during creation, critique and consumption—with us making the ghosts of Mel Gibson and Tina Turner gayer than either historically was [more on this in Volume Three]!
[artist: Persephone van der Waard]
With Amazons or knights as soldiers, this classically happens through animal shells bearing various cat-and-dog [antagonistic] value statements to paradoxically quell and tempt audiences with; i.e., in paradoxical turns of phrase; e.g., “be still, my beating heart [or pulsing clit]!”
Whereas the cat, for example, is feminized in ways that are harder to condition but nevertheless ubiquitous, the dog is linked to Pavlovian conditioning through service as “man’s best friend.” It’s very KISS/”Keep It Simple Stupid.” These canine linguo-material antics are often historically-materially tied to labor and food production, providing playfully apt metaphors for “work, then reward” that many workers will readily understand: milk as the fruits of their labor as, unto itself, something to fantasize about, thus fetishize; re: Sojourn and Odessa stopping the cops-and-robbers gimmick to lap on particular “bowls of milk” [of paradise]: Odessa’s pussy and its cream!
Medieval puns aside, this can be real breast milk, which implies a fatty fertility function to the ritual. At the same time, “milk” during sex games often comes from ironic motherly sources; e.g., a male organ, which lends itself a fair amount of absurdist comedic potential; i.e., being symbolic of “reward” in ways not unlike the vampire’s sanguine and sodomy practices [which overlap with anthropomorphic sex with “animals” hyphenating tooth-and-claw with fang-and-mouth poetry performance games]. It also allows doubles of an ancient kayfabe sort—of dueling with dark copies since Antiquity’s shadow plays and colosseum into Hamlet and the chronotope of the Neo-Gothic’s anti-home bleeding hauntologically into neoliberal ’80s action heroes doubling those through corporatized Orientalism; e.g., Brandon Lee essentially fighting an evil, Fu Manchu double of his own real-life father in Rapid Fire‘s Al Leong the stuntman; i.e., before “Jake” can heroically progress and catch the evil [non-American] drug lord: “Seek power and you shall progress” unfolding among the same shadows to summon and banish; re: that Radcliffe worked with, among so many others, before and after her time in the underworld!
So forget about Star Wars and the monomyth’s own endless [and manipulative] cave of shadows; all simulacra reliably translate poetically into/allow for animalistic forms of self-righteous-vs-nihilistic as polar extremes we want to avoid in either case—i.e., Goldilocks Communism that, through the usual operatic highs and lows, can bite, kick, lick and fuck with/from us as needed: inside the danger disco as a liminal, hot-button, backdoor solution for facetious/sarcastic self-critique going a little nuts for fun but also revolution! Work is holy in a dualistic matter of context; i.e., giving us structure as a dialectical-material means of play and distraction, but also voice to cryptonymically fight back with: fostering empathy for the alien as something capital has a vested interest in dehumanizing. Such is our murder ballad, singing before we shuffle off this mortal coil. “The swans, they swim so bonny o!” [Loreena Mckennitt, 1994]. Pain is data to process, ingested as Moore and Patel’s “antidote to forgetting.”
Furthermore, it’s not centrism by our hand, because centrism doesn’t monopolize balancing acts, and ours upend the bourgeoisie and their cops-and-victims moral code/power games/stochastic terrorism. The basic idea—of doll-like bondage and discipline within chattel poetics—lends itself to many different animal clichés that can either be parodied or revived through earnest pastiche as doll-like, too. Indeed, the likes of animal transformation and ludo-Gothic BDSM—in relation to magic, sleep-inducing or mind-altering drugs, and power exchange—was something Shakespeare revived from Ovid; i.e., to present a dark, hedonistic critique of royal bondage in A Midsummer Night’s Dream:
Come, wait upon him. Lead him to my bower.
The moon, methinks, looks with a wat’ry eye,
And when she weeps, weeps every little flower,
Lamenting some enforcèd chastity.
Tie up my lover’s tongue. Bring him silently [source].
This wasn’t just any faerie that Bottom was with; it was a queen fae—with Titania gagging him by royal decree while under the influence of the self-same, sleep-inducing drug: love-in-idleness as vampiric but also demonic and closer to nature as royal, thus Numinous. Her commands of enforced silence and chastity constituted a medieval BDSM—its lush, ludo-Gothic animalized theatrics revived upon a Renaissance stage: Paganistic “incarceration” and servitude tied to a train of fairy-like servants reducing Nick, the rude mechanical, to that of an ass for her to play with and dote on. Come give Mommy a hug! “What dreams may come,” indeed!)
(artist: Henry Fuseli)
Onwards to “Dark Xenophilia, part one: Monster-Fucking and Furry Panic“!