About the Author - van der Waard Art.com

Persephone van der Waard is the author of the multi-volume, non-profit book series, Sex Positivity—its art director, sole invigilator, illustrator and primary editor (the other co-writer/co-editor being Bay Ryan). Persephone has her independent PhD in Gothic poetics and ludo-Gothic BDSM (focusing on partially on Metroidvania), and is a MtF trans woman, anti-fascist, atheist/Satanist, poly/pan kinkster, erotic artist/pornographer and anarcho-Communist with two partners. Including multiple playmates/friends and collaborators, Persephone and her many muses work/play together on Sex Positivity and on her artwork at large as a sex-positive force. That being said, she still occasionally writes reviews, Gothic analyses, and interviews for fun on her old blog (and makes YouTube videos talking about politics). To learn more about Persephone’s academic/activist work and larger portfolio, go to her About the Author page. To purchase illustrated or written material from Persephone (thus support the work she does), please refer to her commissions page for more information. Any money Persephone earns through commissions goes towards helping sex workers through the Sex Positivity project; i.e., by paying costs and funding shoots, therefore raising awareness. Likewise, Persephone accepts donations for the project, which you can send directly to her PayPal, Ko-Fi, Patreon or CashApp. Every bit helps!

Nude Persephone Warning: As I am a sex worker and this website is for viewers 18+, this page—specifically “Persephone’s Portfolio”—will contain nude images of me/my erect penis having sex (and a provocative-but-artistic image of me fucking my sex doll but not showing the gentials, for “Persephone’s Gender Identity”). Unless you are ready to visually receive my limp/stiff penis, kindly avoid those portions of this webpage (marked, below). You have been warned! (If you’re here just for the Metroidvania stuff, I’ve made a separate webpage containing all information shown here about Metroidvania, but none of my nude portfolios; the same info will also be posted on my old SFW blog: “From Master’s to PhD” (2025). —Perse

*contains nudity of me!

Persephone’s Book Series: Gives a brief outline of Persephone’s larger book series (which her Metroidvania research occupies/operates inside).
Persephone’s Gender Identity*
Persephone’s Activism & Academic Contributions
- Persephone’s Academic History: Sums up Persephone’s academic history in one paragraph.
- Academic and Activist Terms: Gives a small list of vital definitions written by Persephone, which in turn needed for the rest of the document: “ludo-Gothic BDSM,” “ludic Gothic,” “Gothic Communism,” “Metroidvania,” and several others.
Persephone’s Work on Metroidvania (available on the solo Metroidvania page): Persephone is an expert researcher of the Metroidvania subgenre, having dedicated a sizeable portion of her PhD and subsequent book series to its understanding and execution. This extensive section explores Persephone’s total history regarding Metroidvania while formulating her research on it; i.e., as a praxial device, laying said praxis out, giving relevant definitions, and supplying further reading.
- “Those Who Walk Away from Speedrunning” (available on the solo Metroidvania page or on Persephone’s old blog): A short addendum (and its historical 2020 companion piece, “Postcolonialism in Doom“) that addresses how speedrunning—although still important to Persephone’s work—is something she ultimately walked away from; i.e., while keeping her interest for Metroidvania (vis-à-vis ludo-Gothic BDSM) largely intact.
Tolkien Scholarship: Though not her primary focus, Persephone has done enough scholarship on Tolkien to merit its own section.
- Further Reading by Persephone (on Tolkien): A list of every essay Persephone has written on Tolkien, ranging from “dragon sickness,” to rings/collars and vampire BDSM, to orcs and goblins/monster-fucking—and more!

Persephone’s Sex Work Portfolio*
- Performed Sex Work: Provides examples of Persephone doing sex work, herself.
- Director’s Portfolio: Provides examples of Persephone directing other sex workers.
- Multimedia and Collages: Examines Persephone’s multimedia and collage style, featured in much of Sex Positivity.

Persephone’s Book Series

Persephone’s non-profit book series Sex Positivity officially started in July 2022—publishing her first book in October 2023 (the thesis volume), her second in February 2024 (the manifesto), her third in May 2024 (the Poetry Module), her fourth in September 2024 (the Undead Module), and her fifth in February 2025. She has one final book volume planned for the series, the Praxis Volume, which is slated to release soon.

