Book Sample: Half-Real: Recognizing And Performing Empathy

This blog post is part of “All the World,” a sixth promotion originally inspired by the three I did in 2024 with Harmony Corrupted and Romantic Rose: “Brace for Impact,” “Searching for Secrets” and “Deal with the Devil” (2024), as well as “Make It Real” for Volume One and “The Total Codex” for Volume Zero. Those promotions sought to promote and provide their respective volume’s individual pieces for easy public viewing in single-post form; re: for the Poetry ModuleUndead Module and Demon Module, followed by my PhD and manifesto. “All the World,” by comparison, caps off my book series with a promotion for Volume Three; re: my Praxis Volume. 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 “All the World’s” Table of Contents and Full Disclaimer.

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 model(s). For more details about artist permissions, refer to the book disclaimer (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.

Half-Real: Recognizing And Performing Empathy (feat. Meowing from Hell and Sean Jones)

“That the rules of a game are real and formally defined does not mean that the player’s experience is also formally defined. However, the rules help create the player’s informal experience. Though the fictional worlds of games are optional, subjective, and not real, they play a key role in video games. The player navigates these two levels, playing video games in the half-real zone between the fiction and the rules” (source).

—Jesper Juul, Half-Real: Video Games between Real Rules and Fictional Worlds (2005)

Traveling in a light beam

Laser rays and purple skies.

In a computer fairyland

It is a dream you bring to life (source).

—Pascal Languirand; “Living on Video,” on Trans-X’s Living on Video/Message on the Radio (1983)

Picking up where “Chapter One: Sex Positivity (opening and ‘Illustrating Mutual Consent’)” left off…

We’ve laid out the relationship between workers and the elite as it pertains to art in the workplace (and peoples’ respective roles in this unfair arrangement). Now let’s further examine mutual consent as it exists in sexualized artwork: as a complex, ongoing relationship between art and the viewer under Capitalism. This includes our own lives and the emotional intelligence required when performing successful praxis through our own social-sexual customs. Art and life aren’t separate; they flow in and out of each other, one informing the other. We’ll examine examples of either, then apply them to sex-positive lessons we can express in our own iconoclastic lives and art; re: with models like Harmony working with artists like myself, but also Sean Young (next page):

(artist: Harmony Corrupted)

Note: This is the first portion of Sex Positivity I ever conceptualized and wrote down; i.e., standing in my kitchen and rubbing my chin thoughtfully about illustrate mutual consent and how to go about it. Everything else—from Gothic Communism to ludo-Gothic BDSM to Metroidvania “danger discos” to Amazons—comes after this basic premise as I raised it back then. —Perse, 4/20/2025

First, art itself. As part of a collective effort to defend worker rights, artists foster empathy. However, even when empathy is functionally present, mutual consent—and by extension, bodily autonomy—are difficult to isolate in pin-up art or photography. When genuine empathy is absent, it’s not like an activist can talk directly to the sexist image; they can’t ask the prop-like girl on display if she agreed to be photographed. Even if she did, further context is generally not communicated by the artist, the model or the patron. She could be wearing her makeup for herself versus for the audience, but don’t expect the picture (or its assemblage of co-contributors) to communicate that each and every time.

Take this picture of a pretty girl (Sean Young) smoking a cigarette. It can be

  • an advertisement overtly selling the product (the cigarette, but also the girl, who is a sexual promise to consumers: “smoking makes you sexy” or “smoking gets you laid”)
  • product placement in a film, appropriated to boost sales
  • part of the story in ways that appreciate the mere existence of cigarettes (or their advertisement) as part of the world, not as something to directly sell to the audience

Three different uses of the same basic image: a girl and a prop, and different ways to assist in either through play. However, none of these functions communicate mutual consent (or its absence) regarding the girl herself. To do so requires empathy as a means of investigating the image beyond its surface-level visuals: the girl as more than mere object, but someone with basic human rights, specifically her ability to consent as a worker (and promote this idea through her own likeness, which neoliberal corporations will privatize for their own ghoulish purposes—below, exhibit 62b).

(exhibit 62b: Top: Blade Runner screenshots; bottom-left: Gui Guimaraes; middle: Ronin Dude; bottom-right: Jeremy Anninos. Neoliberal Capitalism is an experiment of the owner class that turns the likeness of the girl [or the man] into a product that enforces heteronormative roles sold through cheap canonical “junk food”: Blade Runner‘s poster girl selling Coke to the audience, which, like cigarettes, historically contained whatever chemicals corporations could put in them to coerce purchases. This tasty treat can certainly be enjoyed [usually with varying degrees of guilt] but should not be blindly endorsed; its canonical presence denotes exploitation as sublimated by the replica as the product, the worker entirely replaced by their own likeness. The bourgeois copycat becomes something to mass produce in the cheapest way possible, selling canonical hauntology to the masses: useful brain chemicals triggered by formulaic pleasure sites—the cyberpunk ruin and its boys and girls with their various props and superpowers, their cool gadgets, their guns. As stated during “Origins and Lineage” from Volume Zero, such creations are often liminal, combining the retro-future Western and other genres to introduce imperfect allegories with leftist potential [re: Lucas, Star Wars]. These allegories must be disinterred from the midden and expanded upon, reintroduced in ways that transmute canonical praxis/vice persecution for iconoclastic variations that strip away the cheap canonical junk food/product placement [and its fascist/neoliberal outcomes and pro-state subterfuge, bad-faith “beards,” nuptials, etc] for something far more emotionally/Gothically enriching: sex-positive brain food with revolutionary potential that can still disguise and keep us safe from TERFs, cryptofascists and other reactionaries unfettered by neoliberal agents by reclaiming vice, humanizing it again; exhibit 62c.)

While the starting point of empathetic recognition/performance is presentation and function—how the image is being shown and why—the investigator needs empathy to identify the human rights abuses or celebrations, be these implied, declared, or haunted. For example, if an image was manufactured to profit the bourgeoisie, the drawing is probably sexist. However, confirming this suspicion generally requires a fair amount of investigation, which won’t occur if empathy for the subject is not present within the examiner. The problem is, canonical hauntology tends to inspire hollowabstract, or displaced empathy that doesn’t undermine elite hegemony at all; it relies on people to confuse the ghost of counterfeit as simply “spice” that paying customers deserve, not sprinkles of Soylent Green.

However, if Gothic stories communicate trauma and Gothic Communism is the interrogation of trauma (in its various forms) as a historical-material consequence, then empathy is the mindfulness of trauma mid-exploration—be it one’s own or someone else’s. The image—as something to investigate and comprehend—extends to living people in front of us, who we associate with symbols of women and the social behaviors attached to the symbols that carry over to their representees. When taken literally and without nuance, this generates a divide between reality and canon, effacing the person behind the image. Moreover, it weakens the viewer’s emotional intelligence regarding social cues as things to read in relation to people as images.

For example—and here’s a bit of dating advice from Mommy Persephone to cis-het men: PWMs (re: people who menstruate) are canonized as women. Regardless of this unwanted standardization, even if a PWM is actually cis-het, most girls really don’t like getting hit on everywhere they go from random strangers (the same idea applies to any marginalized group, but this particular advice is pointedly aimed at white cis-het men being the most privileged, tone deaf and abusive group at a systemic level, so I’ll be sticking to cis-gendered models to keep things simple)! Dating is an incredibly complex and game-like endeavor whose rules are not fixed or communicated in simple language; indeed, their education to the public exists in opposition using shared language operating at cross purposes.

Despite chercher la femme being canonical praxis, for instance, girls actually prefer to have some say and control in these exchanges by representing for themselves what the symbol of woman means; i.e., not just an object of pursuit by men, but a fully autonomous being that can self-express in various (a)sexual ways should they choose. Even if that control is them being able to put on the sexy dress and be able to predictably get cat-called—if they predicted it and welcomed it, that’s still their choice, their agency to sex-positively “flash” in some shape or form towards a public audience.

(exhibit 62c: Artist, top-left: Cheun; bottom-left: Alyssa; top-middle: Sciamano204; bottom-middle: Tiffany Valentine; top-right, source: a “gender critical” TERF counter-protesting a gender-recognition reform bill in Scotland; bottom-right: Angela, the coercively demonized trans character from Sleepaway Camp, 1983 [“The Real Peter Baker,” 2012]. Despite that film making Angel a transphobic, “cavewoman” exhibit, she has every reason to be enraged with the status quo.

(exhibit 62e: The Busenaktion [“breast action”] of 1969 [nice]. Radical students protesting Frankfurt fancy-pants, Theodor Adorno: “After a student wrote on the blackboard, ‘If Adorno is left in peace, capitalism will never cease,’ three women students approached the lectern, bared their breasts and scattered flower petals over his head” [source tweet: whyvert]. Ferocious boobies. Run away, Brave Sir Robin, you’re being repressed by killer rabbits!)

(exhibit 62f: Artist: Persephone van der Waard. Cavegirl Ayla from Chrono Trigger, 1995—in the words of Jadis, “Chonk, stronk and ready to bonk” [with “bonk” being slang for fucking—e.g., boning, boinking—but also her tendency to literally “bonk!” lizardman over the head with her club; re: “Death by Snu-Snu“].)

Liminalities aside, there’s a pretty big functional difference between showing some skin and literally flashing one’s junk (versus female nipples, which are canonically treated as sex organs when they actually are not sex organs). Frankly, more aggressive forms of exhibitionism are generally relegated to erotic art or transgressive performance art (exhibit 62c). This can be appreciative or appropriative—with trans people and sluts more broadly being made exhibits of tied to horrifying violence meant to incite moral panics and lead to mass public shamings: “Don’t show your body or have premarital sex or you might be a slut, sex demon, transsexual, etc” (conflations that we’re examine more in Chapter Three).

However, if a girl wants to reclaim sluttiness and other abjected variables by grooming a figurative/literal beard, rocking a tramp stamp, flexing her strength (exhibit 62f) showing her pussy to a consenting audience (exhibit 61), or showing off a “whale tail,” do not shame her. Look but do not stare, and definitely don’t touch her without her express permission (such matters become more intuitive after first contact, of course: “red light, green light,” etc). Flashing can certainly be a transgressive, “live” political act, but this is relative to the room in question; no one is going to stroll into a Baptist congregation and flash the ministry without a backup plan (unless they want to martyr themselves, even if inadvertently like Oscar Wilde did during his own trial for gross indecency [Douglas Linder’s “The Trials of Oscar Wilde: An Account,” 2023] for being a queer man in 1895—the first trial of its kind [though not the first attacking queer people before “homosexual” was an official term; re: Broadmoor]). More likely flashing is performed in ways that grant the performer agency without infringing on the rights of others, or punching up against powerful authority figures (men of reason) for whom the act will not pose any real threat (exhibit 62e).

Moreover, ordinary girls wearing “sexy clothes” (which honestly may as well just be clothes in general, as women’s clothes—even Walmart-brand stuff—are subtly/not-so-subtly sexualized by men by default) is still not an invitation to abuse them, obnoxiously stare at them, or hector them, nor is them rejecting you regardless of how they go about it (and spare me your “what ifs,” please; I’m talking about regular people, not outlier cases when a woman is mentally ill, prone to destructive behavior, or under someone else’s power to try and fleece you)! Most dudes not only can’t take the hint; they’ll blame the victim:

Likewise, an incel, nice guy or creep is still creepy regardless if they think they’re God’s gift to women. To hit on someone without reading the room is foolish; to do so in a room where sex and dating aren’t really on the table to begin with doesn’t help your case or your odds. Try a dating website or some other place where you and they both know that being there is a precursor to sex if you play your cards right—not at the laundromat, bus stop, or some other public space where they’re just going through their day and don’t want to be bothered; e.g., “When I’m at the gas station, this ain’t no Christian mingle!” (Greg Doucette’s “Girl Gets Slammed over Viral TikTok Video,” 2022; timestamp: 8:11). Trust me: You’re not so charming that they’ll think otherwise, let alone drop their panties and suck you off, let alone marry you and have your kids. To think otherwise is to infantilize them. Likewise, “friendzone” isn’t a thing so don’t say they’re doing that to you? What I mean is, it’s a not a legitimate thing to accuse someone of not wanting to be with you; it’s a strawman, one that self-reports when used unironically.

To that, cis-het men (or anyone in the Man Box), women (or any chosen mates) don’t owe you sex, and bullying them isn’t going to make them want to sleep with you. Doing so only lowers your odds of success by your own metrics, leading many white, cis-het men to blame women, not Capitalism, for their failures; but even if you “succeed” in the way you’re taught, a “body count” is a poor metric for success if it costs you the ability to relate to other people—i.e., to treat them like people instead of objectives inside a larger game. There’s always an element of luck involved when it comes to love, but reducing the odds through force cheats everyone involved by turning you into a bully and the other people into victims (whereas “changing the odds” through class warfare makes it much easier for you to find love without chasing someone down and coercing sex out of them).

This being said, love (and affairs) can happen at work and on the road. My first serious relationship started when I was 29 and happened with a 20-year-old girl I met at the bus stop. I’ll call her Constance Reid (after her favorite book, D. H. Lawrence’s last novel, Lady Chatterley’s Lover, 1929). Before you say “pot, meet kettle,” consider that we lived in the same town and took the same bus route everyday—first to the nearest city and then to different colleges. We saw each other every day and she talked to other people on the bus. At first, I was shy. In fact, I was socially awkward at school and had been going to therapy to help learn how to make friends in person, including how to make romantic partners (after having several unsuccessful attempts at this point). After several weeks of watching this person and wanting to talk to them, I shyly broke the ice: “So, is that your boyfriend?” They’d just been talking with someone who looked like their boyfriend. When asked, they didn’t run away screaming. Instead, they simply said yes. We talked for the next several weeks on the bus, commuting four hours(!) to and from school every day. Turns out, we were both unable to drive and had similar timetables despite going to different schools in the area. What are the odds, right?

Learning relationships is like learning to paint. You’re gonna make mistakes along the way. But you have to be willing to try. I was bearded like Karl Marx (exhibit 63a) and she was pale, zaftig and enchanting. We slowly grew closer, talking about rock ‘n roll, literature and artwork until eventually I shaved my beard (for some reason, I decided to keep a porn ‘stache). The girls at school certainly noticed, one crying out in class, “You look different! I can see your face!” I took this as a good sign. After class, I decided to “make a move” that night on the bus with Constance. This involved me telling her I wanted to kiss her despite her having a boyfriend (and me stating I didn’t care; I was bold, to be honest, and had much to learn). For all my gusto, I was frankly terrified. I played it cool, though. I even did the old “yawning trick” from Hellboy (2004) and put my arm around her shoulder. Much to my surprise, she happily gave me some sugar. Turns out, she barely knew the person she “was with”; they’d only just met on the bus like me!

(exhibit 63a: Me still in the closet: from Kurt Russel to Jesus to Jonny Cash in under a week!)

A few days later, Constance came over to visit me at my grandparent’s house. There I was, sitting on the porch reading Henry IV (1598) for class (on a page, no less, where Hotspur’s wife is doling out all these none-too-subtle sexual innuendos to her husband, wanting him to eat her out instead of riding his stupid war horse all the time). Along comes Constance, riding up on her bicycle like Albert Einstein. We ended up going upstairs to watch Rosemary’s Baby (1968). About halfway through, she’s giving me bedroom eyes—in my bedroom. So, I stopped for a moment, thought about it, then asked, “Can I kiss you?” She said yes and I did. After we kissed, I figured, might as well go for the gold, laid my hand on her stomach and asked, “Can I touch your pussy?” Constance consented and I went about it. She didn’t seem to mind. When I asked her if she wanted to have sex, she said she had to break up with her boyfriend first. Curious.

That was a long week. After Constance broke up with her boyfriend, we made plans to have sex. Leading up to having sex, we talked about our histories. She told me she was a virgin; I told her about my Hep C (which I had contracted mysteriously and didn’t even know I had it, requiring me to jump through a lot of hoops to get the medication I needed to lower my viral count to “cured” levels) and sexual history. We planned for about a week, selecting time for her to come over where we could have some privacy and give things a shot. On the fateful night in question, we held each other in the dark on the way home (it was winter and the bus was dark on the inside to allow the driver to see). She said she was nervous but excited; I asked if she still wanted to do it and she said yes. I had purchased some condoms ahead of time. Using one, we had sex that night. It wasn’t the “best” sex in the world (she was a virgin and I had to be gentle and patient) but she was a little poet—mad as a hatter but still my Fairy Queen (which I called her, after Titania from A Midsummer Night’s Dream, 1605).

Regardless of the sex and how good it felt (it was nice, to be fair), the whole experience taught me a lot: that learning someone’s body is like learning to appreciate a good song or book; it takes time and repeated viewings, but a willingness to engage with a fun toy that plays back. More to the point, any time we were in bed or out, I never forgot her needs or placed them above my own; despite my initial boldness, I always asked if this was ok and didn’t just assume. I also learned that I liked discovering what she liked or disliked in general, but especially music: Constance likes Van Halen, Zeuhl likes The Who and The Cars (and a million other bands; re: “The Eyeball Zone“), Jadis likes Tool and NIN (re: “Seeing Dead People“), and Cuwu liked Slush Puppy and FKA Twigs (re: “Out of This World“), etc. All the flowers are beautiful and unique, not just the ones that Capitalism privatizes and sells back to you with your own labor.

The point of my story isn’t to crow about my own accomplishments, but to illustrate the complexities of having a relationship, no matter the length. Ours was intense but brief, with Constance breaking things off after several months and us only having sex four times (and me only cumming twice). Turns out, Constance was largely looking for someone to lose her virginity to and I’m the person she chose (she was also ghastly afraid of getting pregnant several days after having sex; i.e., a childish misunderstanding of how pregnancy works, but also the fear of pregnancy after missing one’s period as being a very female fear). Not gonna lie, that broke my heart. However, seven years later, we briefly touched base again, only for her to tell me she never forgot me, that I would always be her fairy queen. More to the point, she thanked me for being gentle with her that first time. Not only that, but she said that she was using what I taught her in her own relationships. It was a compliment I was only too happy to take—that I could be empathetic towards her in ways she remembered years after the fact. We both got something positive out of it.

Let’s take the same idea of empathy and respecting someone’s agency and apply it to an everyday situation, one where we view it through a Gothic-Communist lens.

(artist: Nigel Van Wieck)

You see a girl at the bus stop. She’s an ordinary person—a worker like the majority of people under Capitalism—and she seems usually on edge when a polite man moseys up and starts hitting on her. He’s not some Disney villain; he’s just an average Joe, a regular worker just like her. For the sake of argument, let’s level the playing field slightly and say they’re both “fives” and single (to be clear, sliding scales are incredibly shallow and anyone who uses one to seriously gauge a person’s value in the Sexual Marketplace™ is probably bigoted—doubly so if they apply it to their jawline or IQ levels, too).

Let’s also say there’s no obvious red flags. Our Romeo is nice, but she doesn’t care. She rejects him with a curt “fuck off” before icing him out. Even if there’s no ill intent and she still “bites his head off,” her being rude doesn’t change the dialectical-material reality that women are raped and killed by men far more than the other way around; they also go their whole lives being being reminded by popular media that any man, if slighted, will kill and rape them, and cops won’t believe them (as for the dude, I’m pretty his wounded feelings will survive a tongue-lashing from someone who can’t physically hurt him—grow a pair, buttercup). Do we have to like her for doing it? No, but we can try to understand her position relative to the man’s; despite both of them being workers, she’s far more disadvantaged than he is. What’s more and he—polite or not—was cross her boundaries at the cultural level by hitting on her in a laundromat. Crossing boundaries is fine, but if she wants to reject him with extreme prejudice, she’s still the disadvantaged party by a mile. Moreover, learning to read the room and develop a social-sexual “radar” for these things will make such “horror stories” far less common than you might think. I fucked up at first, too; but eventually I got better at it by not hitting on girls at the laundromat, or the teller at by bank who’s just trying to do her job and be polite. In short, I learned “how to play” by learning the ropes beyond the formal/intended rules, but also the informal/emergent rules of play.

The idea of sex-as-dangerous manifests in Gothic hauntology at large, showcasing sexuality as imperiled by Gothic analogues: the castle. Regardless of the exact format, Gothic stories more broadly illustrate the complexities and ambiguous of human, social-sexual interactions under Capitalism; i.e. ,as informed by the imaginary past and its recycled conventions, reifying a dimorphic, “Love is a Battlefield” scheme presented in phenomenological terms: through the ballroom drama as ergodic, thus requiring a “game,” skilled and savvy player to navigate the perils thereof—i.e., is my dance partner a killer or not? This isn’t just a cliché from a story that demands dance partners a priori, but a half-real commentary on the Neo-Gothic, Romantic-quotidian struggles of women forced into doing customary social-sexual rituals in everyday activities that men don’t even think about; e.g., the Metroidvania as a summoning of the castle for a heroine to move around inside according to gendered roles that promote, promise and threaten, but also subvert and transgress sex as a dangerous-if-titillating position—i.e., the urgency of it all tied to conventional expressions of the human condition predicated on material conditions, specifically the taught/flaccid libido as something to comment on in various ways that comment on meeting through such examples:

You’ve got a pussy
I have a dick, ah
So what’s the problem?
Let’s do it quick (Rammstein’s “Pussy,” 2009).

While the romance is a facsimile for codified interactions, dalliance and rendezvouses, women (or beings forced to identity as women, or at least feminine) are doing everyday activities implicitly coded for them as romanticized courtship rituals, despite many of them being things women simply do to get from point A to point B. In these liminal spaces, they don’t want to be outed as “whistleblowers” for just standing up for themselves. It’s a pretty low bar, but one that society still punishes the woman for “violating” by default: “Don’t go out, don’t wear sexy clothes or you’re “asking for it!'” But in equally Gothic terms, a veil is no defense when the game is in play. As Matthew Lewis pointed out over two centuries ago, the canonized ritual is to hit on any maiden, even if she’s veiled. Canonical “modesty” is not protection from predators, but segregation; indeed, those “protecting” you are, more often than not, the very people who abuse you, then lie about it to your face. Deception comes with the package in Man Box culture; giving them what they want/endorsing their ideology is incredibly dangerous and only prolongs abuse (exhibit 87e1/2).

(exhibit 63b: Rape culture is romanticized as normal through nostalgia. For example, Matthew McConaughey as Wooderson in Dazed and Confused [1993] says, “That’s what I love about these high school girls, man. I get older, they stay the same age.” Not only is this pedophilic behavior utterly textbook; the act of grooming is normalized, through Man Box, in a role model for younger men to follow and emulate in a nostalgic worldview: the 1970s and its hatred of women as sex objects to exploit by resentful, covetous men. Indeed, for them “woman is other” translates to the resenting of women as the assigned givers of pleasure that is owed to men, but taught to men by men that they must win this pleasure through deception and force. Such hatred plays out during fascist expansion through radicalized male culture under crisis: the “incel,” aka “involuntary celibate” as a kind of “straw dog.”

Likewise, many would-be rapists/incels are often conventionally prettier than people care to admit, meek-looking-yet-menacing real-life murderers like Eliot Rodger eliding with the rape fantasy as romanticized and mass-produced for white women; e.g., Alexander Skarsgaard as Charlie from Rod Lurie’s 2011 Straw Dogs or Adam Driver as Jacques Le Gris from Ridley Scott’s The Last Duel [2021]: the blackguard, the rogue, the lothario-as-rapist Quixotic who things he understands what love is and then rapes the professed recipient, then aims to retreat into the Church as a black penitent. Of the Black Penitents, Nick Groom writes in The Italian‘s explanatory notes, 

Penitential orders were Roman Catholic monastic orders in which the members undertook severe penance or mortifcations of the flesh. The chief Confraternity of the Black Penitents is the Misericordia (also known as the Beheading of St. John), established in 1488 to give aid to those condemned to death [… “having the power] to release one criminal per year and shelter him from capital punishment” […] Radcliffe presents the Black Penitents as clothed in sackcloth adorned with a death’s head. 

Clearly words like penitentiary still exist and, indeed, are commonplace under Pax Americana as a domesticated slaving ground built around the business of false imprisonment and cruel punishment: a fear but also romanticization of the jailed as paradoxically privileged.

Moreover, the inverse applies to a corrupt system whose privileged few could retreat within to dodge punishment—i.e., an exclusive sanctuary hinted at by Radcliffe’s own outmoded romance [The Italian‘s second title being The Confessional of the Black Penitents]. Her bigoted, xenophobic terrors were outdated by the time she penned them, done so at least in part to comment on the hauntological nature of the abuse of power and presence of rape within mighty institutions renowned for their legendary harm: the Church, but also the knights templar brought forward out of the past in new fearsome forms; i.e., the black knight as false holy order adorned with skulls, promising torture and death to their own torturous heroes and far worse to everyone else [which both Radcliffe and Scott posit onto an imaginary Eastern European, but also the Catholic Church; their Protestant dogma/anti-French lens is both standard-issue British polemic, as well as a semi-false, but also partially legitimate barb common in such fictions]. The Gothic is utterly rife with such things and has been for centuries.

Such a fetishized persona might, then, read like bad fiction on paper but it emulates the fascist spectre as quite at home under Capitalism as having evolving out of older structures, while still having their medieval qualities that torture workers and benefit the powerful; i.e., the strongman as a brute working for the nearest centurion in a grander structure the operates through force and authorial decree: a medieval system that threatens abuse when the veil of propriety falls apart. The veil becomes black, menacing to those the system normally accommodates.

As with Neo-Gothic fiction, the ghost of the counterfeit presents the fabrication as caught between the history and the reality as half-real. As rapist personas, both Charlie and Le Gris play their parts, then, as the sexy-but-sexually frustrated looker [attractive and covetous] who feels owed sex within the state as in crisis. The fiction punches the designated bag as a partial critique, scapegoating the symptom but ignoring the cause to make the story thrilling [the Catholic Church as a den of criminals, in Radcliffe’s case; pre-fascism in the early Renaissance period, for Scott; and fascist as having never left, for Lurie]. While the commentary is there to breathe life into the voice of women, often these women are swept aside for the theatrics of the dueling men fighting over women as property to defend their image of themselves to the men who look up to them.

In turn, the people who critique these men—like Charlie’s employer or Le Gris’ rival—are themselves, imperfect; i.e., the “white knight” maneuver of someone who, if not overtly devilish, are waiting patiently in the wings for their “friend” to get hurt and then take advantage; or think they have “game” thus can pull off similar advances without being creepy themselves, while still expecting a reward from a false rescue during chercher la femme and staring at the talking woman as if the presumed property suddenly speaking were as miraculous as a statue weeping blood—e.g., Rebecca Watson’s “elevator gate” incident, where a man got in the elevator with her at four in the morning and propositioned sex to her on a whim [re: “Richard Dawkins Promotes Creationism,” timestamp: 5:03]. They—and the overblown, fascists-posturing as centrist, scientific “authorities” forcing people into a binary based on basic misunderstandings[1] about binary sex [again, Dawkins; Rebecca Watson’s “Richard Dawkins Doesn’t Know What a Woman Is,” 2021]—are harmful in a different way and generally to a lesser degree than the stereotypical highwayman, open fascist or rake.

In other words, they’re still knights, cowboys, cops, etc; i.e., traditionally male positions of power than are romanticized and given the benefit of the doubt by the audiences who conflate real-life versions with their fictional-counterparts; or grant the player of a fictional variant the authority and power of a real cop, priest or teacher as hauntologized to harmful, misleading extremes [Sergio Leone’s 1969 Once Upon a Time in the West starring Charles Bronson, a bigoted man playing a “good” brute/escalator of violence; versus his 1984 Once Upon a Time in America, starring Robert De Niro who plays a “good” brute framed as less shitty than James Woods’ character but still rapes a woman onscreen—exhibit 100c2c]. See: “Dark Shadows” for more on this topic, and on Radcliffe’s banditti at large.)

Gothic Communism, then, is a communal effort, dialectically addressing the material world’s current stigmas and biases in subversively medievalized/Gothic language. The aim in doing so is to think about transgenerational trauma in a sex-positive way that teaches emotional intelligence regarding sex pests as disconcertingly common and celebrated (above), even when their hauntology becomes openly criminal (exhibit 86a2). To this, thinking on one’s feet, or toes, occurs when having relationships with people—or artwork by, with or about people, including Gothic examples and oscillating, ambiguous arrangements inside and outside of the text. The point of empathy is to have caution for the person you’re empathizing with, who may be hyperviligent from past trauma and automatically no their toes in response to you doing normal activities with no trauma attached to your side of things: empathetic caution in respect to a victim’s caution, allowing you to form bonds, establish trust, and make artwork that can address the horrors and lies of Capitalism in a group effort.

However, Capitalism historically doesn’t incentivize these things, deprioritizing relationships where people talk about their feelings, treating sex workers as criminal and women as aliens, while boys don’t cry. The outcome of that particular social configuration are cis-het boys who have no idea how to talk to women on a pathological level. Instead, they hide their true intent and lack of game by trying to downplay their formulaic, lazy and inherently dishonest, even treacherous approach; e.g., Wooderson in exhibit 63b, above, emulated in real life by Ryan Evans’ auto-pilot pattern of self-described “awkwardness” (Quelsee, 2023) when serially harassing women online and in person of increasingly younger ages than himself (ibid.); or weird canonical nerds like Caleb Hart saying they “aren’t a rapist” (exhibit 93b)—it’s feigned innocence/nonchalance, even a deliberate, forceful[2] weirdness; i.e., of acknowledging one’s approach as “coming on too strong” before denying it in the same breath. Thanks to Capitalism, such persons become blind to the correct way to talk to others—as equals. Instead, they grow into bad players who target younger and younger girls, becoming increasingly entitled, ignorant, pampered and cruel towards those they’re conditioned to regard as literally inhuman, but also fetishized (the structures that perform these rituals outlined in Chapter Two; their consequences explored for the rest of the book).

Trauma that must be handled with care. Likewise, canonical interrogation and iconoclastic praxis must be handled with respect towards the victims. With that in mind, let’s re-examine the above picture again, this time through a critically empathetic, sex-positive lens. The picture is of actress Sean Young playing a replicant (a robotic slave designed to look human). She’s not only smoking a cigarette in the photograph; she’s doing it while taking a test to verify that she’s human. If she fails the test, that means she isn’t human, thus open to on-the-spot execution (called “retirement” in the movie, a cryptonym that disguises corporate abuse, which itself is housed inside her temple-like office with the artificial owl and the reptilian male overload, all displaced, hauntological cryptonyms for Capitalism). Not only is this treatment perfectly legal; her rights and her body belong to the company that made her, the Tyrell Corporation. This idea is what drives carceral hauntologies—the duplicate as an “authentic” replica that completely ignores the woman posing for it. She and her abuses are swept under the rug and forgotten.

(artist: Ilya Kuvshinov)

The picture of the cigarette doesn’t explicitly say any of this by itself. Nor can it comment on how its hypercanonical[3] status leads to pastiche in perpetuity (the tech-noir/cyberpunk as the end-point of commentary about the world, echoing Fisher’s take on hauntology). This endless pursuit of profit-through-pastiche demands normalized behaviors that can be repeatedly administered to audiences, the latter conditioned to recognize value in prescribed sexual roles (which tend to conflate biological sex and gender performance/identity): Marx’s Superstructure and Base. As we’ll see in just a moment, this Capitalist framework specifically discourages mutual consent in the workplace, but also empathy towards workers who represent the workplace through art (or vice versa) that tends to shape how either is portrayed and viewed—in short, how it’s empathized with as taught by hauntological forms.

As a workplace representative, Sean remains the central product of the company. “More human than human,” she’s a manmade secretary reduced to feeling artificial because she knows she’s a product (with a four-year lifespan, no less). The reoccurring problem, then, is context, but also bias: How are women viewed whether context is absent or no. Sean Young’s treatment as an actor highlights social-sexual bias relative to her imagery in art; i.e., “woman is other,” hence unwelcome in art save as Patriarchal Capitalism demands—xenophobic subjugation. Since her performance is easily divorced from the text but not the image, determining if either conveys mutual consent in a sex-positive sense will require viewing Sean as a subject, not an object in a picture that sells merchandise. She’s someone to listen to, not dismiss, ignore or attack, but still being judged by bigots who view her as a monster, a madwoman in the attic.

Though Sean personally recounts abysmal treatment on and off set precisely because she was a 22-year old woman working with much older, sexist men (“Blade Runner‘s Sean Young: ‘If I were a man I’d have been treated better,'” 2015), it’s disarmingly easy to look at Sean’s character being abused onscreen and think, “It’s just a movie, right?” It becomes far more dubious when we consider both side-by-side. Not only did Ridley Scott and his team film everything without Sean’s consent—indeed, despite her active, on-set complaints about sexual harassment—they released Blade Runner without reshooting anything: a classic movie that flagrantly depicts the very abuse Sean described, only to be lauded as canon whose hauntology yields carceral outcomes inside the minds of sexist fans who unironically defend Capitalism.

This treatment by a supposed ally like Scott (who doesn’t get a pass just because he made Alien) marked an abusive trend that would haunt Sean for the rest of her career. She would go on to be ignored, distrusted precisely for speaking the truth. Empathy towards her victimized position demonstrates mutual consent was not present. This goes to show how the context highlighting mutual consent must be explained, but also believed in regards to one’s own testimony about abuse experienced in the workplace. Under Capitalism, the workplace is everywhere, and it creates a generational “cone of silence” regarding workplace abuses of various kinds. This includes abuses committed against female workers by male superiors, even “fatherly” types like Bill Cosby (Dreading, 2023) who “took advantage” (quiet part: he drugged and raped them) of female workers infantilized by the system. It also includes literal child abuse and a great number of other abuse types/scenarios functioning in a similar cryptonymic fashion: “It just wasn’t talked about back then” (re: exhibit 11b5, “Challenging the State“).

In turn, this already-inconvenient truth would hide something larger behind it: “Most abusers are workers that people perceive as family members—authority figures like police officers (or people impersonating police officers); sports figures like coaches and star athletes; religions figures and celebrities in general.” This exhibit, if exposed, would hide something behind it, the thing that no one talks about that causes all of them: Patriarchal Capitalism. Sometimes, an elaborate strategy of misdirection is called for, evoking the ghost of the counterfeit through Gothic displacement: the old lord chasing the Gothic maiden around the dark spooky castle.

Iconoclastic “monster misdirection” strategies can be a movie to watch with fresh eyes; or, it can happen through our own relationships as we play the dark lord or lady through unequal power exchange, introducing mutual consent back into the ritual. This includes consent-non-consent, which can be quite fun and cathartic with a game, playful negotiator (thank you for that, Cuwu): rape fantasies, mask-like roleplays and revisiting past trauma within playful boundaries of control that minimize risk; e.g., taking drugs to fall asleep (re: exhibit 11b2 and exhibit 51d3, “Challenging the State” and “Dark Xenophilia“), deliberately performing like a doll in figurative or literal ways (exhibit 41g2, “Understanding Vampires“), or otherwise emulating the “swooning” function of vampirism (exhibit 87d) during sex.

(artists: Cuwu and Persephone van der Waard; source: “Dark Shadows”)

While this sounds sinister, it’s actually quite common. While it’s performed to address vulnerability as something to cope with and appreciate, it can also be entirely unrelated to trauma; i.e., fucking someone while they are asleep (regardless if the ritual is Gothicized for appreciative peril; e.g., Eddie Money’s “I Think I’m In Love,” 1982). Many partners have that talk with their partner(s)—”Sure, you can fuck me before you go to work while I’m still asleep! Just no surprise anal and don’t cum in my hair!” In BDSM parlance, that’s called negotiation—a concept mysterious to many couples on account that BDSM and the understanding of healthy power exchange is canonically abjected, replaced with heteronormative prescription that disempowers women, erases queer/ace people, demonizes people of color and disabled people, and compels men to act like dickheads, etc. At the end of the day, it’s mutual consent that’s being reinforced/recognized as sexy (which includes the written BDSM, an implement designed to protect both sides in case something goes awry—accidents can happen).

Monsters, whether good or bad, are made through oppositional praxis as a living socio-material thing over time (whose history we explored in Volume Two). This includes complicit/revolutionary “beards,” as Juul might call intended/emergent gameplay. In a state of constant flux, oppositional metaplay continuously alters the way the game is played for or against the status quo—bourgeois beards or proletarian beards, etc. Sometimes literal but often figurative, the beard is a “grooming” process—how one styles their appearance and social-sexual customs as things to present, but also interpret and enforce or encourage in society at large. State agents or actors adopt the state’s Symbolic Order—fetishized muscles, body hair and attitudes about heteronormative sex work as dimorphic: Men are strong and women are weak, but men—as “intelligent” and “powerful” as they are—need sex from women because otherwise the world stops turning. So if Price and Quinnvincible (re: exhibit 52g2, “Furry Panic“) are abjected for displaying their literal beards and figurative “beards,” reverse abjection is the praxial, xenophilic decolonization of these things in favor of a Communist world: a Utopian, “perfect world” for all workers where AFABs can walk around, fuzzy and clothed as little or as much as they want—can do so without it being perceived as “sass” or “back talk”—without fear of violence, judgement, shaming or rape, like a dog being put to heel, “bitch-slapped,” etc. Like Trans-X’s purple painted skies and computer fairyland, it’s the dream they make real.

This reification happens by gradually introducing emergent social-sexual code into the half-real gaming space, teaching “gym/gamer bros” and other weird canonical nerds to be better “gamers” in the mysterious ways of sex, love and gender. But iconoclast must first talk back/fight back as girls/queer people historically do—through gender trouble, thus fight like girls, talk like girls, historically doing so in increasingly revolutionary ways that slowly become active—from Sappho to Radcliffe to O’Keefe (re: exhibit 24c1, “The Basics of Oppositional Synthesis“) to Butler to Quinnvincible—as “ferocious” as killer rabbits that terrify emotionally fragile. The aim is not to shatter all men, but over time use iconoclastic negotiation as a form of collective worker action that “fuck” men’s menticided brains with fresh, helpful spunk—to, as Mavis put it to me, “unbitch the bitch”; i.e., not “discipline and punish,” but “good play” of the puppy-play sort (as much as I detest Scrappy Doo, “puppy power!” is apposite here). Our target, then, is white (cis-het) male fragility as something that can extend beyond male nerds, affecting women/feminists, people of color and queer persons through various compromises with power (we’ll examine these compromises bad play in Chapters Three and Four, as well as how to counterplay them in Chapter Five).