Click here to read about the entire Sex Positivity book project and download PDFs for its individual available volumes; e.g., Volumes Zero, One, and Two, part one; etc.

Promo Blogs (for my newer volumes): For the new volumes/sub-volumes—i.e., from Volume Two onwards—I am posting them not just in PDF format, but also on my website in piece-by-piece blog format, too. Currently I’m working my way through Volume Two, which divides in three; part one is the Poetry Module, and part two is the Monster Modules, the Undead and Demons. Each module is effectively its own sub-volume with its own release, but also its own online promo series (where you can download the exhibit images at full resolution, access their table of contents, and read the Sex Positivity series disclaimer): “Brace for Impact,” “Searching for Secrets,” and “Deal with the Devil.” For organizational purposes, all sub-volumes are considered part of the same overall volume. When Volume Two is live, I shall do the same for Volume Three.

Update, 3/13/2025: I’ve decided to give every book volume/(sub)module its own promotion series, including Volume One and Zero. Access all of them, here.

Persephone’s Gender Identity

Persephone has been queer all her life. Her academic journey started when she was 27, in 2014 when she was still in the closet. Since then, she came out as trans in 2022 and hasn’t looked back!

Born Dutch, pale and male, Persephone—in her heart-of-hearts—is a thicc redheaded French girl with lots of curves, curly hair and freckles:

Persephone’s Activism & Academic Contributions

Persephone is a sex work activist, fighting for sex worker liberation through iconoclastic/sex-positive artwork. She is an anarcho-Communist writer, illustrator, BDSM educator, sex worker, genderqueer/environmental activist and Gothic ludologist—with her (independent) PhD having been written on Metroidvania combined with the above variables; i.e., to coin and articulate “ludo-Gothic BDSM” as a sex-positive poetic device in order to achieve Gothic Communism. Her ludic specialty is Metroidvania; her praxial focus more broadly is tokenism, anti-fascism, Amazonomachia and holistic criticism (with Sex Positivity having started in response to TERFs, before expanding its gaze onto Zionism, and various other normativities [e.g., Afro/queer] under capital’s heteronormative, Cartesian, settler-colonial sphere).

Persephone’s Academic History

Persephone completed her BA in “English: Language, Literature and Writing” at Eastern Michigan University in 2016. She attended Manchester Metropolitan University from 2017 to 2018, for her master’s in “English Studies: the Gothic,” then completed her master’s thesis on Metroidvania, back in America: “Lost in Necropolis” (2018). She independently researched her PhD (the thesis volume/Volume Zero from Sex Positivity) from December 2018 to July 2023, publishing it in October 2023. Apart from Gothic Communism, Persephone’s PhD focuses a great deal on Metroidvania; i.e., as a therapeutic healing space vis-à-vis ludo-Gothic BDSM, as well as expanding on Barbara Creed’s 1993 notion of the monstrous-feminine.

Note: Refer to “Revisiting My Masters’ Thesis” (2021) for more information about Persephone’s MA (and initial postgrad work). If you want to read the original peer review notes, they’re on Google Drive (source: Persephone van der Waard’s “Markers’ Comments for Persephone’s Master’s Thesis (10/27/2018).”

Academic and Activist Terms

Apart from “ludic-Gothic,” which Persephone only expanded on, here are some specialized academic definitions* from her book series, Sex Positivity, that Persephone personally coined and developed over time (quoted from her books, hence changing to the first person):

*The entire series glossary is available on this webpage.

Gothic (gay-anarcho) Communism (abridged)

Coined by me, Gothic (gay-anarcho) Communism is the deliberate, pointed critique of capital/Capitalism and the state using a unique marriage of Gothic/queer/game theory and semi-Marxist (an-Com) ideas synthesized campily by sex-positive workers during proletarian praxis: developing systemic catharsis, mid-liminal expression during praxial opposition, using ludo-Gothic BDSM and palliative-Numinous dialogs (e.g., Metroidvania) [refer to “Paratextual Documents” for the full definition, as well as all of the core Gothic theories I use].

the Shadow/effect of Pygmalion/Galatea (abridged)