Despite all these mixed metaphors, the common theme is emotional intelligence and mutual consent as something to convey through one’s social-sex life, but also one’s art as a lifestyle extension of these things. In xenophilic terms, furries and otherkin are not automatically rapists any more than gay men are intrinsic vectors for venereal disease; trans people, natural-born pedophiles; or women, “gold-digging sluts.” That’s a scapegoating mindset, generally conveyed by xenophobic defenders of the state blaming the victim (we’ll get to that). The xenophile should draft their own fearsome “gargoyles” to oppose their canonical doubles with, but also provide parallel spaces those gargoyles call home and liminal variants (exhibits 64a/64b). The idea of rebellion is guerilla warfare, fighting back in ways that work, that tire or confuse our opponents; i.e., by snapping them out of their canonical mindset at the cultural level. This includes becoming the killer rabbit that powerful men fear. As such, consider my xenophile’s refrain: Suck what you must suck and shake your booty—your thick, revolutionary monster booty! “Fuck them like an animal” by illustrating mutual consent and worker rights that teach “good play” BDSM as a stabilizing gossip, perceptive pastiche, and disarmingly constructive anger that subversively teaches workers to resist the state and it’s endless nightmare of manufacture, subterfuge and coercion (the bourgeois three trifectas from Volume One; re: “The Nation-State“).

Note: When originally writing Volume Three back in 2022 and early 2023, Meowing from Hell hadn’t outed themselves as transphobic[4]. Also, at this point I was still writing Sex Positivity on Blogger [which wasn’t censoring softcore nudity at this point] and hadn’t transitioned over to Word, yet; i.e., exhibits featuring hardcore nudity have been censored with Pikachus, eggplants and ducks:

(exhibit 64a: The iconoclastic monster/gargoyle/egregore, etc. Model and artist, left: Meowing from Hell and Persephone van der Waard, top and bottom. Right: promo banner designed by Meowing from Hell [now removed]. The iconoclastic “gargoyle” shares the borrowed language of canonical variants, but uses it in sex-positive depictions. These are often housed in geometrically “terrifying” locales, often with hauntological elements [exhibit 64b] or dream-like, “phantasmagorical” qualities—i.e., parallel spaces that can terrifying in canonical or iconoclastic ways [exhibit 64c].)

In Gothic language, iconoclastic praxis playfully and emergently reveals is the same old thing everyone knows is already there: the man behind the curtain. Marxist criticism of that man reveals him to own the means of production, have tremendous wealth and privilege, have some sense of celebrity status or position of authority and power, and control the media enough to cultivate people’s views about him. There’s no way anyone with a modicum of remorse could examine him so nakedly before swiftly seeing him as an abusive monster. So, the game becomes one of perpetual concealment (and literal inability to “reflect,” har-har): Conceal your means, motive and opportunity by making up stories and twisting the narrative; bribe and coerce the people you work for by having power over them; and when all else fails, hire a good lawyer and deny, deny, deny.

A common consequence is public denial, a fear of speaking out against authority figures or viewing let alone conveying dreadful things. For instance, the concealing trope of female swooning is part of Radcliffe’s “armor by fainting” procedure (re: exhibit 30c, “Rape Culture“; which plays out quite literally in Alien, for example, when Lambert the white, cis-het damsel freezes and is raped, off-screen; conversely the heroine Ripley defends herself from the same cosmic rapist, putting on a white suit of actual armor to protect her virtue; refer to the “Reversing Abjection” section from this chapter). Ostensibly this protect her modesty from the rapist villain—itself a literal metaphor for not being raped—but also figuratively from the judgmental audience and public when she acts like a man to defend herself and her place within a larger way of life. This general-to-specific cryptonymic phenomena showcases how canon plays a disproportionate role in what goes unexplained, including what is or isn’t believed by victims trying to tell their side of things (who, during the making of sanctioned hauntologies, tend to threaten corporate profits by blowing the whistle). Gothic stories that defend Capitalism (especially older stories written by cis-white men or women) may cursorily address this issue, but very quickly will “bury” them again by killing a “bad apple” scapegoat, often a demonic one displaced from systems of abuse. By comparison, emancipatory hauntologies expose the abuse to frankly denuding, even invasive extremes—even “going undercover” and telling the story from the abuser’s point of view if it means highlighting the systemic nature of things. In other words, no swooning allowed!

Doing so will “haunt” the whistleblower, who Capitalism will punish without mercy. This trend affects not just the character, but the actor playing them. For example, this real-life beach photograph lacks the same amount of context as Sean’s set photo. It nevertheless shows someone generally recognized for her outbursts and eventual exile from Hollywood, with empathy towards Sean generally being discouraged by official narratives that unfairly portray her as an unprofessional, lippy harridan. This stems from sexist critics who refuse to see Sean as a victim at all—not a woman abused by a sexist system until she got mad, but a crazy lady’s “comeuppance,” a criminal whose treatment is justified, legitimate, and without question.

(source)

Mutual consent is a natural right that Sean always had, one her abusers violated on multiple levels; it goes unexplained by and to her attackers, who continually refuse to believe her as time goes on but are also framed as her “protectors” (a thoroughly derivative cryptonym that hides Patriarchal sexism behind various forms of “male savior” pastiche, framing the man as a hauntological protector and the woman as a “damsel-in-distress” trophy—in retro-future replicas like Heavy Metal versus The Fifth Element [1981, 1997—Major Grin, 2023] and too many fantasy-style stories to even list: books and movies, but especially videogames[5] that sexualize women even when they aren’t passive sex objects for heroes to “get”; it also defends the status quo that produces these socio-material, heteronormative arrangements—Lacan’s Symbolic Order). A far more useful deterrent in future abuse than a “knight”-in-shining-armor is the empathy required to listen when something bad happens. Strong men—be they bodybuilders, private eyes, or billionaires dressed up in bat suits—can’t protect women from systemic abuse because they don’t do anything to change the system itself, which historio-materially blames women and sets them up to be sacrificed to men by men.

That’s where activism comes in. As sex-positive activists, we shouldn’t blame Sean for being upset, but try to understand her plight to begin with by examining her photos through an empathic lens that lets her finally speak for herself (what Paulo Freire coined as “the pedagogy of the oppressed,” a concept we’ll return to in Chapter Four); furthermore, that her complex, life-long struggles demonstrate the importance of context when interpreting something as inherently colonized as sexual imagery.

Women, whether cis or trans, are historically sexualized without their consent, denied empathy from an audience who worships (defends) male power. Recognition of this perennial tragedy requires an active, informed viewer—someone who doesn’t just take things at face value, but thinks about how sexualized images intersect inside a larger, biased system that romanticizes a decaying past as the end-all, be-all. Those who think for themselves can supply others with the same cooperative tools—punching up against a system that only punches down, forcing its subjects to compete against one another. This system must be actively resisted. Active viewer. Active reader. Active artist. Activism in hauntological gargoyles (exhibit 54 [re: “Furry Panic“], 64a, etc) and hauntological parallel spaces (exhibit 64b) stemming from liminal variants (exhibit 64c)—all are proletarian praxis and transformative, collective teamwork. This is fostered between people learning from art, of art of art, of paintings but also videogames as animating the Gothic through ludo-Gothic poetics as a form of proletarian de facto education:

(exhibit 64b: Artist, top: Persephone van der Waard; bottom: Edward Hooper. My piece was not only made to be hauntological; it was pointedly based off Hooper’s voyeuristic, vacant work, combining the seminal “Nighthawks” [1942] with an eclectic cast of misfits: myself [two days before I came out of the closet], my mother and Jim Morrison, but also two antiheroes from two of my mother’s favorite series: Rupert Campbell Black and Cass Neary.)

(exhibit 64c [from Volume Two]: Aguirre’s aforementioned geometries of terror, presented with a wide corpus of texts and their liminal spaces from different mediums: Top-far-left: The Nostromo’s exterior, from Alien; middle-far-left: Rugrats episode “In the Dreamtime,” 1993horror being a common theme through the whole Rugrats series; bottom-far-left: The Witch’s House, 2012; middle-left descending strip: Little Nightmares 2, 2021; middle descending strip: scenes from Coraline, 2009, and Inside, 2016; middle-right descending strip: scenes from Among the Sleep, 2014; far-right descending strip: the Nostromo interior from Alien; bottom horizontal strip: scenes and locations from the 2017 Metroidvania, Hollow Knight.

All these texts explore liminal parallel spaces as ambiguously Gothic—with monstrous hauntologies, concentric nightmares, and uncanny inhabitants that intimate a re-remembered “return” to a reimagined childhood. Not only is this lost childhood imperfect; it is replete with abusive intimations that generally convey regression through fantasies of paradoxical danger and rape fantasies tied to chronotopic power structures: “a fearful inheritance tied to an ancestral location loaded with decaying, heavy time,” to paraphrase from David Punter’s definition of a Gothic tale [or Baldrick’s]. Seeing as I can’t find the exact quote [academia, especially British Gothic academia, paywalls everything in sight] this quote from James Watts’ Contesting the Gothic: Fiction, Genre and Cultural Conflict [1999] does the trick:  

In a period of industrialization and rapid social change, according to Punter, Gothic works insistently betrayed the fears and anxieties of the middle classes about the nature of their ascendancy, returning to the issues of ancestry, inheritance, and the transmission of property: “Under such circumstances, it is hardly surprising to find the emergence of a literature whose key motifs are paranoia, manipulation and injustice, and whose central project is understanding the inexplicable, the taboo, the irrational,” (source: “Gothic Definitions,” 2021).  

I think Punter is definitely more overtly psychoanalytical than Marxist most of the time [source: “Punter Notes on Gothic” from The Literature of Terror] but I still enjoy his analytical approach sometimes. As for my own thoughts on such spaces [from Volume Two]: the aim is to expose past traumas related to state abuse, but also to fuck with the player as someone seeking agency within these spaces by negotiating with the game; e.g., Metroidvania, but also games like The Witch’s House.

[artist: Smolb] 

Simply put, fucking is fun, but it takes many different forms, including BDSM as asexual. In either game, the gameplay is based on mastery of the player “forced” to submit in different forms without bringing overt sex into the equation [merely echoes of it]; while Metroidvania are ludic and learn into ludo-Gothic themes of dominating the player mid-execution, the cinematic nature of The Witch’s House yields a more orthographic/cinematic twist that stubbornly resists player dominion. Courtesy of Bakhtin, the castle and its endless dynasty of power exchange have thematic primacy—i.e., the fear of inheriting one’s role in a larger destructive cycle that relegates the hero to a lonely doom in within the interminable stone corridors of a hungry tomb (that literally has their name on it). As I write in, “Our Ludic Masters”: 

Metroidvania players consent to the game by adopting a submissive position. Most people sexualize BDSM, but power is exchanged in any scenario, sexual or otherwise. This being said, Gothic power exchanges are often sexualized. Samus is vulnerable when denuded, her naked body exposed to the hostile alien menace (re: the end scene from Alien). Metroidvania conjure dominance and submission through a player that winds up “on the hip” (an old expression that means “to be at a disadvantage”). Another way to think of it is, the player is the bottom, and they’re being topped by the game. 

[…] A person motivated by sex is hardly in control. Not to mention, the sex historically offered by Metroid is fraught with peril. The entire drive is illustrated by gameplay conducive to speedrunning at a basic level. The same strategies employed by the best runners are executed by regular players. You play the game and begin to play it faster. In some sense, this “maze mastery” is involuntary. The player cannot help but play the game faster as they begin to re-remember the maze. The game exploits this, repeatedly leading the player towards self-destruction and domination.

These feelings are orgasmic, but differently than the Doom Slayer’s own attempts at conquest. They’re a Gothic orgasm, a kind of exquisite torture. I say “exquisite” because they occur within the realm of play [which grants them asexual elements]. For Metroidvania, this jouissance is ludic. But sometimes a game can blur the lines. Though not a Metroidvania, the RPG Maker game The Witch’s House remains a salient example.

You play as Viola, a young girl visiting her mysterious friend’s spooky house. Inside the titular house, the player can learn its rules, thus explore the gameworld. This inexorable progression is inevitably doomed, the outcome heinous no matter the player or their skill. Like Charlotte Dacre’s titanic Zofloya providing Victoria with poison, the game lends the player the instruments for their own demise[: the sword for the Roman fool to fall upon]. Tenacious players are even promised a “best” ending if they “master” the game, beating it without dying. The game only doubles down, punishing the player with virtually the same ending. / This ending is about as brutal as they come. Even so, such players will have beaten the game already and know the ending—if not it, then games with a similar outcome (re: self-destruction). Players are expected to revel in the game’s sadism, deriving pleasure from “punishment” while the game, for lack of a better term, bends them over and fucks them (source).

[artist: Yune Kagesaki]

Just as the Gothic often takes an asexual approach to sex [which we’ll explore more of in Chapter Three], “fucking” isn’t literal, but yields many different applications within monstrous power exchange as a fun activity. It’s fun to fuck with people, especially when they’re in on the performance to some extent [though perhaps only to a degree]. Whatever surprises, deceptions and “fucking” do occur happen relative to fearful spaces occupied with concerns about imposters, but especially a tyrannical past’s “return.” While Giddings and Kennedy’s “Little Jesuses and *@#?-off Robots” touches on a game’s mastering of players, “allowing progression through the game only if the players recognize what they are being prompted to do, and comply with these coded instructions,” players can fight back; yet, this is proposition is, as I have stated, more of a compromise or negotiation between the player and the game:

I can watch other people try to master the game, and watch them be dominated by the space. Not even speedrunners can escape this embarrassment, their blushing faces conjoined with the statues already screaming on the walls. How fleeting a victory like Shiny Zeni’s is, when it will eventually be bested. Or buried [ibid.]. 

To use a BDSM term, some games are clearly more “strict” than others. Yet the ludo-BDSM arrangements outlined above are ultimately cathartic because they occur as part of an informed exchange in regards to one’s own trauma and agency going hand-in-hand with Gothic poetics; re: ludo-Gothic BDSM. In sex-positive realms, then submission is more powerful than domination because the game cannot be played without the sub’s permission. Barring someone holding a gun to your head, there is always a choice.)

Activating empathy is only part of proletarian praxis’ larger operation. Informed consumption/critical awareness remain just as vital, whose ability to recognize performative nuance within sexualized artwork necessitates iconoclastic, de facto educators—comedians, artists, critics and models—to re-educate consumers, teaching them to punch up through their own imaginary intake and output: parody and parallel spaces/Superstructure (exhibit 64b/64c) and the sex-positive monsters inside running countercurrent to canonical historical-material victims, scapegoats or class traitors/minority police (exhibit 71). We’ll examine the emancipatory hauntology of these ideas next, before tying them to descriptive sexuality in the following subsections (and cultural appreciation in Chapter Three).

(artist: Harmony Corrupted)

Onto “Informed (Ironic) Consumption and De Facto Educators“!


About the Author

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). Any money Persephone earns through commissions or donations goes towards helping sex workers through the Sex Positivity project; i.e., by paying costs and funding shoots, therefore raising awareness. She takes payment on PayPal, Patreon, and CashApp, etc; all links are available on her Linktr.ee. Every bit helps!

Footnotes

[1] Biological sex is not descriptively binary but is prescribed as such; i.e., heteronormativity forces a colonial binary into society as a social construct:

Assigned sex is the label given at birth by medical professionals based on an individual’s chromosomes, hormone levels, sex organs, and secondary sex characteristics. As a note, the term “biologic sex” is understood by many to be an outdated term, due to its longstanding history of being used to invalidate the authenticity of trans identities. Although sex is typically misconceptualized as a binary of male (XY) or female (XX), many other chromosomal arrangements, inherent variations in gene expression patterns, and hormone levels exist. Intersex categorizations include variations in chromosomes present, external genitalia, gonads (testes or ovaries), hormone production, hormone responsiveness, and internal reproductive organs (source: National Library of Medicine).

The essentializing occurs, then, between the romancing of fantasy and the “fantasy” of science as part of a larger set of cultural biases that harm anyone who isn’t cis, but also cis people who will be effected by the enforcement of the status quo until it enters crisis.

Note: For additional terms on gender, refer to the gender studies terminology I list and summarize in “Audience, Art and Reading Order.” From that list, I want you to understand that my own analyzing of said terms is very much as a fourth wave an-Com GNC feminist, having modified my own understanding from 2023 onwards; re (from the footnote to “heterosexuality,” written by me): 

Traditional orientation terminology is classically binarized, which GNC usage complicates by introducing non-binary potential. Traditional usage ties a specific orientation to sexuality—e.g., heterosexual—but descriptive orientation can just as much involve an emotional and/or romantic attraction and generally includes gender and biology as interrelating back and forth while not being essentially connected. So whereas heteronormativity forces sex and gender together and ties both to human biology as the ultimate deciding factor regarding one’s gender and orientation, sex-positive usage is far more flexible; orientation isn’t strictly sexual or rooted in biology at all. Those variables are present, but neither is the end-all, be-all because sexuality and gender are things to self-determine versus things the state determines for us (to exploit workers through binarized stratagems; e.g., “women’s work”). To compensate for this flexibility inside GNC circles, orientation labels are generally shorted to “hetero,” “bi,” or “pan” (homosexual is commonly referred to as “gay” or “[a] lesbian”), allowing for asexual implications. Even so, classically binary terms like “hetero” and “homo” tend to be used more sparingly and are often swapped out for more specific identities or umbrella terms; e.g., “I’m queer/gay” or “I’m bi” as something to understand with some degree of intuition, which can later be explored in future conversations if the parties in question are interested in pursuing it. This pursuit is not automatic, though, so neither is the language denoting what can be pursued; instead, sexuality is an option, not a given (ibid.)

[2] It’s entirely possible to default to weirdness by being oneself as a successful, ethical dating stratagem. Indeed, my fawning cuteness and catboy voice caught them off guard, leading them to say, “This guy’s weird as hell—I like it!” We’ll examine my self-admitted weirdness more in Chapter Three when we examine goblins (exhibit 94c1).

[3] The imagery from Blade Runner is so famous that you might recognize it without having seen the film at all. Many do, with many more defending its usage in the blank neoliberal sense: as a cryptic shroud that cloaks Capitalisms’ abusive past, present and future behind endless, uncritical copies. While Scott’s dystopia allowed for neoliberal critique—engaging with the Tyrell corporation as a larger foe—increasingly corporatized copies of the same base cityscape have leaned into the “dumb playground” aspect. When new generations see the image, that’s what they’ll think of, not Scott’s palimpsest.