Another of my neologisms (from the thesis volume), the Shadow of Pygmalion or “Pygmalion effect” is the patriarchal vision and subsequent shadow of any knowing-better “kings” of empire, thus capital; i.e., of male- and token-dominated industries inside the Man Box, wherein “Pygmalion” means “from a male king’s mind,” but frankly extends to all traitors (male or not): upholding profit/the status quo raping nature for profit (and those treated by the state as “of nature” for those reasons).

the Cycle of Kings (abridged)

Another term of mine, the Cycle of Kings is the centrist monomyth, or cycling out of good and bad kings (and the occasional queen), which extends to all the kings’ white cis-het Christian men or those acting like these men, thus warrior-minded good cops and bad cops (weird canonical nerds) apologizing for state genocide through Man Box and “prison sex” mentality arguments; i.e., within hauntological copaganda dressed up in medieval language.

“prison sex” mentality (abridged)

Coined in my own work, “prison sex” mentality speaks broadly to rape culture as a practice; i.e., as a systemically taught and enacted approach leading towards the routine harming of others while maintaining the status quo. It is similar to the Man Box argument by Mark Greene, who—in his 2023 podcast, Remaking Manhood: The Healthy Masculinity Podcast—refers to “Man Box culture” as:

the brutal enforcement of a narrowly defined set of traditional rules for being a man. These rules are enforced through shaming and bullying, as well as promises of rewards, the purpose of which is to force conformity to our dominant culture of masculinity (source: Mark Greene’s “How the Man Box Poisons Our Sons,” 2019).

“Prison sex” mentality exists in quotes because it occurs inside-outside actual state-described “prisons”—said facilities (and their legends) bleeding chronotopically into the nuclear home (and onto those things in the home’s shadow as a fractally recursive extension of the state and its victims/perpetrators). To it, “prison sex” mentality is the same idea as Man Box culture, except it chooses to focus less on men and more on the unequal power dynamics that occur between dimorphized workers of any sort; i.e., as trained by the state Superstructure not just to rape and kill one another in literal terms, but also theatrical language.

weird canonical nerds (versus weird iconoclastic nerds—abridged)

A term I coined while borrowing from and expanding on Cheyenne Lin’s “weird nerds” phrase from “Why Nerds Joined the Alt-Right” (2023), and one I present through my usual dialectical-material approach despite the obvious social components I’m weaving into things: weird canonical nerds vs weird iconoclastic nerds, or otherwise proponents of canon vs camp in popular culture; i.e., anything that weird canonical nerds posit, their iconoclastic brethren challenge in duality.

To it, weird canonical nerds work within a toxic subset of nerd culture. Whereas nerd culture more broadly is for those who present an increased intellectual interest in a given topic—often in literature, but also popular media more broadly as something to consume, critique, or create (with iconoclastic varieties extending such matters into a spectrum of modular activism and counterculture)—weird canonical nerds are those who undermine genuine, active intellectualism; i.e., by exchanging it for dumb, hostile and even bad-faith consumerism and negative freedom for the elite.

ludo-gothic BDSM

My 2023 combining of an older academic term, “ludic-Gothic” (Gothic videogames), with sex-positive BDSM theatrics as a potent means of camp. The emphasis is less about “how can videogames be Gothic” and more how the playfulness in videogames is commonly used to allow players to camp canon in and out of videogames as a form of negotiated power exchange established in playful, game-like forms (theatre and rules). Commonly gleaned through Metroidvania as I envision it, but frankly performed with any kind of Gothic poetics, ludo-Gothic BDSM playfully attains what I call “the palliative Numinous,” or the Gothic quest for self-destructive power as something to camp (the Numinous, per Rudolph Otto, being a divine force or numen tied less to the natural world [the Sublime] and more to civilization as derelict, dead and alien; re: the mysterium tremendum): a Communist Numinous/the Medusa per Barbara Creed, but not tokenized (re: the Amazon) while dancing with Hogle’s ghost of the counterfeit to reverse abjection (thus profit) and shrink the state!