[4] I write about this in Meowing’s bad review, which I wrote a week or so ago after not speaking about them since the transphobic event happened:

Meowing from Hell—aka Cat—loves artwork, including being drawn (above; re: the drawings I did of Meowing in 2022 and 2023, alongside the ref material they supplied, at the time). They initially supported my endeavors, promoting my work in exchange for being drawn. We worked from August 2022 to May 2023, no problems, exchanging artwork and money for premade b/g content, promotional material and time on Meowing’s Twitter feed. On May 23rd, I reached out to them regarding a widespread transmisogynistic campaign against me; re: “Setting the Record Straight, Transmisia Experience: 5/26/2023“; i.e., despite me approaching all other sex workers the same way and doing sex work myself, I was being accused of not respecting the boundaries of others or knowing what consent was (the usual transmisogynistic accusations; re: the man in a dress/women’s spaces). Rather than hear me out, Meowing proceeding to gaslight me and try and convince me that what I had done regarding the accusers was wrong… despite it being the same exact behavior I had done with Meowing (nudity in the OnlyFans screencaps censored, to be on the safe side; nudity in the Twitter screencaps has not been censored):

In short, Meowing threw me under the bus and washed their hands of things (click here for the full image of our pre-conflict August 2022 conversation and here for our full May 2023 conversation). Furthermore, they still do sex work:

Despite this, they distanced themselves from me and refused to promote my work on the word of other transphobic sex workers, which makes them transphobic, too. They frankly suck.

[5] As I write in “Borrowed Robes: The Role of ‘Chosen’ Clothing — Part 1: Female Videogame Characters” (2020), videogame women, even active avatars the player can control, are historically “dressed” in skimpy outfits chosen by men or at least in service of men:

This two-part series examines the historical lack of choice regarding character appearance in videogames—namely clothes. […] When I write “clothes,” I mean in the literal sense, but also the character’s total onscreen appearance—their physique, dialogue, move set, etc. For women, such personas seldom represent actual female desires—either of the character, or any women who controls her. Instead, they represent how women are controlled by their male peers through the forced assignment of clothes that sexualize women in unfavorable ways (source).

This appropriation of “empowerment” tends to appropriate the celebration of women as an older topos (a traditional theme or formula in literature): the topos of the power of women (e.g., Susan Smith, 1995) specifically sex as a female-exclusive power in the face of masculine authority. This ancient concept dates back to the time of the Greeks and—e.g., Daphne—generally conceals a rapacious element; in doing so, it announce the larger systemic sexism issues through the female body itself as a cryptonym, overshadowed by the fact that this power is really just subservience and pacification in disguise.

Book Sample: Chapter One: Sex Positivity (opening and “Illustrating Mutual Consent”)

This blog post is part of “All the World,” a sixth promotion originally inspired by the three I did in 2024 with Harmony Corrupted and Romantic Rose: “Brace for Impact,” “Searching for Secrets” and “Deal with the Devil” (2024), as well as “Make It Real” for Volume One and “The Total Codex” for Volume Zero. Those promotions sought to promote and provide their respective volume’s individual pieces for easy public viewing in single-post form; re: for the Poetry ModuleUndead Module and Demon Module, followed by my PhD and manifesto. “All the World,” by comparison, caps off my book series with a promotion for Volume Three; re: my Praxis Volume. 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 “All the World’s” Table of Contents and Full Disclaimer.

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 model(s). For more details about artist permissions, refer to the book disclaimer (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.

Chapter One: Sex Positivity. “The Seeds of Rebellion”—Sex Positivity and the Tools of the Trade

“It is greater than treasure. We have thousands of such water caches. Only a few of us know them all.” 

—Stilgar, Dune (1965)

Picking up where “Foreplay: Introduction, Before the Plunge, and Thanking Harmony (again)” left off…

This chapter explores most of the tools of proletarian praxis, including the linguistic difficulties in materializing sex-positivity under Capitalism when using them—i.e., illustrating empathy through mutual consent as something to imagine when looking at sexualized media as often-imperfect and needing to be reimagined through Gothic Communism and its main Gothic theories. Performed in opposition with canonical variants, they can critique Capitalism in revolutionary ways. Let them be your hammer and sickle.

(model and artist: Harmony Corrupted and Persephone van der Waard)

  • “Illustrating Mutual Consent: Empathy” (included in this post): Introduces the first of the creative successes of proletarian praxis, and considers how empathy factors into illustrating mutual consent on all registers; i.e., through popular media of different kinds discussing empathy as something to illustrate ourselves; e.g., the “draw me like your French girls” scene from Titanic (1996) and the art lecture scene from Sense8 (2011).
  • Half-Real: Recognizing And Performing Empathy” (feat. Meowing from Hell and Sean Jones): A follow-up to “Illustrating Mutual Consent” that focuses on empathy as something to recognize, mid-illustration; i.e., as “half-real,” vis-à-vis Jesper Juul’s idea of “the realm between fiction and the rules” as further taken, by me, between fiction and non-fiction, on and offstage; e.g., between sex workers like myself and Meowing from Hell, but also actress Sean Jones and her own abuse on and off the Blade Runner (1982) set.
  • Informed (Ironic) Consumption and De Facto Educators Using Parody and Parallel Space“: Explores informed consumption according to informed/mutual consent as enacted by sex workers; i.e., as de facto (extracurricular) sex educators educating through iconoclastic art, but especially parody and parallel space; e.g., Monty Python, H.R. Giger and New Order.
  • Reversing Abjection: Describing Sexuality vs Prescribing Sexual Modesty” (feat. Alien): Discusses reversing abjection vs prescribing sexual modesty in Gothic stories; i.e., on the same half-real stages; e.g., Alien and its own 1970s rape fantasies borrowed from older times and transported into newer retro-future ones.
  • “‘Get Nervous!’; or, an Early Stab at Cryptonymy: The Fur(r)tive Rebellion of Body Hair and the “Toxic” Shock of Critical “Trash,” Zombie Capitalism, and “Monster Mash” Rock Operas” (feat. Mercedes the Muse): Our holistic examination of the above ideas; i.e., combining them cryptonymically through body hair and whistleblower counterculture/schlock media (re: Mercedes) to conceptualize development: as an active, playful means of critical engagement/thought and poetic expression conducive to developing Gothic Communism.

(artist: Harmony Corrupted)

Illustrating Mutual Consent: Empathy

Je est un autre (source).

—Arthur Rimbaud, excerpt from an 1871 letter regarding his “derangement of all the senses” 

(artist: Annienudesart)

Sex work is often hauntological, generally of past things that could become the future as already written—ghosts of a sort, operating in opposition through what is constructed and abjected, mise-en-abyme. However, whenever the past is shown, it is reimagined to some extent—not just for the viewer of a previous creation, but in the mind’s eye of artists making new artwork as well. This includes sex, which is often hauntologized (often through Gothic romances, space wars, Grindhouse-style revivals/Rob Zombie’s trashy Camp remakes, underwater dystopias—seriously, take your pick) in ways that make consent difficult to illustrate, thus imagine. Despite all the fractals, much of canon is sex-coercive, making their hauntology carceral, their cryptonymy complicit, their chronotopes capitalist, their laborers abject, their mode of expression sex-coercive. Empathy—as something to illustrate through the Gothic imagination—can challenge sex coercion by opposing its abject xenophobia and general bigotries with consent through context; e.g., Gothic xenophilia and reverse-abjection.

While this book’s focus are the more overtly hauntological/monstrous variants, even so-called “historical fiction” creates a gendered hierarchy inside of itself, one reinvents the past and sells its updated sexist “dress code” to audiences based on older versions of the past already tied to Capitalism: For a more literal example, consider Pam Am (2011) and its reimagined, conspicuously chic commentary on women’s sexist treatment and dress code under the then-fledgling company (the centrist “victory” of reliably snarky Christina Ricci’s backtalk being presented as acceptable rebellion under Patriarchal Capitalism, frozen within a controlled, corporate narrative). Under such stories, consent becomes mythical, the stuff of fairytales conveyed by billionaire, “Hollywood” Marxism like James Cameron’s Titanic (1997). Tremendous wealth becomes essentialized as the sole arbiter of fairly basic truths: women (for starters) have basic human rights.

If only audiences knew, you don’t need a billionaire to draw a woman consensually! In fact, artists from all walks depict sex in hauntological ways. Whether through drawings, photography or performance art, showing sex is easy. Mutual consent is far harder to illustrate in general. For one, those in power police its use, discouraging mutual consent (which we’ll explore later in the book). In terms of raw execution, mutual consent requires empathy towards context, which is easily divorced from art (especially digital copies) regardless of intent. The rest of this subsection will explore illustrating mutual consent through active empathy as something to imagine—literally to reify by material means that encourage future emancipatory endeavors when examined and interrogated.

For various reasons, artists and invigilators can’t always be interrogated. Maybe they’re dead; maybe they’re bad-faith or allergic to interviews. Whatever the case, the context of their disseminated media must be pursued without their help more often than not. This book pursues context through dialectical materialism, viewing context as tied to historio-material conditions; in particular, context as something to actively investigate through art as a prescriptive or descriptive tool, which operates regarding sexuality and gender through two ongoing relationships:

  • the relationship between sex workers and the bourgeoisie who own them (and their art) through the means of production; but also the bourgeoisie advertisement of canon while concealing its illusory role-as-Superstructure: the illusion of freedom and ethical treatment for workers
  • the relationship between art and the viewer

First, let’s examine how canon prescribes sexuality within Capitalism, as explored through the anomalous sex-positivity of Sense8 (2015):

In season two of Sense8, homophobia in the workplace—specifically for Mexico’s producers of heteronormative action cinema—leads to Lito (the gay man playing a closeted, Mexican version of Antonio Banderas’ Spanish heteronormative export: the straight action hero) being evicted. Clearly the result of sexism-as-a-business, its toxic mentalities are exposed most nakedly in the classroom: Lito’s lover is a queer art professor named Hernando. When a jealous gangster outs them as gay by publicizing revenge porn between Lito and Hernando, Hernando chooses to reclaim this hateful act by seeing the compromising image as liberating. “Art is love made public,” he explains, referring specifically to mutually consensual love as something to empathize with through material creations—not abstract ideas nor strictly oral arguments, but technological/written, xenophilic arguments that enable art to be invigilated and observed long after the artist is dead. More than this, he deliberately views it as iconoclastic, calling his approach “political.”

The politics lie in how iconoclastic art returns descriptive sexuality to the fore; Hernando’s sexuality is descriptive and empathetic, but also reviled by canonical defenders: a homophobic student who calls the photograph “shit-packer porn.” Clearly aimed at Hernando, the student’s childish, xenophobic barb demonstrates canonical art and its sexist attitudes as apathetic. They’re also hostile, generally depicting sexuality—but especially descriptive sexuality and its appreciation—as wholly segregated from daily existence. Hernando calmly points this out, highlighting the student’s consciously hateful interpretation, then waiting for him to respond (a sex-positive variation of the police interrogation method: “stop and stare”); the more open-minded students laugh at the bigot, who bows his head in shame. He has self-reported, outted/demasked, thus unable to keep fitting in with his peers.

The lesson, here, is communal: The gay teacher—but also the homophobic dunce, classmates, and revenge porn—collectively demonstrate tolerance or discrimination as active, informed choices within an ongoing socio-material exchange. Despite heteronormative bias weighing dialectically on the choices that are made, sex-positive choices can still occur if xenophilic empathy is present. Most of all, Sense8 demonstrates how empathy requires teamwork and cooperation, which override or discourage individual competition and self-promotion at the expense of others. Hernando’s message isn’t merely that canonical sexuality is prescriptive, a means of enforcing heteronormative control; he’s demonstrating artistic subjectivity’s role of upholding or rejecting canonical norms. Artists who depict sexuality and gender—and those who (re)view their artwork—are thereby given a choice: to describe or prescribe sex, with or without empathy as something to cultivate. Many stigmas surround the practice in either case, including the idea that sexualized artwork is inherently non-consensual. It’s not, but the abjection of descriptive sex still needs to be challenged for mutual consent—and empathy—to exist.

Mutual consent determines if artwork is sex-coercive or sex-positive. While that might sound obvious, less obvious is what actually amounts to mutual consent in visual terms—especially in sex-positive artwork whose mutual consent won’t be visually obvious short of spelling things out. In other words, mutual consent isn’t self-explanatory. As Sense8 shows that, whether in a gallery or in the workplace where art is often produced, mutual consent still needs to be inferred. Any inference occurs through empathy towards or from the sexual content on display as inherently ambiguous. This ambiguity stems from several factors—bodies being natally complex (which we’ll explore more in Chapter Three); but also sex being simultaneously taboo and encouraged by the elite in hauntological forms (which we’ll examine at the end of the chapter, and in Chapter Two). While discussions of sex are tightly controlled, they’re financially incentivized to unfold in highly conventional ways. The goal of these conventions is to sell sex without spelling those conventions out (at least not too much; Brassed Off, 1996). When they are spelled out, it’s generally treated as a joke, especially when the conventions themselves become absurd:

(source: Do Chokkyuu Kareshi x Kanojo, 2017)

The joke, in the above manga, isn’t simply to break the Fourth Wall. Nor is it two people, simultaneously aware of the conventions of the larger mode, pursuing sex purely for themselves. Rather, it’s how they’re doing it: in a healthy way without manufactured drama. This stems from mutual consent, which describes sexuality through all people: as deserving of empathy regardless of how they identify, perform or orient. By comparison, canon treats descriptive sexuality as taboo, prohibiting empathy at a social-sexual level by manufacturing consent through heteronormative arrangements that compel coercive sex. These bylaws operate through audiences steadily conditioned to view canonical norms—however unhealthy and unethical—as ordinary.

By presenting the sacred as secular, neoliberal canon conceals the extent to which it codes its representees. More than showing people as they actually exist, though, canon advertises hauntological gender roles that people tend to perform under Capitalism at any imagined point, be that the past, present or future; or someone in between—work. Corporations use hauntological canon to visually assign human property to specific tasks tied to a sacred past, instilling workers with sexist attitudes that keep them productive, divided and unimaginative. While not limited to sex work, its particular division of labor—the siphoning of men and women into specific, unequal roles (clients and workers)—translates into any working relationship. The system tends to reward men with higher-paying authority positions, while women are chosen for lower-paying secretarial roles (Unlearning Economics’ “Jordan Peterson Doesn’t Understand Gender Discrimination,” 2022; timestamp: 17:17). Meanwhile, workplace sexism devalues mutual consent over profit within employment relations more broadly.

However, just as canon cryptically conceals the parasitic nature of its own code, it lionizes top performers wherever they find themselves. This includes carceral-hauntological forms, but also in recreational/social venues, wherein workplace values—specifically neoliberal market attitudes previously codified through canonical art—easily affect the social-sexual exchanges that occur (treated as literal and figurative “rewards” for men, a concept known in horror and war pastiche [especially movies and videogames] as “getting the girl”—whose workplace sexism we’ll explore in videogames and war pastiche in Chapter Four). This dehumanizes workers by over-quantifying their social and sexual lives, treating each social-sexual encounter as raw social currency through the neoliberal tenant of infinite growth (Sisyphus 55’s “Journey Into The MANOSPHERE,” 2022; timestamp: 17:11). Whether they’re on or off the clock, productive workers serve bourgeois interests by cultivating a dutiful worker mindset, a constant mode of appeasement.

Unfortunately worker productivity doesn’t translate to worker happiness; it merely displays a willingness to maximize productivity through a trickle-down mentality inside an unequal system. This leads to disgruntled workers who are never, ever satisfied, who grow increasingly apathetic during the endless climb to the top: to become the ultimate man, the Man (we’ll explore this phenomenon in Chapter Three, when we examine the strange phenomena of weird canonical nerds and “Man Box” culture with Caleb Hart).

Note: According to my research (gender studies, sex work, an-Com Marxism and speedrunning videogames), such things often overlap. For a good real-life example of this—i.e., of someone who is both a gamer and bigot who “game-ifies” social exchanges to mask his own predatory actions/enrich himself and lie to others during a complicit cryptonymy approach—consider Karl Jobst; re: as mentioned during my “Those Who Walk Away from Speedrunning” 2025 retrospective and subsequent Metroidvania corpus: a sex pest, but specifically a pickup artist with Neo-Nazi ties that he’s tried to disguise behind his rising YouTube channel, which he founded in bad-faith (re: DARVO and obscurantism). See “On Karl Jobst: My Final Say; or, Full Timeline Breakdown + His Bigoted Past” for the entirety of my coverage on Karl; i.e., from his less-than-humble beginnings to his first appearance in my book series (re: “Modularity and Class“) to his Scooby-Doo-style unmasking after Billy Mitchell sued him for defamation and won. —Perse, 4/24/2025

Pickup artists, for example, emulate an unrealistic overachiever mentality within the heterosexual dating scene. Presenting competition as the key to happiness, what they’re actually doing is treating any social setting like a capitalist game: the pursuit of infinite growth through efficient profit. Pickup artists assimilate these neoliberal creeds by relating to production in lateral terms; i.e., gaming the system through manufactured competition and scarcity. Both devalue cooperation, pro-worker structures and welfare mentalities (Kay and Skittles’ “Thatcherism: What We Get Wrong About Neoliberalism,” 2022; timestamp: 11:08) by seemingly help pickup artists “stack the odds” against women. In truth, they’re con artists selling bad education to other men, robbing those persons of their own labor and money and decreasing their own odds for success (which resorts to poisonous double standards; e.g., spiking a drink with date-rape drugs to quote their quotas).

Whether in real life or in famous, neoliberal canon that ties the future to a dated notion of the past (e.g., Sheep In The Box’s “The Concerning Politics Of Harry Potter,” 2020), love-as-labor manifests through a smaller game (chercher la femme) inside a bigger one (Capitalism); i.e., heteronormativity encouraging men to actively pursue women by treating them as passive sex objects. It becomes a question of cheating luck inside an unfair system. The system is unfair but men do not critique it; they take out their frustrations against their prey (cis-het women, but also queer people; e.g., femboys or intersex persons). To hunt, acquire and discard, there’s nothing being made when players score—no positive, lasting relationships or signifiers thereof—and yet they run their sex lives like a business: to advertise and sell themselves as the coveted “top performer” (usually an emulation of someone higher on the pecking order, maybe a CEO or wealthy shareholder).

Advertisements like these dehumanize everyone, making the pursuit, sighting and achievement of fabled success entirely hollow, but also something to sell in carceral-hauntological ways: to the next generation of workers, affecting what they imagine in socio-material terms—i.e., turning the fruits of their labor into nostalgic art as something to buy or create, but also teach through the metaphor of playing games. To be “the best,” then, is an illusion that forces a privileged existence—e.g., the top dog, the MVP, the best, bar none—as being at the top of “their” game. Doing so is framed as being traditionally masculine, dominant, unstoppable; i.e., the world is their oyster but only theirs. Its power cannot be shared with anyone else. Such arrangements are deceptive by entertaining an idea of fair play and power exchange that is ultimately false, versus one that allows for the appearances of “abuse” or “rape” inside a ludo-Gothic BDSM ritual where no harm is actually present; i.e., the aesthetic of peril, unequal power and death, but not the unironic function of these things that is normally present inside heteronormative systems. Despite the appearance of inequality and trauma, then, power is actually shared through paradox during sex-positive play to achieve praxial catharsis by interrogating trauma through what we enjoy as a means of good de facto (extracurricular) education:

(exhibit 62a1: Model and artist, top left: Mikki Storm and Persephone van der Waard. Despite the appearance of rape and gagging “bondage with tentacles,” the asphyxia on display is an ironic rape fantasy that doesn’t advocate for genuine harm. For one, it’s how Mikki wanted to be depicted as during our negotiation, saying that “beasty” demons and tentacles are their kink. Furthermore, the shoving of tentacles down one’s throat is no different in practice than a cock down the same pipe, or hands clasped “tightly” around one’s throat (the appearance of tightness is for the viewer while a gentle-enough grip in reality is important for the recipient). Even portrayals of “actual” bodily harm could be allowed, so long as their portrayal puts “harm” in quotes; i.e., is symbolic and cathartic as a kind of nightmare expression of trauma that helps the subject process their own abuse. As always, the context behind the drawing’s negotiation and expression of power exchange remains an import part of the entire exhibit. The water, smoke, and volcano exemplify the same chaotic, seemingly Numinous power being embodied by the monster “ravishing” Mikki, and Mikki consents to a ritual that cannot harm her by virtue of these things serving her complex needs; they can excite her and help her heal from trauma through a BDSM arrangement that addresses trauma as something to live with, thus interrogate through the performance of power in paradoxical ways: calculated risk. The Numinous, in this sense, becomes palliative despite its psychosexual nature.)

For example, trust is a tenuous proposition in BDSM scenarios where the dom has total power. “Total,” in this situation, means a complete inability to share power or negotiate behind the ritualized theatrics before, during or after. Doing so is unwise, as makes mutual consent a total illusion for the submissive should they completely surrender their power to the other person in totality. In realms of actual mutual consent, the dom is beholden to the sub as someone who trusts them, granting the sub a considerable degree of power within a negotiated game. This makes the domination ritual one of service unto the sub, who has all the power provided trust is upheld and their boundaries respected. Their word goes, meaning the dom cannot harm them if the game is played according to their agreement. But Capitalism doesn’t engender agreements; it gives people a false choice through a disguised ultimatum: play or die. It’s a Morton’s Fork.

For example, the owners of Squid Game call their game “fair” in bad faith. In doing so, they force people to play through manufactured material conditions that provide reliable “sport” for an elite class bored stiff with their own advantage: the poor as killing themselves, mid-match, but also the rule keepers whose enforce the rules with bullets. Despite having a gun, slightly better food and a mask, their function is no less-oppressed than the “actual” players because the game is a prison that gives both a jumpsuit and rules to play with faithfully less failure spell an early death. Both are fucked over for the elite’s benefit, pitted against each other by them.

The above examples should hopefully demonstrate that trust is always a casualty under total power as part of a coercive game design practice; i.e., games that hide the arrangement throughout. Popularized games under Capitalism do just that, leaving no room to negotiate should players change their mind and abuse the power given to them. Indeed, Capitalism’s manufacture trifecta incentivizes players to use everything in their power to “win”; i.e., to abuse other players inside abusive games that rig power exchange to favor bad play tactics, which teach unhealthy relationship practices and power dynamics by virtue of “winners” applying them to their social-sex lives (whose abuse we will unpack more in Chapter Three, when we examine weird canonical nerds, Man Box culture, and Caleb Hart).

Such a grand façade ultimately works to compel the appearance of being in control through a singular champion whose rigged metaplay is downplayed; i.e., they did this “all on their own.” They didn’t; the system and its abusive rules make it seem as though they had. Through a “mastery” that is really them playing by the rules to get what they want, their “domination” over the game is really a ludic relation that forces them to compete with others and dominate them: to be in control of other players while still being a slave to the system and those who run/own it. Their success leads to a grander deception—that this is how things are supposed to be; i.e., there can only be one winner and that said person must force their way to success by defeating everyone else in highly punitive, unequal ways disguised by the gameplay as “fair.” The champions relationship with the game becomes something to lionize, which negates the ability of mutual consent within realms of play that would otherwise supply the other parties a say in what happens. Instead, it’s simply winner-take-all, but the “win” is forced.

By comparison, iconoclastic art appreciatively represents marginalized people excluded from canonical norms by implying mutual consent as a positive, egalitarian freedom. This is empathetic, insofar as it articulates performative and representative options to people who are typically oppressed in the workplace, therefore the world, by the so-called “best” as a posse of heteronormative enforcers. This oppression actually includes all workers (even those with relative privilege, like cis-het white men). The end goal isn’t to be the biggest philanthropist, employee-of-the-month, or player with the most “game”; it’s to enact positive change: to let workers choose how to (re)present themselves, bucking systemic labor as sacrosanct (re: Weber’s notion of the Protestant work ethic). This happens by rejecting harmful mentalities in ludic metaphors, but also broader poetic expressions with actual ludic components; i.e., redesigning the game and power exchange as something to literally play with. Doing so increases the odds for better relationships by raising class consciousness as something that intersects with racial, gendered, and religious struggles. Combined, these can change material conditions on a societal level, increasing the odds for better treatment for various marginalized groups.

Worker solidarity is vital, the process starting by teaching privileged allies how to empathize with those without privilege; i.e., how to play nice with handicapped players. Regarding sex work in particular, mutual consent grants the subjects on display a choice they can make if they want to, thus empathize with as fully-autonomous beings with actual human rights: “I choose to be drawn or photographed as I decide, to perform as I want, to exist for others to see as proof of my agency. As I play and make my own rules and boundaries, I am not merely something to exploit.” By using of previous iterations of the world-as-fantasy or -science-fiction, emancipatory hauntology helps bring public empathy about, improving sex worker conditions based on how they’re treated: as members of respected, long-standing franchises that can change in sex-positive directions through humanizing artwork. Again, though, these creative successes are “doubles” (a Gothic and general trope, as explored in Chapter Two) of pre-existing forms. They won’t always be viewed in a friendly way—especially if they embody sexuality in a provocative, indecent manner; i.e., the “woman in black,” the witch, the shapeshifter, etc. Canon’s reactionary proponents will actively attack anything that threatens the status quo (a form of white fragility/playing dirty we’ll examine more in Chapter Three, when we examine weird canonical nerds).

(artist: Disharmonica)

Sex-positive artwork improves sex worker conditions by denoting mutual consent through empathy as something to cultivate—not just through shifting material conditions, but copies that conflict with one another in ambiguous ways (we’ll examine this idea when we discuss appreciative irony for Gothic ambivalence in Chapter Three). Even when the workers themselves aren’t the authors (are under someone else’s employment), mutual consent should be conveyed through a shared sense of collaboration and mutual respect by all parties involved. A sex-positive artist drawing a sex worker, for example, is respectful[1] on both sides. Everyone approves, fostering empathy for the sex worker as someone whose basic human rights are advertised through the entire exchange and its visible result. Sexism, by contrast, is coercive; it deprives sex workers of their rights, manufacturing consent and enforcing apathetic heteronormativity through prescriptive, exclusive canon that dehumanizes/objectifies sex work.

My book focuses on sex work because certain groups are systemically coerced into positions of material disadvantage that force them into unsafe, unfulfilling sex work—in particular, women or people forced to perform as women. Whether cis, gender-non-conforming or asexual, Capitalism exploits AFABs for their sexual labor, including their constant objectification in canonical media of any temporal inclination. This occurs doubly so for women of color, whose apathy is compounded by racial stereotypes and fetishization; and triply so for trans/enby people of color who often become stigmatized for doing sex work just to survive; and since systemic abuse is intergenerational, many sex workers start young and work into old age (LADBible TV’s “Old Sex Worker Meets Young Sex Worker,” 2021). While sex work is a valuable way for some people who normally can’t work to make money (the immunocompromised or physically disabled, but also people publicly denied work opportunities), it’s also a kind of work that, while always in demand, is stigmatized as worthless by SWERFs (outside of the canonical fetish personas used to objectify out-groups; e.g., the xenomorph or Slan the succubus [re: exhibit 51b1, “Dissecting Radcliffe“] during xenophobic narratives). Such Nerve tweets an applicable sentiment in that respect: “If you want a living wage, get a better job” is a fascinating way to spin, “I acknowledge that your current job needs to be done, but I think whomever [sic] does that job deserves to be in poverty” (source tweet, 2019). The labor of these force-feminized workers within the colonial binary is both precious and cheap, the Whore to raise up the state’s next generation of men, then sacrifice in the interests of patrilineal descent.

(exhibit 62a2: Source, top: Fired Up Stilettos; bottom: Kate D’Adamo’s “Decriminalization by Any Other Name: Sex Worker Rights in Federal Advocacy” [2020].

“Seize the means of seduction.” As property that advertises itself and as something that is profane in the eyes of the public, the sex worker who fights for their rights is both a slave, a demon, a mother and a billboard come to life and clamoring for change. Like radical graffiti, the body-as-profession becomes a picket sign of a street punk aesthetic, one out of necessity that is reclaimed from sell-out variants [exhibit 100c6] to humanize rebellion and rights through signature, often campy ways [e.g., camp, Rocky Horror pastiche; re: exhibit 10a, “Prey as Liberators“]. Their collective aim is to catch the eye and stand out in a very theatrical sense; but also be a thorn in the side/eyesore to the polite whitewashed streets of the moderate activist’s world to expose their own bigoted treatment of protestors as “rabble.”

This sentiment, during anti-labor synthesis, is expected to make SWERFs, general prudes and so-called “real activists” coldly shrug their shoulders at abusive practices outside of the perceived, imaginary ones typically touted within the public imagination as “real sexism” [rape]. Unlike rape and physical/emotional abuse, the denying of funds isn’t just the 1970s pimp brutalizing his workers, but the corporation incentivizing the same process by discouraging cash tips through a process dubiously called “funny money,” which for years, numerous strip clubs have offered a special form of payment exclusive to the industry thereof: 

Despite its colloquial name, funny money is more than just fake money like the kind you play with in Monopoly. Instead, it refers to a specific type of currency exchange. For example, a customer can have a club charge $500 to their credit card. In exchange, they get $500 worth of in-house dollars, often named something corny relating to the club itself — think “Cheetah Bucks” or “Sapphire Dollars.” That customer then has the freedom to more easily distribute that money as they wish, all without having to continuously charge their credit card. Funny money can come in a variety of denominations, too: ones for throwing, 20s for tipping, 100s for buying dances. At the end of the evening, the workers who’ve received funny money can exchange it back to real cash. 

[…] as some dancers have previously reported, funny money can easily allow for some unfair labor practices to flourish. “If a customer pays for a service like a VIP room via credit card, us dancers get our cut through ‘Dance Dollars,'” says Poppy, a dancer in Illinois. “For example, a 30-minute room is $350 cash, and our cut [as dancers] is $250 cash. If you pay with a credit card it’s $414, because the club taxes extra for cards, but we still get $250 in Dance Dollars,” she says. The club then takes an additional 15 percent off of that $250 when it comes time for Poppy to get paid out, leaving her with $212. In other words, when someone pays for Poppy’s time in her club’s dance dollars, she makes less than she would if they were to pay cash, despite actually costing the customer more out-of-pocket [source: Magalene Taylor’s “Strip Club Funny Money Is No Laughing Matter,” 2022].

 

In short, the relationship between the two defends capital, “accommodating” the customer by allowing corporations to tack-on hidden fees and extort sex workers in the same breath—all with the empty grace and tacky manipulation of a mobile phone game.)

Forced into dangerous, stigmatized jobs, the upholding of sex worker rights—including defending their bodies and their lives—falls entirely on the workers themselves. They must actively assemble and protest the abuses committed against them. Already targets, those actively asking for their rights will motivate the elite to silence them out of self-interest. No one wants to be martyred, but those asking for equal treatment must do so knowing they’ll be viewed as material threats to the current power structure. To preserve their hold within this arrangement, the elite vilify social-sexual activism by automatically condemning it as violent. In doing so, they trap activists into a corner. If they stay silent, the abuse will continue; if they speak up but fall silent again, the abuse will worsen (and they will be gagged); if they grow louder, they will be attacked and undermined by elite-condoned competitors: reactionaries and moderates (we’ll explore these groups more throughout the book, but especially in Chapter Four).

Despite its many dangers, activism remains vital to worker safety through class consciousness, solidarity and cooperation. Bourgeois greed knows no bounds, including the human rights abuses that result. While these atrocities are legion, and while individual cases of coercive sex work also happen (see: Caleb Maupin; the original Medium article has been removed, but Bad Empanada 2 covers it on his 2022 video, “Caleb Maupin OUTED As Spankaholic Cult Leader, CPI EXPLODES”), the systemic coercion of sex work specifically occurs through privatization; the elite own the means of production as a tool to marginalize and exploit target groups for efficient profit and infinite growth. By keeping poor people poor, these persons have no choice but to (re)turn to sex work (a historically stigmatized and criminalized profession—re: Kate D’Adamo) to supplement their income. This amounts to wage slavery (assuming they’re even paid, which some forms of sex work, like marriage, are not) but also the death of imagination by abolishing alternate labor models that encourage non-canonical, non-carceral depictions of sex work (whose underlying context can be explored later).

All is not lost. Iconoclastic praxis allows for a variety of safety measures, manifesting as dated clues to interpret inside and upon whatever the past leaves behind. Our aim as Gothic Communists is to take these antiquated lessons and apply them to our lives, such as we always have. The difference is doing so now lies in active reimagination, dropping apathy in favor of empathy. However, to consciously challenge what’s normal in favor of a more empathetic workplace and world, we must first recognize empathy when inspecting the past. Turns out, the past can be a pretty weird place. Let’s take a look!

(artist: Harmony Corrupted)

Onto “Book Sample: Half-Real: Recognizing And Performing Empathy“!


About the Author

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). Any money Persephone earns through commissions or donations goes towards helping sex workers through the Sex Positivity project; i.e., by paying costs and funding shoots, therefore raising awareness. She takes payment on PayPal, Patreon, and CashApp, etc; all links are available on her Linktr.ee. Every bit helps!

Footnotes

[1] My own portfolio commonly features sex workers, the arrangement founded on a professional, informed exchange between both parties. Sometimes I do fanart (aka labor as tribute), but the general consensus is labor in exchange for payment, be that money or work. The context behind the artwork I produce is agency on behalf of sex workers negotiating for themselves, which I wholeheartedly promote (so much so that I write reviews for sex workers that I’ve drawn on my website; the current number of sex workers I’ve worked with is over seventy).

Appetizers; or, Paratextual Documents for Volumes One through Three

Each book volume for Sex Positivity has its own full-size PDF and blog-style book promotion (the former which you can download on my one-page book promotion for the entire series and the latter which you can access individually on my Book Promotions page).  Whereas the online book promotions feature the lion’s share of the book volumes, they have up until now left out a small handful of unessential-yet-interesting paratextual documents I have since decided to include here; i.e., to be as thorough as possible, and which further clarify my process while writing and organizing said volumes (refer to “Paratextual Documents” for the more essential of the paratextual documents to this entire book series). Some of the documents only appear in my later volumes, and some appear as early as Volume One. As such, this page will also specify which (sub)volumes include which paratexts:

(artist: Harmony Corrupted)

  • “Two Essential Halves: Dividing Volume Two/Three in Two” (included in Volume Two/Three): A one-page explanation as to why I decided to divide Volume Two in two (re: part one’s Poetry Module vs part two’s the Undead and Demon Modules). A near-identical version is supplied for Volume Three (which I divided in two, but kept as a single document).
  • “Written Backwards: A Ship of Theseus, a Gothic Castle” (included in Volume One through Three): A short document exploring how I wrote Sex Positivity backwards; i.e., in regards to my circular writing process—to writing Volume Three first, followed by my manifesto and Humanities primer (the skeleton for Volume Two, part two; re: the Monster Modules), followed by my PhD: the first book volume I published in my series, and which I published before my manifesto (followed by my manifesto, Poetry Module, and Monster Modules). To it, “Written Backwards” specifically acknowledges Bay Ryan and meeting them, hence the profound impact they had while helping me write my PhD; i.e., regarding the playful ghost Bay supplied me with, and which haunts the “castles” I returned to after raising Volume Zero under its forebears (re: I wrote them before I met Bay but would haunt them with Bay’s “ghost” when publishing them after my PhD, which Bay helped write).
  • “Into the Void: Losing the Training Wheels” (included in Volume Two and Three): A small document provided after my manifesto, one meant to explain how Volume Two and Three can only reference theory (simple or complex) in smaller pieces; i.e., doing so to allow me to proceed through the material explored therein without being weighed down. In short, it expects the reader to partake in the synthesis being explored, but also reminds readers where they can find said theory in its totality.
  • “Heads-Up (a brief refresher)” (included in Volume One through Three): A small section provided with the manifesto onwards, giving a few largely concepts to bare in mind, throughout; i.e., largely by reiterating the synonymous-yet-holistic nature to much of Sex Positivity‘s terminology (e.g., sex positivity vs sex coercion = canon vs iconoclasm = bourgeoisie vs the proletariat, etc), hence conversational approach to said terminology’s history and application.
  • “Concerning Monsters” (included with Volume Two): A short preface to Volume Two’s modules, emphasizing the praxial and poetic value of monsters; i.e., as things to reclaim during ludo-Gothic BDSM.
  • “We Are Legion: So Many Monsters, So Little Time” (included with Volume Two): A follow-up to “Concerning Monsters,” lamenting my inability to discuss all of the monsters I want to, yet likewise stressing my desire to be as broad and specific as needed across the entire Gothic spectrum.

Two Essential Halves: Dividing Volume Two in Two

We speak of Time and Mind, which do not easily yield to categories. We separate past and future and find that Time is an amalgam of both. We separate good and evil and find that Mind is an amalgam of both. To understand, we must grasp the whole.

—Isaac Asimov, foreword to Light Years (1988)

The size of Volume Two has required that I divide it in two, if only because doing so has made it easier to work with and transport. It’s still very much a single volume, but one composed of two essential halves: the usage and history of Gothic poetics. Part one provides the Volume Introduction and Poetry Module, the latter of which discusses the poetic usage of monsters versus their historical evolution; and part two supplies the Volume Conclusion preceded by twin monster modules, the Undead and Demon Modules, which invert the focus from poetry to history—i.e., focusing on the historical usage of undead, demonic and animalistic monsters. Each half will contain the usual paratextual documents (with images swapped out for each), but their unique content works in harmony and must be combined to grasp the whole of oppositional praxis, mid-poiesis. Technically this is a six-book series, but I still prefer to consider it four volumes where Volume Two has been divided in three (parts one and two, part two having two sub-volumes).  But, just as the Gothic concerns manmade (Cartesian) divisions that alienate us from nature and ourselves—i.e., as black-and-white beings to battle against one another in service of elite aims; e.g., Ripley the centrist warrior-maiden defending her virtue from the Communist, intersex Medusa—we must consider how liberation occurs by subverting these dichotomies to upend worker abuse within state territories being reclaimed by us. Doubled during oppositional praxis, Ripley and the alien become things to canonize or camp. To camp canon, you will need both volume halves: the medieval (Gothic) poetry of monsters and the revived (Neo-Gothic) history of its use. Just as Ripley and the alien aren’t separate from each other, but form two essential halves torn asunder and going to combat with multiple versions of themselves, the spectres of Marx and capital haunt the same cathedral and its inhabitants across space and time; they cannot exist without each other in some shape or form. As Galatea, we can free them from Pygmalion’s mind, making each our own.