For further information specifically on ludo-Gothic BDSM, refer to my new webpage cataloging the subject and its history as coined and synthesized by me. —Perse

the liminal hauntology of war (danger disco)

Another term of mine, one describing a half-real poetic space to heroically move through, onstage and off, and one that concerns the hauntological presence and function of a Gothic chronotope (the castle or some other war-like alien double of the nuclear home); i.e., of the Imperial Boomerang bringing monsters (and their masters) home to roost, during fascism; e.g., Tolkien and Cameron’s refrain (further academic coinage on my part, specifically that of the High Fantasy treasure map and Metroidvania/shooter), per the monomyth and Promethean Quest (for power) chasing the Numinous: for different reasons during the dialectic of the alien. In turn, these translate in and out of neoliberal stories (especially videogames) into real life; i.e., during the abjection process as something to reify and further for profit raping nature as monstrous-feminine (re: “A Note About Canonical Essentialism“). Also something I call the “danger disco,” or source of Numinous thrills; i.e., where the hero chases the Numinous during calculated risk: to articulate and interpret generational trauma under state confusion and duress.

military optimism

A term I wrote for a discontinued book series, Neoliberalism in Yesterday’s Heroes, military optimism speaks to the half-real “gun-happy optimism of Pax Americana—i.e., that one can always shoot away the state’s enemies and problems” (source: “The Promethean Quest and James Cameron’s Military Optimism in Metroid,” 2021). This includes any scapegoats that exist in and out of media/the Superstructure and society’s public imagination; i.e., between fiction and non-fiction, onstage and off; re: during Capitalist Realism antagonizing nature as monstrous-feminine, pimping it through abject (us-vs-them) revenge before repeatedly summoning and banishing it, Radcliffe-style.

(artist: Alex Ahad)

the dialectic of the alien

A term I coined to articulate the dialectic of the abjection process and venerate the Gothic—vis-à-vis Julia Kristeva, but also Frederic Jameson’s “dialectic of shelter” and subsequent class nightmare (re: Postmodernism), as well as Summoning Salt’s “The History of Mega Man 2 World Records” (2024; timestamp: 8:25); i.e., as a dialectic useful towards universal liberation, one concerning the alien as something to parse and arbitrate for or against abjection (as something to reverse): to hug or hate, police or liberate, the assignment of “alien” status using the same language/aesthetic of the alien, mid-play. As I write in “Brace for Impact: Some Prep When Hugging the Alien” (2024): “All in all, I live the Humanities as a ludo-Gothic means of thinking inclusively about and experiencing the Gothic first-hand (an ongoing relationship the Gothic deliberately combines—an affect); i.e., BDSM or otherwise, people work through preference and experimentation to issue public statements that are, to some degree, coded. Monsters are code for the dialectic of the alien (us versus them) as taught to us through canon, power being made to flow in one direction when faced with trauma as a historical-material effect: the ghost of the counterfeit waiting patiently for revenge (state shift). The horror of the Gothic, then, is when it truly comes alive, ceasing to be a pure fiction but a nightmare that applies to us as victims of the state cannibalizing us” (source). Ludo-Gothic BDSM, then, is a potent means of negotiating generational trauma during the dialectic of the alien; i.e., by rarefying or otherwise going where abuse (or spectres of abuse) are—mid-dialectic—to perform and interrogate shelter and alienation for development purposes: setting nature-as-alien (re: the monstrous-feminine) free from state control/pimps (re: the whore’s revenge).

the palliative Numinous

A term I designed to describe the pain-/stress-relieving effect achieved from, and relayed through, intense Gothic poetics and theatrics of various kinds (my preference being Metroidvania castle-narrative vis-à-vis Bakhtin’s chronotope applied to videogames out from novels and cinema and into Metroidvania).

Metroidvania (my definition, abridged)

Metroidvania are a location-based videogame genre that combines 2D, 2.5D, or 3D platforming [e.g., Dark Souls, 2009] and ranged/melee combat—usually in the 3rd person—inside a giant, closed space. This space communicates Gothic themes of various kinds; encourages exploration* depending on how non-linear the space is; includes progressive skill and item collection, mandatory boss keys, backtracking and variable gating mechanics (bosses, items, doors); and requires movement powerups in some shape or form, though these can be supplied through RPG elements as an optional alternative.

*Exploration pertains to the deliberate navigation of space beyond that of obvious, linear routes—to search for objects, objectives or secrets off the beaten path (source: “Mazes and Labyrinths,” 2019; refer to the Metroidvania page on my website for everything that I’ve written on Metroidvania).

praxial inertia

A term I coined when dealing with weird canonical nerds, praxial the resistance to/mistreatment of state-sponsored scapegoats in monomythic stories.