(artist: BTG Art)

Note, 8/6/2024: Due to length issues, I’ve decided to divide Volume Two, part two in two, effectively treating each module—the Poetry Module (from part one), and the Undead and Demon Modules—as 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): “Brace for Impact,” “Searching for Secrets,” and “Deal with the Devil.” For organizational purposes, all sub-volumes are considered part of the same volume; each module will actually have a longer page length than Volumes One and Zero, and each will feature a unique front and back cover with Harmony on it; e.g., the Poetry Module:

(artist: Harmony Corrupted)

Written Backwards: A Ship of Theseus, a Gothic Castle

[…the infernal concentric pattern has] in Gothic one and the same function: to destabilize assumptions as to the physical, ontological or moral order of the cosmos [… It is like a Mandelbrot set:] finite, and yet from within we cannot reach its end; it is a labyrinth that delves ‘down’ instead of pushing outwards (source).

Manuel Aguirre, “Geometries of Terror” (2008)

(artist: TMFD)

In light of releasing Volume One, changes to the original manuscript have led me to address a fundamental aspect of my book’s (re)construction: Sex Positivity was written backwards. For a fuller detailing of exactly how, refer to the foreword from Volume Zero, but otherwise just know that I wrote Volume Three first, followed by Volume One, Two, and then Zero. Except the writing of Volume Zero led me to reconsider Volume One as something to rewrite, simplifying my thesis in ways that I couldn’t do until there was something to simplify (that was, itself, based on a previous argument: the original manifesto). This required me expanding on Volume One to account for these changes, but also rewording older portions of it to account for synonymous terminology that, in my mind, better conveyed the manifesto’s original points; i.e., swapping out old “boards” for new ones; the new timber represents the same fundamental arguments, except it has been fine-tuned—honed for further precision and specificity than when I had initially started out. In short, my humble vessel towards the end of its journey will have had most, if not all, of its original parts replaced, while more or less resembling what it once was; i.e., a Ship of Theseus, or better yet, a “flying” Gothic castle with fresh bricks. Unlike a traditional Gothic castle, my chateau’s renovations aren’t meant to primarily confuse and overwhelm, but reconsider my own work from new perspectives in a holistic manner through the same chambers, vistas and corridors, but also bodies.

A huge part of this reorientation owes itself to my partner, Bay. His contributions led me to reconsider my own arguments—not to completely change them, but view them from different angles and vantage points. I became inspired to expand on my manifesto and crystalize it into a pure thesis, from top to bottom over and over until I felt satisfied …except this led me to revisit my manifesto, Humanities primer and praxis volume, leading to our aforementioned Ship of Theseus/Gothic castle! That’s holism for you; or, as my thesis puts it, “Returning and reflecting upon old points after assembling them is a powerful way to understand larger structures and patterns (especially if they’re designed to conceal themselves through subterfuge, valor and force). It’s what holistic study (the foundation of this book) is all about.” Alongside my other contributors, then, Bay’s presence is felt throughout the entire book, haunting it from within. Having grown and developed inside my original construction, I reflected on Bay’s haunting having joined me inside. Piece by piece, said structure changed until all the bricks were new (and stamped with Bay’s friendly influence alongside my original mark).

The same idea, then, pertains to bodies as expressed between people, with you viewing a shot of a given individual under circumstances that, while similar to before, are by no means identical. Two bodies can assume the same pose and look vastly different; the same body can adopt a previous pose and yield up exciting new discoveries. Combined with my subtle retooling (and adventuresome expansions) of Volumes One, Two and Three through a sharpened thesis and manifesto, I think the benefits of applied hindsight should speak for themselves (for a point of comparison, though, compare the manifesto to the original, unmodified blogpost). Of course, you needn’t recognize this hindsight to appreciate my work, but it does illustrate the subtleties of change amid consistent arguments that survive over time. For Communism to develop into itself, it will have to survive older changes that shift into future forms hitherto unimagined. To that, I am merely at the starting point of something grand, of which has already changed and evolved into something that, at its inception, I could scarce hope to imagine: a mighty cathedral, represented by our bodies, labor and relationships, abstracted into architectural forms and back into bodies again, but also theatrical exchanges held somewhere in between. Instead of spelling our doom, its “trauma” offers up the knowledge needed to set us free.

(artist: Doxxasix)

Into the Void: Losing the Training Wheels

“The future, once so clear to me, had now become like a dark highway at night. We were in uncharted territory now, making up history as we went along.”

Sarah Connor, T2: Judgement Day (1991)

As we described in the conclusion to Volume Zero (“A Gay New World”), the book so far has been a series of “booster rockets”—slowly igniting their fuel to propel you into the increasingly unknown Elsewhere of a homeland-turned-foreign:

Beyond the thesis argument and its symposium, Sex Positivity takes its time—gradually launching into its complex (ergodic) arguments through concentric, staged roadmaps. Imagine a rocket launch into space: This requires multiple stages and “boosters,” meaning there’s always time to abort the launch if things get hairy (source).

Except now the rockets have launched and we’re hurling into deep space!

To that, I now want to take the training wheels off (for me as well as you) and explore the remaining volumes minus a tether while in free fall; i.e., not covering all my bases by including total theory (simple or complex) and instead looking at examples of Gothic poetics (old or current) with a checklist to keep in mind. Otherwise, if I try to include all theory each and every time, the volumes will start to feel the same, which I don’t want; but also, I want you to grow accustomed to being modular within a holistic approach that allows for intersectional solidarity while still being focused, practical and efficient, but also honest and reflective on our praxial realities.

Volume Two will examine monsters in a historical sense, and Volume Three will consider praxis in a current framework that accounts for dialectical-material struggles and scrutiny during oppositional praxis. As we move through both, I’ll be covering the modules of monster classes and subclasses, and the creative successes of proletarian praxis vs state praxis. I will mention theory conversationally but also in pieces and modules that draw upon select terms. I will try to stress the ones that feel most relevant, and include additional footnotes and citations whose ideas you can trace back to my older theory-heavy volumes if you wish. But provided you have a good grasp of theory already, that shouldn’t be necessary.

Instead, I want you to use Volumes Two and Three to try and focus on cultivating emotional/Gothic intelligence and class/cultural awareness during the struggle to liberate workers under Capitalism through iconoclastic art; i.e., by focusing on confronting and interrogating state/Cartesian trauma with Gothic poetics to end Capitalist Realism with. Capitalism alienates and sexualizes everything to serve the profit motive; we must reclaim these devices through the Six Rs, thus reclaim and recultivate our socio-material conditions (camping the twin trees of Capitalism) to reunite with nature and our own alienated, fetishized bodies, labor and power as things to play and perform with. But you must go where power is, thus paradox: through chaos, darkness visible, Satanic rebellion, Athena’s Aegis, etc, as a ludo-Gothic, BDSM means of reversing the historical-material process of abjection (and unironic variants of the Shadow of Pygmalion, Cycle of Kings, infernal concentric pattern, narrative of the crypt, hyperreality and astronoetics, etc) through parallel societies (chronotopes), emancipatory hauntologies and revolutionary cryptonymies.

Of course, these occupy the same shadow zone as unironic forms, so being conscious and aware is vital to dodging and upending those who would harm you and enslave the future; i.e. with an imaginary past whose Wisdom of the Ancients serves the same-old settler-colonial system of medieval abuse—its cycles of crisis and decay amounting to endless blood sacrifices that move money through nature, workers, sex and monsters, etc, as cheap, disposable; i.e., a heteronormative commodifying of worker struggles that we must change inside of itself. To liberate ourselves, we must take said struggle—and its violent, terrifyingly hellish language—back from state monopolies/trifectas, making our own pedagogy of the oppressed.

Provided you have a roadmap and some sense of competency and direction when synthesizing praxis to achieve systemic catharsis, the darkness isn’t something to fear inside liminal space and its limitless ergodic motion. Instead, the change of rebellion happens through conflicting thresholds and on the surface of shared images; it becomes, like the stars, something to shoot for while rescuing Hell and its performative darkness from bourgeois forces. This must become second-nature and intuitive, hence without a harness (and rigid game plan) anchoring you down.

To that, the boosters so far have not only given you the energy needed to rush into the raw chaos of unknown spheres; they’ve supplied you with the know-how to both survive and foster sex positivity in dangerous places, making them habitable/pleasurable in ways yet unimagined while striving for transparency in the face of tremendous opposition. The vast, yawning abyss needn’t be terrifying if you know more or less how to proceed: without set shape but instead, like a constellation, connecting the dot-like stars, lighting up the sky.

Heads-Up (a brief refresher)

“Maybe you haven’t been keeping up on current events but we just got our asses kicked, pal!”

—Hudson, Aliens (1986)

This seven-page heads-up grants several important reminders as we segue into the current volume: to give a small, two-paragraph history of the remaining three volumes after the thesis volume; a refresher on poetics and mimesis (essentially a tiny excerpt from the thesis volume’s symposium); and a small selection of things to keep in mind from the thesis volume overall—namely how this book synonymizes and synergizes its terms and arguments; i.e., reading comprehension pointers.

Reminder one, our volume histories: This volume was initially written before my thesis volume, which now serves as the formalized argumentation on which these more conversational volumes presently stand: Volume Zero (which I wrote in roughly a month [from August 31st to October 8th, 2023] based on years of independent research; older blogposts, essays, and my master’s thesis; and the three previous volumes’ rough drafts). If you haven’t read my thesis argument already or found its more academic approach too dense (it’s essentially the independent-research equivalent to my PhD), you should find these volumes more conversational and poetically engaging; i.e., they literally apply my PhD’s theories to Gothic poetics’ application and history of application unto ludo-Gothic BDSM and different topical areas of research; e.g., Amazons, Metroidvania, zombie apocalypses, etc, but also the tokenization of those things (especially in Volume Two, part two, and Volume Three).

The manifesto/Volume One was written as a looser document that introduces our Gothic-Marxist tenets, manifesto tree coordinates (the scaffold for oppositional praxis) and main Gothic theories that, for the most part, have been on my old blog since mid-2023; but its instruction portion has been expanded on to better account for and help articulate praxial synthesis and catharsis through the cultivation of good social-sexual habits (during oppositional synthesis) that we can develop to better confront and process systemic trauma with.

The second volume, the Humanities primer/Volume Two, is largely about undead/demonic and animalistic monsters and is currently being released in pieces (sub-volumes, per module, and in on-site, per-post promo series; re: “Brace for Impact,” “Searching for Secrets,” and “Deal with the Devil.”). Considering how the application and history of Gothic poetics is nigh-endless, I’ve spent a lot of time expanding on Volume Two, dividing it into three modules with separate releases, each containing a plethora of close-reads, symposiums and mini-thesis arguments; e.g., expanding extensively on my Metroidvania research and ludo-Gothic BDSM scholarship.

Our final volume—Volume Three, which covers the executing of proletarian praxis in opposition to state forms—was the first volume I actually wrote, and has expanded since initially writing my manifesto and Humanities primer; i.e., it was on my blog until around April 2023, when I separated it from the manifesto along with the primer (then wrote my thesis argument). Until I started expanding Volume Two, Volume Three was the book’s longest volume, and is still intended to be the most conversational and applicable in our day-to-day lives.

Newer volumes cite older volumes; e.g., Volumes One, Two and Three all borrow quotations from the thesis volume, and Volume Two, part one will cite Volumes One and Zero, and Volume Two, part two will cite part one, as well as Volumes One and Zero, etc. They also introduce new material in relation to the cited works, but generally will not introduce new foundational ideas that were not previously introduced in the thesis volume; they merely unpack said ideas and explore them further (especially during close-reads, in Volume Two, part two).

(artist: Jean-Baptiste Regnault)

Reminder two, poetics and mimesis (quoted from my thesis symposium): To be clear, as I am a ludologist, Gothicist, anarcho-Communist, and genderqueer trans woman, poiesis wasn’t simply a structure for my pedagogic narrative, like Mikhail Nabokov thought of Jane Austen’s novel, Mansfield Park (1814), in Lectures on Literature (1980):

all talk of marriage is artistically interlinked with the game of cards they are playing, Speculation, and Miss Crawford, as she bids, speculates whether or not she should marry […] This re-echoing of the game by her thoughts recalls the same interplay between fiction and reality […] Card games form a very pretty pattern in the novel.

Nor was it echopraxis (“the involuntary mirroring of an observed action”) according to the kind of “blind” pastiche[2] that plagues canonical thought and proponents of capital; i.e., an empty kind of “just playing” sans parody that stems from what Joyce Gloggin in “Play and Games in Fiction and Theory” (2020) calls “a ‘traditional’ understanding of mimesis” (which we repeatedly alluded to earlier when we mentioned Plato’s cave/shadow play during the thesis argument):

Mimesis or imitation therefore, as one form of play, is an essential element of poiesis, or the “making” of art, which in turn is instrumental in creating what some now refer to as possible or imaginary worlds, that is, fiction.

This traditional understanding of mimesis as an essential element of poiesis places mimetic play at a more distant remove from reality than even the shadows in Plato’s famous allegory of the cave from book VII of The Republic. Related in the form of a dialogue between Socrates and Glaucon, book VII allegorizes the human perception of reality, likening our reality to shadows projected on a cave wall. These shadows are perceived by human subjects, shackled around the ankles and neck and unable to turn their heads to see the puppeteers who cast shadows on the cave wall before them, which they mistake for reality. In other words, what mortals see and know is merely shadow, and this is what mimesis mimics — not reality.

Importantly, this version of mimesis and reality has long informed the marginalization or trivialization of mimetic arts as “mere play,” “just games,” or insignificant ludic imitations of reality. Likewise, the marginalization of play and its rejection as a serious object of study are motivated by the suspicion that play and ludic cultural forms are treacherous and capable of rendering us the dupe (source).

My own mimesis challenged these traditions. As I consumed and learned from older artists/thinkers (and their odes and homages), my own Galatean creations started to change, as did my way of thinking about the process of making them; my countless allusions and allegory became a far less traditional and far more subversively and transgressively playful mode of engagement with others—not just my family in the world of the living but also those long gone, echoing their arguments from beyond the grave: cryptomimesis, or the playing with the dead through perceptive pastiche and reclaimed monstrous language that is then used in place of the original context; e.g., queer people calling everything “gay” (space Communism) or black people using the n-word for everything versus white people wanting to do the same thing in an ignorant or hateful context.

The same basic idea applies to monstrous language and materials as things to reclaim from their original carceral/persecutory monomythic functions (which we will thoroughly examine in Volume Two) or from covert/dishonest regression towards this old medieval sense of compelled BDSM and lack of consent/trust; e.g., witches as traditional scapegoats (exhibit 83a*) versus regressive “cop-like” variants (exhibit 98a3) that iconoclasts subvert through various sex-positive BDSM rituals, ironic peril and Gothic counterculture (exhibit 98a1a); i.e., as a general practice that turns the death fetish or state officer/thug into something other than a fascist-in-disguise through transformative context (e.g., subversions of Shelly Bombshell or Zarya, exhibits 100c2b and 111b). This Gothic-Communist paradigm shift reclaims the unironic imagery at all levels of itself—of actual, non-consenting and uninformed enslavement, torture and rape through their associate handcuffs, leather uniforms, whips or collars; but also insignias and color codes: green and purple as the colors of envy and stigma (exhibits 41b, 94a3; re: “A Lesson in Humility“) but also black-and-red as pre-fascist (the Roman master/slave dynamic), anti-Catholic dogma (exhibit 11b5; re: “Challenging the State“) eventually applied to 20th century fascists and Communists during and after WW2 in videogames (exhibit 41i/j; re: “The World Is a Vampire“) and other neoliberal propaganda (Vecna’s D&D Red Scare schtick: exhibit 39a2a; re: “Escaping Jadis; or, Running up that Hill“). All exist together in the Internet Age along with their assigned roles—as subverted in liminal, transgressive, formerly exploitative ways (exhibits 9b2, 101c2; re: “Prey as Liberators“) that often yield a campy (exhibit 10a; re: “Prey as Liberators“) or schlocky flavor married to whatever unironic forms they’re lampooning (exhibit 47b2; re: “Non-Magical Detectives“). This exists in duality and opposition as a rhetorical device—a conversation, but also an argument.

*Note: Anything past exhibit 60e2 is in Volume Three, whose book promotion “All the World” is currently releasing. —Perse, 4/17/2025

For example, you’ve probably noticed said duality in how I alternate between labels or play around or within them when it suits me (which is often). The reason is to accommodate their natural-material functions. Language is fluid in its natural, uncoerced state; there is no “natural order” of the state’s design, no “transcendental signified” that “just happens” to favor the profit motive. That is installed and enforced through a particular belief system and portioning of codified space and behaviors useful to the elite. Instead things flow in and out of each other quite organically.

Reminder three, how this book synonymizes and synergizes its terms and arguments: Regarding the above organic relationship, I’ve made a little heads-up guide. It includes a few useful reading-comprehension pointers when exploring my work, which has been included in Volumes One, Two and Three from Volume Zero (indented for clarity):

We’ll be code-switching a lot throughout this volume when talking about some very chaotic things. So try to remember that function determines function, not aesthetics. Also remember your parent dichotomies—bourgeois/canon/sex-coercive vs proletariat/iconoclasm/sex-positive—as well as your various synonyms/antonyms, orbiting factors and related terminologies that follow in and out of each other during oppositional praxis; i.e., the productive idea of power as paradox and performance, wherein said performance’s games, rules and play remain incredibly potent ways of interrogating and negotiating power yourselves; i.e., through liminal expression’s doubles thereof, existing inside the Gothic mode’s shadow zone: (sequenced here in no particular order):

the essentialized connecting of biology (sex organs and skin color) to gender and both of these things to the mythic structure as heteronormative/dimorphic, thus alienizing (to weird canonical nerds and everyone else) in service of the state/profit motive > a lack of dialectical-material analysis > willful ignorance/”rose-tinted glasses” to achieve class dormancy through blind “darkness visible” > Capitalism’s monomyth/good war > Beowulf, Rambo > the infernal concentric pattern/Cycle of Kings and Shadow of Pygmalion > carceral hauntology/dystopia (myopic chronotopes/Capitalist Realism) > good cop, bad cop or cops and victims > assimilation > class traitor/weird canonical nerd > Man Box/rape culture > state espionage and surveillance/complicit cryptonomy > babyface/heel kayfabe > war hauntology > subjugated Amazon/mythical copaganda (female Beowulf, Rambo) > TERF > unironic ghosts of the counterfeit and the process of abjection’s symbols of harm > profit, rinse and repeat

versus

the separation of gender and sexuality from each other and both of these things from the heteronormative mythic structure; i.e., Gothic Communism’s monomorphic subversion of all of the things listed above through class war as enacted by our own weird iconoclastic nerds > spectres of Marx > deliberately active, class-conscious/campy “darkness visible” and dialectical-material scrutiny > shadow of Galatea > pro-labor espionage, revolutionary cryptonomy, emancipatory hauntology/parallel societies and chronotopes > reverse abjection > the pedagogy of the oppressed > reclaimed symbols of harm > post-scarcity

As a point of principle, I’ve left out some stuff and these lists in the heads-up are asymmetrical; also, I’m not going to try and include or string everything into a grand necklace/dichotomy that I then trot out each and every time a given topic comes up; i.e., the oppositional praxis of canon vs iconoclasm (as explored during the body of the thesis volume). Instead, I’m using them from a position of internalized intuition that I expect readers to learn, including relating them to parallel parent dichotomies like sex-positive vs sex-coercive, canon vs iconoclasm, bourgeois vs proletarian, as well as their orbiting factors—e.g., iconoclasm emphasizing mutual consent, informed consumption, de facto education, descriptive sexuality and cultural appreciation as things to materially imagine (often through ironic parody and “perceptive” pastiche) in subversive/transgressive Gothic poetics that challenge their canonical doubles during oppositional praxis.

If you can’t parse all of this intuitively then I suggest you familiarize yourself with the thesis proper and “camp map” from the thesis volume (which is available on my website; click here to access my website’s 1-page promo, which contains all relevant download links/information regarding my book) [source: “Symposium: Aftercare”].

The above heads-up guide should be useful, I think, as the organic nature of existence and human society and language is aptly symbolized and demonstrated by chaos. It also, in Gothic circles, elides the organic and inorganic in ways that confound the Cartesian Revolution’s chief aim: divide and conquer, map and plunder the land and its inhabits, all while quaking at the witch as an object of revenge (in both directions) or the pumpkin rotting after the harvest as intimations of Capitalism’s own superstitious mortality. The occupying army is both weak and strong.

(artistKarl Kopinski)

Concerning Monsters

“Science is real! Monsters are not!”

—the Principal, The Monster Squad (1987)

(artist: Paul Mann)

As the title might suggest, Volume Two is entirely about monsters. Specifically it concerns the modularity of monsters during oppositional praxis as a historical-material concern that evolved into present-day forms under Capitalist Realism: the state vs workers by monopolizing monsters to exploit workers with (and, per my thesis statement, sexualizing everything to serve the profit motive behind state myopias). This historical-material arrangement is profoundly ubiquitous, requiring workers to reclaim monsters (undead, demons and totems) away from the usual state monopolies of violence, terror and hellish morphological expression; i.e., during our own pedagogy of the oppressed—our anger and gossip, monsters and camp—having evolved into itself: a dialectical-material process whose oscillating interrogations (and myriad interpretations) of trauma took centuries while monsters were already evolving into state implements and canonical, singular interpretations thereof. Iconoclastic monsters, then, become flexible and productive critical lenses that raise emotional/Gothic intelligence and class/cultural awareness as something to “turn into”; or, as Volume One argues:

Contrary to Pygmalions and canonical weird-nerd culture, monsters aren’t just commodities; they’re symbolic embodiments of speculative thinking tied to larger issues. You don’t simply buy and consume them (commodifying struggle) but use them as a means, if not to put yourself directly in the shoes of those being oppressed, then to think about things differently than you might normally. It’s an opportunity to empathize with the oppressed and contribute to their pedagogy in ways that, to be frank, make you less stupid, nasty and cruel (source: “Challenging the State”).

Monsters are often seen as “not real” or “impossible,” relegated to the lands of make-believe and pure fantasy. Except this isn’t true. In Gothic Communism, they constitute a powerful, diverse, and modular means of interrogating the world around us as full of dangerous Cartesian illusions meant to control workers by locking Capitalism (and its genocidal ordering of nature and human language) firmly in place. Good monsters become impossible, as do the possible futures they arguably represent.

Instead of saying “in a perfect world,” then, we should say “a possible world”; i.e., in a better possible world, nudity (and other modes of GNC sexual and gender expression) can be exposed and enjoyed post-scarcity and not be seen and treated as inhumanely monstrous (a threat; e.g., bare bodies being a threat to the pimp’s profit margins). Rather, the monstrous language remains as a voice for the oppressed to flourish with; i.e., a de facto (extracurricular) means of good education, deliberately raising awareness and intelligence among intersectional, solidarized workers in the face of state tyranny. As I write in “Bushnell’s Requiem: An Ode to a Martyr” (2024):

terror is a weapon. So is counterterror. The elite mandate and control these voices through violence, which they will use to silence those who speak out; i.e., with the thunder and prolificity of arms. Except you can’t kill monsters, merely adopt them to causes that suit your aims. Like Medusa and her immortal, severed head, Bushnell’s doom isn’t something the elite can ever hope to control because it reverses the [anisotropic] function of terror and counterterror normally envisioned and entertained by Western dogma; i.e., vis-à-vis Weber’s monopoly of violence and Joseph Crawford’s invention of terrorism, but also Asprey’s paradox of terror as a proletarian weapon in a postcolonial age informed by past struggles surviving under modern empires (source).

Monsters cannot be destroyed, then, only repurposed towards different anisotropic[3] aims that guide the flow of power in a given direction, mid-polarity. For the state, a particular arrangement will always come back, and proletarian forms—the spectres of Marx—are equally die-hard. We must replace the former with the latter, camping canon through monsters that channel the status quo as a flow of information, materials, power and education, etc.

Open monstrous sexuality, then, isn’t the end of the world as Capitalist Realism would treat it as (a world where such things are impossible save as shackled commodities that uphold the status quo), but the start to what the elite want us to think is “perfect,” thus “impossible”: humanizing the harvest of fruit-like bodies laid low by Capitalism’s habitual reaping.

(artist: EXGA)

Another point I wish to make before we jump into the primer is the value of monsters, of Gothic poetics during oppositional praxis/synthesis. When limited to singular, essential interpretations, we become inflexible and rigid, but also alienated from what else exists that we could become. Instead of one essential option that never changes, then, we open ourselves up to the realm of infinite possibility with endless potential and options to choose from, insofar as humanizing ourselves through Gothic poetics is concerned (this is my longest volume for a reason; the modules are easy enough to organize, but the number of monsters, like the human imagination, is without limit). It should be enjoyed and appreciated as such, not shunned and punished. Indeed, it is our greatest strength[4]—to transform and resist canonical subjugation by liberating ourselves (and our judgement as trustworthy) with iconoclastic art; i.e., by subverting the means of domination through our own prolific, variable confrontations with and interrogations of psychosexual trauma, a pedagogy of the oppressed: to teach the world to be better by disobeying state mandates, taking control of our own bodies and their potent ability to express our concerns to the world while developing Gothic Communism. Rape is everywhere; so are the monsters we need to free ourselves with—from constraints, from shame, from oppression.

(artist: Harmony Corrupted)

We Are Legion: So Many Monsters, So Little Time

I’ll wipe away all trivial, fond records,
All saws of books, all forms, all pressures past,

That youth and observation copied there,
And thy commandment all alone shall live
Within the book and volume of my brain (source).

—Hamlet, Hamlet (c. 1599)

I love monsters and sex (who doesn’t?). I also think they’re the ticket to solving the thing that ails us (Capitalism). Except, while time is of the essence and I want to list all the monsters that I can, we simply won’t be able cover them all. There’s just too many to even remotely consider that. However, I will try to cover as many as possible in liberation of sex workers. In fact, I was trying to, and wanted to limit it to modules, but through my typical backward and holistic approach eventually thought of different ways that monsters can be applied. So already large, the volume ballooned; I wanted to quickly put that into perspective.

(artist: SGT Madness)

I’ve spent my life consuming monsters and later studying them (“benefits of a classical education”), so we’ll definitely cover the classics from different centuries the way I was taught at MMU—in modules. We’ll also go over the Humanities; i.e., as a means of critical thought that predates Capitalism but survives inside it through monstrous signifiers: indicative of schools of thought that, not just promoting a delivery style (the Schools of Terror and Horror from Radcliffe and Lewis), but also more recent critical theories (the Four Gs) with which to look through monsters as critical lenses.

In other words, if monsters are the lenses, then the theories are points of view with which to apply them. Except we’ll also involve non-academic ways to look at, and identify with, monsters; i.e., monsters as emblematic of sex worker identities from different time periods, commercialized by capital mid-crisis through the ghost of the counterfeit and process of abjection (for us, this mainly concerns the monstrous-feminine, but that manifests in a billion different ways—next page…).

So yeah, there’s a lot of ground to cover—a fact not aided by the book’s holistic nature. I could, if I chose, write an entire book about just Frankenstein (1818) or Alien (1979), or just zombies, demons, or anthromorphs; but diversity is strength amid intersectional solidarity so I want to include a lot of different hermeneutics (study approaches) and schools of criticism, to boot! It’s enough to make a girl weep… but I love it! Being a weird nerd obsessed with death rituals designed to relieve stress, fuck hard, and further class war through cultural Gothic signifiers is just my game:

(artist: SGT Madness)

Normally this is manageable, as theory is knowledge to apply in the real world and knowledge is limited. The problem is, the Gothic applies knowledge through imagination, which knows no boundaries a priori, but is further enlarged by Capitalism’s measureless cruelty and Humanity’s sexual desires (which are also endless) as enslaved by capital or at least under it; i.e., the ghost of the counterfeit and the process of abjection tailoring the Gothic towards the British and American middle class; e.g., during hijacked village-life rituals that scapegoat a particular group as the beautiful sacrifice or fetishized object of death: Halloween and witches, commodified by capital to give anxious Americans (and their allies) a means of quick, cheap, replicable release during times of state crisis, decay and moral panic. This extends to and comments on symbols of superstition during witch hunts as speaking to larger aspects of settler-colonial genocide, of intersectional bias and axes of oppression… which of course means there’s a praxial double (canon vs camp). Think infinity then double it:

(exhibit 33b1a: Artist: SGT Madness. There exist endless ways to artistically present anything in the world. For us, that includes one monster from one time period in a particular style tied to a given holiday as combined together in a dialectical-material argument; i.e., Halloween and monster girls; e.g., in a monochromatic 1960s cartoon style with Ben Day dots. Nature is monstrous-feminine, insofar as Cartesian thought alienates and fetishizes both it and labor universally to serve profit through death fetishes adjacent to genocide as abroad, but felt during state crisis at home [fascism is Imperialism come home to empire] to a captive audience: death-sex comfort food in all the traditional ways. Except people can also respond to and during a given cycle in sex-positive or sex-coercive ways using porn-to-art as liminal expression, which again, are all gradients with infinite variation between them! Pastiche is remediated praxis; capitalists use monsters to drive money through a finite web of life; immortal monsters live and replicate endlessly in markets driven by inheritance anxiety and latent rebellion. And so on…)

From the Salem Witch Trials to Howard Zinn’s A People’s History of the United States, commodifying struggles is America 101. Except beyond Halloween and the ghost of the counterfeit/process of abjection, there’s also medieval expression defaulting to paradox, time being a circle (historical materialism) predicated on dialectical-material forces, and the various reading guides I’ve written and citations from my other volumes and written sources. Also, I just love monsters and could spend my whole life writing about Amazons and Metroidvania (the latter which encourage recursive ergodic motion through boundless Numinous feelings). It was basically if the Grinch’s dick grew three sizes that day and then kept at it with a nasty case of priapism.

(artist: SGT Madness)

Simply put, there’s a million uses to one monster and monsters you didn’t even know (or want to know) existed and kid-friendly versions and adults-only versions (if something exists, there is porn of it, or gender swaps of it, or canon or camp of it…) and palimpsests that stack on top of each other and castles (of castles of castles…). It really just goes on and on and I love it, but wanted to address here just why there’s so much going on with the one’s we have, and why I’ve probably left out your childhood favorite. Any bestiary is, like Hamlet’s commonplace book, a scrapbook to fill to the brim, but is forever incomplete; so was his, and still Hamlet was Shakespeare’s longest (and most quoted/popular) play. It became a madness that seemed to go on endlessly.

We likewise have our own madness, are pushing with our monasterial codex towards something great; i.e., a Communist Numinous we can touch on and brush against its massive vagueness and repetition (the Gothic caters to disintegration) through the monstrous power of suggestion. And yet, we’re also touching on something that can be expressed by any monster through any worker alive (or once alive) to speak to a better future conceived through a shared imagination, a cultural understanding of the imaginary past as endlessly updating itself through constants and variables, mistreatment and healing. I’ve tried to account for that by including as many monsters as possible. For it, this is my largest volume in the Sex Positivity series, and also my favorite. I really hope you enjoy!


About the Author

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). Any money Persephone earns through commissions or donations goes towards helping sex workers through the Sex Positivity project; i.e., by paying costs and funding shoots, therefore raising awareness. She takes payment on PayPal, Patreon, and CashApp, etc; all links are available on her Linktr.ee. Every bit helps!

Footnotes

[2] Pastiche is simply remediated praxis (the application of theory) during oppositional forms. This book covers many different kinds of pastiche types under the Gothic umbrella as canonical or iconoclastic: Gothic pastiche, of course, but also blind and perceptive forms of war pastiche, rape pastiche, poster pastiche, monster pastiche, disguise pastiche, Amazon pastiche, and nation pastiche, etc.

[3] From Volume One:

I’ve repeatedly said that function determines function. Another way to conceptualize this is flow determines function. That is, during oppositional praxis’ dialectical-material struggles, terror and counterterror become anisotropic; i.e., determined by direction of flow insofar as power is concerned. Settler colonialism, then, flows power towards the state to benefit the elite and harm workers; it weaponizes Gothic poetics to maintain the historical-material standard—to keep the elite “on top” by dehumanizing the colonized, alienating and delegitimizing their own violence, terror and monstrous bodily expression as criminal within Cartesian copaganda (source: ” A Deeper Look at Cartesian Trauma in Rape Culture”).

Humanizing monsters challenges the flow of power in service of workers, not the state.

[4] From my thesis volume:

State proponents are straw dogs (throwaway effigies)/sacrificial roosters, believing themselves immune to the elite’s gain while the owner slits the faithful worker’s throat sooner or later. Their “greatest strength” is actually what dooms them to an ignominious death: complete alienation driven by a dimorphic connecting of everything to biological sex, skin color and their canonical-monstrous connotations in service of the profit motive but refusing to scrutinize things at a dialectical-material level (willful ignorance/”rose-tinted glasses”). Conversely our greatest strength as class-/culture-/race-conscious warriors is our “darkness visible” doubling theirs through the Wisdom of the Ancients as something to cultivate relative to the modern world; i.e., our deliberate, cultivated ability to critique capital and its agents/trifectas through dialectical-material scrutiny and iconoclastic, campy behaviors that synthesize the Superstructure to our purposes (rehumanizing ourselves by separating from the colonial binary in monomorphic fashion) all while suffering the fools of canonical tragedy and farce within canonical historical materialism. Our aim is to “make it gay” by reclaiming the Base through our Four Gs: abjection, hauntology, chronotopes and cryptonymy—but also our Six Rs, or Gothic-Marxist tenets of Gothic Communism during oppositional praxis as something to synthesize (source: “Pieces of the Camp Map”).

A 2025 Foreword: On Volume One’s New Edition Focusing on Ludo-Gothic BDSM (and Cuwu)

This blog post is part of “Make It Real,” a fifth promotion originally inspired by the three I did in 2024 with Harmony Corrupted and Romantic Rose: “Brace for Impact,” “Searching for Secrets” and “Deal with the Devil.” 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). “Make It Real” shall do the same, but with Volume One/the manifesto (versus “The Total Codex” promoting Volume Zero/the thesis volume). 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 “Make It Real’s” Table of Contents and Full Disclaimer.

Volume One is already written/was released on Valentine’s 2024! 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)!

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 model(s). For more details about artist permissions, refer to the book disclaimer (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.

Picking up where “A Problem of Knife Dicks (and Conclusion)” left off…

Written to mark the completion of “The Total Codex” promotion and release of Volume Zero’s 2025 re-release: with a second edition, this new foreword detailing my thought process editing version 2.0—i.e., tying ludo-Gothic BDSM to my entire book series starting with Volume Zero having coined the phrase—as well as listing many of the changes inside. —Perse

A 2025 Foreword: On Volume One’s New Edition Focusing on Ludo-Gothic BDSM (and Cuwu)

Note: The opening to this forward (the first four pages) concerns my thought process for ludo-Gothic BDSM; i.e., as inserting it into both Volume Zero and Volume One; the second half of the forward is tailor-made per volume to discuss changes unique to said volume exclusively. —Perse. 4/9/2025

Marx argued that Capitalism alienates everything (and sometimes invoked the language of monsters); I argue it sexualizes everything as alien through the language of monsters. Per Hogle’s ghost of the counterfeit, the elite use capital to further the abjection process; i.e., to further profit through the constant Gothic fakery as haunted by a ghost of the counterfeit to attack: spectres of genocide, thus cop/victim. From the original into Pax Americana, “Rome” is full of dead whores and their pimps. Pushed off onto state victims “of nature” by so-called “thinking beings,” the usual benefactors enjoy their status quo’s heteronormative, Cartesian, and settler-colonial paradigm while capital persecutes whores like vermin chattel in and out of fiction, on and offstage; i.e., in between it and non-fiction, during liminal expression. On its surfaces and inside its thresholds, Medusa is always a victim under capital.

(artist: Romantic Rose)

The Earth, then, is a peach for the elite to carve, beat, mark and claim until the end of time, but every Numinous forebear yields smaller offshoots; i.e., a Medusa “in small” who personifies the abuser of the larger suffered by the smaller (and vice versa); re: a castle in the flesh to enact, be it body-like castles the size of moons or castle-like bodies mooning to gain a similar hypnotic effect. The Gothic, through castles, speaks using body language anisotropically and in duality during liminal expression; i.e., to meet different goals, including profit: as a cold and calculating matter of exploiting labor simply for being “of nature,” hence existing as something monstrous-feminine to arbitrate, then pimp (which goes beyond “female,” alone, to include anything not a white cis-het Christian European man to modular and intersectional degrees).

The oldest form of labor is prostitution, making the oldest labor struggle that of the whore versus the pimp as a theatrical exercise (with white straight women selling out during the Neo-Gothic period, from Radcliffe onwards): power is performed on the Aegis, including its paradoxes! And yet, monsters aren’t automatically good or bad; their function—of whether they serve workers or the state—determines by the flow of power (and similar variables) towards or away from workers. This, in turn, results in a dichotomy during oppositional praxis: as a dialectical-material exchange, one where canon versus iconoclasm/camp (or sex positivity versus sex coercion) routinely sees monsters existing inside-outside a given venue. From performance to half-real performance, and per the Protestant ethic, a whore is a monster and all heroes are monsters; the whore’s paradox is to have revenge against profit, achieving universal liberation (no Omelas) while the state pimps them as virgin/whore using varying degrees of monstrous language (the whore being the monomyth hero’s classic foe; re: the Medusa, but also her spawn, female or otherwise).

(artist: Nyx)

In short—be it a witch, vampire, goblin, or some other kind of monster attached to imbricating and arbitrary persecution networks (re: blood libel, sodomy and witch hunts)—the state’s moral panics (and their pogroms) canonically move money through nature, glutting the elite at nature’s expense by whoring it out during the Capitalocene; re: “Antagonize nature as monstrous-feminine and put it cheaply to work through bad-faith revenge arguments (reactionary or moderate).”

In turn, workers living in the Imperial Core’s shadow garner strange appetites (re: “A Cruel Angel’s (Modular) Thesis“): weird attracts weird and trauma begets trauma in monomythic recursion; re: the Cycle of Kings and Shadow of Pygmalion pimping Galatea until she either pimps herself (on a spectrum of preferential mistreatment and tokenized betrayals chasing different normativities), or must suffer those who take state pay to do state work (the Judas silver and ensuing crucifixions); i.e., divide and conquer nature with nature. Traitors are stupid, but they also look and sound like us: alien, albeit as undercover cops recruited from the home country more often than not!