Tolkien and Cameron’s refrains (abridged)

Originally conceived of during my PhD, a refrain is a repeatable exercise that upholds Capitalist Realism, in some shape or form (though generally in videogames, per neoliberal media onwards). As I write in “A Note on Canonical Essentialism” (2024):

execution of conquest involves a map of a location, the latter filled with enemies (e.g., orcs) who must be cleared by human agents or token enforcers, doing so step-by-step, person-by-person, room-by-room to effectively “sweep” the entire area of perceived hostilities. Doing so is meant to achieve one cycle of capital in miniature; i.e., moving money through nature to achieve profit as expressed concentrically on all registers. Likewise, the basic categories of land, sexual biology and ecology manifest in a variety of refrains canonizing Cartesian dualism (and its harmful divisions) through Capitalist Realism. My book pointedly highlights two: Tolkien’s and Cameron’s [from Volume Zero:

Under Capitalist Realism, Hell is a place that always appears on Earth [or an Earth-like double]—a black fortress threatening state hegemony during the inevitable decay of a colonial body. Its widening state of exception must then be entered by the hero during the liminal hauntology of war as a repeatable, monomythic excursion—a franchise to subdue during military optimism sold as a childhood exercise towards “playing war” in fantastical forms; e.g., Castlevania or Metroid. Conjure a Radcliffean menace inside the Imperial Core, then meet it with American force (source). …]

Tolkien’s refrain gentrifies war in a fantasy-themed cartography (the map of conquest in novels, movies and games, video or otherwise), which neatly and consistently divide land and occupant between good and bad, human and orc (or spider, demon, ghost, etc). Cameron’s refrain, the shooter and the Metroidvania, was first inspired by Robert Heinlein before likewise being injected into popular media as conducting military optimism abroad: insectoid places to go and bomb/shoot into oblivion. Doing so happens while simultaneously popularizing it back home through military urbanism and urban warfare inside the Gothic castle (versus the land around the castle, as Tolkien tends to do; i.e., the open battlefield). There is always an enemy of nature to kill and destroy in ways that fetishize the larger alienating process (source).

Persephone’s Work on Metroidvania

[redacted to keep things from getting too crowded; Persephone’s work on Metroidvania is available either on this website’s solo Metroidvania page, identically on her old blog, or in the PDF file available on her book series’ one-page promo—see below for details]

Update 1/6/2025: I’ve just released Persephone’s 2025 Metroidvania Corpus as a PDF (doing so to allow for easy navigation using Adobe’s bookmark and in-text hyperlink system; go to “Debut for Persephone’s 2025 Metroidvania Corpus!” for patch notes). Persephone’s 2025 Metroidvania Corpus has been edited and assembled as “SFW” (no nudity), and combines everything from “From Master’s to PhD” and “Mazes and Labyrinths” into one handy space. You can download newer editions of the PDF for free on my 18+ website’s one-page book promo (re: mentioned at the top of the page).

Those Who Walk Away from Speedrunning: A Trans Woman an-Com’s Experiences Researching (and Abuse Suffered from) the Speedrunning Community

Abstract: A short addendum to my 2025 Metroidvania Corpus, addressing why speedrunning—although still important to my work—is something I, a trans woman an-Com, ultimately walked away from; i.e., while keeping my interest for Metroidvania (vis-à-vis ludo-Gothic BDSM) largely intact; e.g., my abuse and alienation suffered at the hands of the shooter community versus the good treatment I received from Metroid speedrunners.

[redacted to keep things from getting too crowded; “Those Who Walk Away” is available either on this website’s solo Metroidvania page, identically on Persephone’s old blog, or in the PDF file available on her book series’ one-page promo]

Tolkien Scholarship

Apart from Metroidvania, Persephone is also an avid Tolkien nerd/critic (from Volume Zero):

[Top-right: My brother’s 2001 copy of The Hobbit, which I’ve had for years and used to cite all of my work on Tolkien, including one of my better* undergraduate essays, “Dragon Sickness: the Problem of Greed” (2015). It was also a book that I read to nurse my broken heart, in college; but segued into my planning to go to college to find love (to have lots of nerd sex)—which eventually happened when I met Constance (my first) at EMU and Zeuhl, at MMU, and promptly had an adventure that did not start or end with them, but introduced me to someone whose ghost, for or worse, would stay with me for the rest of my life. I don’t think you can have an adventure without a bit of sex and/or ghosts, by the end of it!

*I wrote “The Problem of Greed” in Craig Dionne’s LITR 405 (Shakespeare) course. We had to cross-examine two primary texts with an academic secondary text. I went with Tolkien’s The Hobbit, Shakespeare’s The Merchant of Venice (1605) and Max Weber’s The Protestant Ethic and the Spirit of Capitalism (1904). The essay won me an award from EMU, whereupon the faculty wrote this award letter—to EMU’s Distinguished Student in Literature Award—for 2016:

[My award letter from EMU, MA from MMU, and me in 2018 sitting on a copy of Better Off Dead: The Evolution of the Zombie as Post-Human (2011) borrowed from the school library (the photo was taken by my-partner-at-the-time, Zeuhl, for a school project of theirs).]

There was no money involved, but the letter did help me gain entry to MMU (which was a whole ordeal, to say the least; Persephone van der Waard’s Quora answer to “How easy is it to get into Manchester Metropolitan University?” 2019) when I went there for my master’s degree in English Studies: the Gothic, in 2017. In short, I had an adventure where the things gained is largely open to interpretation: “This is a story of how a Baggins had an adventure, and found [herself] doing and saying things altogether unexpected. [She] may have lost the neighbors’ respect, but [she] gained—well, you will see whether [she] gained anything in the end” [source].

A transcription of the letter for EMU’s 2016 Distinguished Student in Literature Award (above, left):

The literature program is happy to give the 2016 Distinguished Student in Literature Award to [Persephone] van der Waard. Those of us who have the good fortune of encountering [Persephone] in our classrooms—and for lively conversations in our offices—have come to know [her] as a superb student and voracious reader who pursues knowledge with indefatigable curiosity. Department faculty describe [Persephone] as a “strikingly original” and “capacious” thinker and thoroughly enjoy the outpourings of [her] lively intellect and exceptional intellectual curiosity. It is wonderful, one faculty writes, “to work with a mind so incredib[ly] eager to learn.”

[Persephone] excels as an attentive and nuanced reader of literary texts and expert sleuth of textual histories. [She] has an impressive ability to synthesize disparate material, making surprising connections between wide-ranging ideas and experiences. [Persephone] as one faculty remarks, “is not afraid to take tangents or draw comparisons that at first look random but end up opening up a new vista for reflection.” We have been equally delighted by the fine scholarly essays and research papers [Persephone] has produced in our classes. Faculty describe [her] writings as “eloquent, carefully organized,” “astonishingly adroit,” comparing, for instance, Tolkien’s image of greed with Shakespeare’s reflection on Shylock’s materialism, via a close reading of Max Weber’s idea of rationality and modern notions of money as status.

We anticipate a bright future for [Persephone] and wish [her] the best for [her] future scholarly exploits. [Persephone] is most deserving of the Distinguished Student in Literature Award, and we are grateful to have [her] as a student in our department. We’ll be reading [Persephone’s] writing one day, and probably teaching it.

Persephone’s Sex Work Portfolio:

In terms of sex work, Persephone has directed numerous photoshoots and sex tapes, long-distance, as well as having performed them in-person and done solo work tied to her book series.

Permissions: Any publicly available images are exhibited for purposes of education, transformation and critique, thus fall under Fair Use; private nude material and collabs with models are specifically shared with permission from the original owner(s). For more details about artist permissions, refer to the book disclaimer (re: attached to each series of my blog-style book promotion, linked above).

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.

Performed Sex Work

While Persephone has an OnlyFans, she currently doesn’t advertise it. However, above are some samples of the sex work she’s done solo, or posed for others/performed with them in person (on either side of the camera).

Director’s Portfolio

Various shots from shoots/tapes that Persephone has directed long-distance; i.e., made with other sex workers to specifically be included in the book.

Multimedia and Collages

Apart from directing (and fucking) models in-person and long-distance, Persephone specializes in multimedia: doing photobashing (combining and painting over images) and making collages of various kinds. Her favorite artist is Bob Ross.

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