Deception is a powerful tool, as are fear and dogma making “Roman” fools fall on their swords; i.e., including token examples; e.g., black skin, white masks. This includes inmates acting as guards! As such, assimilation is historically poor stewardship, and pushing into post-scarcity with pre-capitalist language requires recultivating a second-nature, society-wide degree of emotional/Gothic intelligence and class, culture and race awareness (re: the Wisdom of the Ancients); i.e., to have the whore’s revenge against profit with ludo-Gothic BDSM through ancient forms of theatre (masks, shadows, and costumes, often of animals) revived in “ancient” doubles, thereby reversing abjection as a dialectical-material process with plastic social-sexual elements (re: the Base and the Superstructure)!

(artist: Pokkuti)

To it, these aforementioned appetites aren’t strictly a weakness, insofar as critiquing and shaping popular media (the vector for de facto [re]education) goes. Despite how trauma lives inside the body and all around us—and despite the Medusa canonically being a dark whore to punish by subjugating labor into state proponents during Amazonomachia till the cows come home (e.g., stories like Metroid, above, featuring the Amazon as the West’s oldest class traitor)—liberation and exploitation occupy the same space; i.e., a zone of darkness and play where canon can paradoxically be camped by subverting it through the self-same monster language: as not belonging to any one group. This is ludo-Gothic BDSM as I describe it (and the whore’s revenge; re: “Rape Reprise“), whose informed labor exchanges—from Frankenstein to Alien to Metroid to this book series and beyond—illustrate mutual consent by camping canon’s rapacious language to varying degrees; i.e., doing so consciously to develop Gothic (gay-anarcho) Communism with! When defenders of capital look upon us, they look upon the desert of their own Ozymandian grave waiting to swallow them whole! From labor to land back, that is our whore’s revenge; i.e., by reclaiming violence, terror and monsters where they are normally used to harm us, subverting them with ludo-Gothic BDSM “when in Rome” to make empire stateless, classless, moneyless and raceless!

(artist: Bernie Wrightson)

On the Aegis, then, said devices become something to take away from state monopolies trying to exclusively extort nature upon said Aegis and its concentric veneers. They cannot (at least not forever), which means we can take what the middle class (and other state actors) project off onto their victims during abjection; i.e., an alien, fetishized “other” status (the dark criminal scapegoat; re: the Medusa) giving us power because they fear us and our bodies’ labor (sexuality or otherwise). To that, this volume writes, “returning and reflecting upon old points after assembling them is a powerful way to understand larger structures and patterns (especially if they’re designed to conceal themselves through subterfuge, valor and force). It’s what holistic study (the foundation of this book) is all about.”

Such is development; it’s ergodic, meaning Gothic Communism takes constant careful work (“non-trivial effort,” according to Aarseth) amid confusion to succeed—i.e., by synthesizing catharsis with various creative successes warping scapegoats into useful bogey(wo)men: to cultivate good daily habits, mid-praxis, that liberate sex workers (thereby all workers) under Capitalism through iconoclastic art (re: Gothic poetics)! We master theatre to recultivate what the elite can never fully control: the language of mastery and darkness, itself!

In turn, the Gothic is historically obsessed with fatal returns and dark reflection—not once, even, but endlessly and through disintegration and torturous effort (the rapturous, psychosexual embodiment of power and confusion, mise-en-abyme, to navigate): “to interrogate power, you must go where it is.” That is what the new edition for this thesis volume is trying to accomplish! By following its arguments into my newer books—and beyond them, into real life connected to said books—workers can humanize what the state tries to harvest in perpetuity without consequence: exposing the elite’s inhumane treatment of us through their shameless proxies; e.g., us demasking TERFs versus them demasking us; i.e., by reversing abjection through the revolutionary cryptonymy process (and friendlier hauntologies and chronotopes) during an endless chain of such things; re: the narrative of the crypt and cryptomimesis as much being rebels in disguise—playing with monsters to anisotropically liberate themselves in duality—as it is cops acting in bad faith to punch down with against those they demonize. Cops stab us; we “stab” ourselves in ways that showcase our own liberation putting “rape” in quotes (all the better to punch up against cop with, topping from below): “That all you got, little man?”

(artist: Nyx)

“When the Man comes around, show him your Aegis!” I envision this reversal as a matter of developing Gothic (gay-anarcho) Communism; re: camping the canon through ludo-Gothic BDSM, which I introduce here alongside my extensive Metroidvania work but not limited to said work; re: it has its own body of work to consider alongside my usual playgrounds (which Metroidvania and Amazons/mommy dommes are).

As such, and in accordance with my 2025 rollout of a new promo series for Volume One (called “Make It Real“), I’ve gone over Volume One from top to bottom; i.e., to inject numerous mentions and addendums regarding not just ludo-Gothic BDSM (expanding from ~40 to nearly 200 mentions, similar to Volume Zero; re: “On Volume Zero’s New Edition“), but many other changes besides! Chief among these are mentioning Cuwu more and featuring them visually (re: “Returning to Volume One, Two Years Later“).

(artists: Cuwu and Persephone van der Waard)

Aside from Cuwu, Volume One doesn’t have as many larger addendums as Volume Zero did. In fact, apart from “Returning to Volume One,” it has no new sections (to try and keep its length down) but does increase the length of several pre-existing sections a fair bit:

Apart from those, however, I’ve also updated the series abstract and rear glossary. Besides those, various other changes have been made to Volume One’s entire manuscript—far too many to list here (totaling ~19,000 extra words and ~70 extra images), but often being mentioned and dated whenever and wherever they occur so you can observe them, nonetheless (re: every time I feature a new image of Cuwu and thank them for their contributions).

And for anything I cannot mention in this book volume, I cite inside it pointing to my later volumes, instead. Each one has its own promotion series

  • The Total Codex“: The book promotion for Volume Zero/my thesis volume, which contains my series’ thesis argument (re: “Capitalism sexualizes everything”) and introduces/unpacks its complex theory.
  • Make It Real“: The book promotion for Volume One/my manifesto, which takes Volume Zero’s complex theory and simplifies it; i.e., as something to synthesize and instruct among ourselves.
  • Brace for Impact“: The book promotion for Volume Two, part one, aka the Poetry Module, which concerns the poetic application of monsters (with some historical elements).
  • Searching for Secrets“: The book promotion for Volume Two, part two/the Monster Module’s Undead Module, which concerns the poetic history of undead monsters (with some applicative elements).
  • Deal with the Devil“: The book promotion for Volume Two, part two/the Monster Module’s Demon Module, which concerns the poetic history of demonic/natural monsters (with some applicative elements).
  • “All the World” (to be released): The book promotion for Volume Three, aka the Praxis Volume, which combines Volume Zero’s complex theory, Volume One’s simplified theory/synthetic model, and Volume Two’s monster history and application; i.e., as something foster our own creative successes of proletarian praxis with versus the state, which boils down to sex positivity (and liberation) versus sex coercion while developing Gothic Communism (with a huge focus on resisting tokenization; e.g., TERFs).

making citing them (and their individual book segments) a piece of cake! Online, they also exist on a separate Book Promotions page that includes: model interviews (re: “Hailing Hellions“) and all of the purple-and-green posters for my book series’ promo poster program! Here’s one example (from “Paid Labor’s” expansion):

(models and artist: Delilah GalloFeyn Volans, and Rae of Sunshine; and Persephone van der Waard)

That being said, the full-size PDFs will remain on my website’s one-page promo for Sex Positivity (which includes a wide variety of promotional elements I have heavily expanded on and branched off from, since October 2023); the PDFs don’t update nearly as often, but still remain a good way to possess the bulk of my published material in one spot (and which you can easily navigate with Adobe’s bookmark system).

All this being said, I hope you enjoy this new second edition of Volume One; being able to show off the work that Cuwu and I did, three years ago, was a lot of fun! ACAB! ASAB! Punch Nazis! White/token moderates are class/culture/race traitors!

Your Commie Mommy,

—Persephone van der Waard, 4/9/2025

Onto the Poetry Module’s promo series, “Brace for Impact“!


About the Author

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). Any money Persephone earns through commissions or donations goes towards helping sex workers through the Sex Positivity project; i.e., by paying costs and funding shoots, therefore raising awareness. She takes payment on PayPal, Patreon, and CashApp, etc; all links are available on her Linktr.ee. Every bit helps!

Book Sample: Challenging the State’s Manufactured Consent and Stupidity (with Vampires)

This blog post is part of “Make It Real,” a fifth promotion originally inspired by the three I did in 2024 with Harmony Corrupted and Romantic Rose: “Brace for Impact,” “Searching for Secrets” and “Deal with the Devil.” 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). “Make It Real” shall do the same, but with Volume One/the manifesto (versus “The Total Codex” promoting Volume Zero/the thesis volume). 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 “Make It Real’s” Table of Contents and Full Disclaimer.

Volume One is already written/was released on Valentine’s 2024! 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)!

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 model(s). For more details about artist permissions, refer to the book disclaimer (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.

An Uphill Battle, part three: Challenging the State’s Manufactured Consent and Stupidity (with Vampires; feat Cuwu)

“I’ve known sheep that could outwit you, I’ve worn dresses with higher IQs, but you, you think you’re an intellectual, don’t you, ape!”

“Apes don’t read philosophy!”

“Yes they do, Otto; they just don’t understand it!”

—Wanda and Otto, A Fish Called Wanda (1988)

Picking up where “Concerning Rings, BDSM and Vampires” left off…

Whereas Marx once said, “Private property makes people stupid,” my thesis argued, “Capitalism sexualizes (and alienates) everything.” In Marxists words, “Private property has made us so stupid and one-sided that an object is only ours when we have it – when it exists for us as capital, or when it is directly possessed, eaten, drunk, worn, inhabited, etc., – in short, when it is used by us” To that, sex and nature (animals, food, people) are things that you have in service to the profit motive in a Cartesian system; e.g., to have sex, to have a meal, sex-as-a-meal, etc, under settler-colonialism; i.e., under a belief system that instructs us-versus-them rhetoric, thus taking all of the above by force from a perceived alien by a perceived human and advertised constantly during military optimism to serve the profit motive.

As such, the nation-state under Capitalism monopolizes violence and terror by privatizing it, generally through Gothic poetics that make people stupid, alienating them from each other during canonical expression; during asymmetrical class and culture warfare, Gothic (gay-anarcho) Communism abolishes nation-states, including private property and the violent, chattelizing stupidity it causes (whose gradients of stupidity we’ll go over in this subchapter—including vampires, as we’ve slowly been hinting at). This abolishment includes dismantling marriage as a religious-secular institution, but also creatively expressing love in de-privatizing Gothic language. Communism is entirely extramarital/de-nuclear, but also inclusively exceptional. Forget “There can only be one”; under Communism, we’re all queens, best boys and best girls, enbies, etc. Gothic (gay-anarcho) Communism applies this idea to the language of monsters as it reflects in the natural-material world across space and time—through monster pastiche as an extension of systemic conflicts produced between workers for or against the state. In short, it’s like an uphill, guerilla battle for our brains, but also our bodies, hearts and pumping lifeblood touched by trauma in ways that, as we have explored, animalize us as prey for predatory state forces: the vampire is a seducer who hypnotizes their prey and feeds on them, but also assumes the forms of various animals, concealing the confusing reality that canonical vampires are divorced from nature, and indeed responsible for its enslavement and destruction (Otto, pictured above, is a misogynist pig who thinks too highly of himself, both a complete dumbass and curiously someone who hates animals: “You know what Nietzsche said about animals, Ken? That they were God’s second blunder!”).

The first two subchapters touched on animalistic poetics and castles, so I don’t want to focus on them too much, here. Instead, I want to use this subchapter to consider the kinds of stupidities that regularly emerge between workers “turned” by the state; i.e., which it has rendered unironically vampiric in some shape or form. What we’ve discussed so far will come up, though, so keep all of it in mind. Likewise, consider all of this as part of our dossier of practical theory that, itself, will prove invaluable when synthesizing praxis by confronting trauma ourselves. That confrontation starts among the people we live with, but also work and fight with, and here is where the confrontation of trauma as something to process through our interpersonal relationships will start to emerge and develop; i.e., leading out of the manifesto and into the instruction half of the volume.

Gothic Communism seeks not a return to tradition and older ways of life as they once were, neither those false or empty revolutions, nor older rebellions that came and went; it uses what we’re born with—our bodies and emotions, but also gut animal feelings, genders, dreams and sexualities, as well as our stories, imaginations and language as begot from these things as they presently exist—to inclusively transform the world beyond “Rome” (Capitalism) in various slave rebellions and boundary-setting exercises that demonstrate emotional/Gothic intelligence and class/cultural awareness as things to cultivate through proletarian praxis: to make our own castles, monsters, muses and media that speak to, from and of our lived experiences. This includes our trauma as attached to and informed by the material world extending from these things, effectively coming out of our brains, our bodies as being closer to nature in praxis that those without trauma; i.e., the Wisdom of the Ancients as a cultural understanding of the imaginary past as useful to our political cause, corrupting the twin trees of Capitalism—the Base and the Superstructure—into Communist forms that address our suffering and systemic abuse. Oppositional praxis reclaims one tree and recultivates the other to camp canon, making it gay through creativity as fundamental towards making people more (or less) emotionally and Gothically intelligent.

The Gothic castle and its monsters, then, work as a kind of school of sorts, one literally called the Schools of Terror and Horror in the Neo-Gothic period; it is something that workers can make or represent through themselves learning from past auteurs like Walpole and Lewis, but also Radcliffe and her offshoots. Every monster has an upbringing and haunt riddled with emotional turmoil, an unruly place to call home even when they are unwelcome there or otherwise posed as a challenge to the current inhabits (making up their own lies about ownership). It’s all an attempt to blend in, but also relying on people sitting across from you, who—for one reason or another—cannot read the room:

(artist: La Faux Creux)

To this, the Gothic (vis-à-vis Tolkien) is not generally used by straight white people as an actively critical device, especially when said persons are already pretty accustomed to the socio-material benefits of the Imperial Core. As Jadis shows us, those persons (usually cis-het men or women, though Jadis was a token genderfluid person) have famously found ample cause to attack or commodify the Gothic mode as originally made by homosexual men or gender-non-conforming women resisting older institutional decrees appearing inside their lands; i.e., with historical moderates either whitewashing the Gothic, capitalizing on it, or entirely excluding it in or in whole for something “better” (re: Coleridge, Radcliffe and Jameson). But even with the aforementioned iconoclasts that these sticks-in-the mind aimed to discount, there was certainly critical power among the room for improvement, and things to rescue from Radcliffe as an imperfect moderate herself (we’ve explored Radcliffe’s numerous imperfections plenty in Volume Zero, but will consider their revolutionary potential [such as it is] in Volume Two).

To be blunt, the state raises its own castles and molds its own monsters that pointedly make workers stupidly vampiric; while Communism wakes workers up, Gothic Communism does so with castles and monsters that actually challenge Capitalism even more than past versions did (and not all historically even did, remember). The basic process requires propaganda, but can be divided into canonical or iconoclastic forms during Gothic exchanges between warring groups. Either rely on poiesis to work; i.e., “to bring into being that which did not exist before”—to make art, specifically monsters or things regarded as monsters or where monsters live echoed through cryptomimesis. During Socialism, said monsters and castles will still exist (along with the technology and workers needed to express them); they just won’t be exploited by the bourgeoisie for profit because the bourgeoisie will cease to exist and private property will be abolished, then replaced by horizontal arrangements of power and reclaimed stigmas (and stigma animals)/torturous language that enable and maximize labor—not as a force for war, the Military Industrial Complex and copaganda’s manufactured consent, settler colonialism, etc—but as an enriching means of interrogating older expressions for all inhabitants of the Earth in peaceful, co-existing ways: to de-escalate and remove[1] war as something to produce and endorse in the material world, arts and STEM fields through sex and monstrous bodies/genders, castles, and so on.

This is a gradual procedure, meaning it requires patience, awareness and constant application to work; i.e., between groups of people, and generally by people who have to warm up to the idea of even taking part in iconoclastic deeds: not just sex work, but standing up for themselves during it as a source of pride, boosted confidence and courage. To that, Jadis was gutless and judgmental, but also harrowingly abusive. To have a sex-positive example, we’ll have to look to my friend Dulcinea/Dulci (whose alias refers to the barmaid from Don Quixote, 1605). As they demonstrate, finding one’s nerve not only took not just practice, but going outside their comfort zone to achieve the comfort levels needed to stand up for themselves and have fun among the things they love.

Alas, Dulci’s story does not have a happy ending. And their tragedy demonstrates that revolution is a constant, uphill battle threatened by abusive parties against those they will try to keep stupid through coercive measures; e.g., physical violence, but also mental attacks, like a vampire: DARVO, love-bombing and isolation, etc. Minus any identifying features, I’ve preserved Dulci’s material in this subchapter in order to learn from their mistakes and lived experiences. —Perse

(exhibit 11a: Artist: Cecilio Pla, of the “princess” Dulcinea from Don Quixote. My friend Dulci tried to come out of their shell doing cosplay and sex work. Over time, they grew more comfortable with going to conventions while dressing up [and meeting cool people like Steven Blum, the voice of Spike Spiegel from Cowboy Bebop, 1998] and using sex toys, but also doing sex work and being the femme fatale princess in cathartic, ironic, oft-slutty ways that reclaim their thicc body as a badass source of pride; e.g., Orchid from Killer Instinct [1995] and Princess Zelda. Sadly, Dulci’s exhibit has been removed, as they met someone who grew jealous of Dulci’s sex work and used that to isolate Dulci from their friends. In the end, my friendship with Dulci dissolved, and I have—per their wishes—removed all images of them from the book.)

As part of their development towards doing sex work as a job, Dulci came to visit and we negotiated our operative/actionable boundaries as I was also helping them start sex work on OnlyFans. This included sex—to fuck the way we both agreed to, no coercion. I won’t lie. It wasn’t the best sex on the planet—they didn’t like to cuddle or sleep in the same bed—but it was still nice to get my nut and still be able to help Dulci set up their own revenue stream. They wanted to do their own thing and that’s cool; so is the fact that certain offers are put on the table and taken off again as both sides hash things out over space and time (including the dissolving of our friendship). What’s important is that it’s conditional and mutually agreed upon—no ultimatums, in other words. Dulci agreed to let me have sex with them provided I

  • knew they were going to be fantasizing about someone else
  • called them a slut or a “ho”
  • pulled out and came on their body not inside them (even though I’ve had a vasectomy and they have an IUD)

This had to do with Dulci releasing stress and rebelling against their overbearing/overprotective mother. Said mother’s views on love are privatized, in the sense of Capitalism making workers stupid by conceiving ownership as an exploitative “usage-equals-ownership” model. When attached to its historical-material conditions stuck on repeat, heteronormativity creates uneven feelings/pulverized divisions of idiosyncratic stupidity and caution. These canonical attitudes towards private property apply to men and women under a punitive hierarchy that divides sexualized labor (and workers from nature) dimorphically inside a heteronormative, settler-colonial scheme; i.e., what Tolkien upheld, and which extends into more openly Gothic stories.

Because of this division, we’ll need at least two examples if we want to holistically interrogate the problem of idiosyncratic stupidity among domestic workers. However, I’ll use three (other than Jadis, whose stupidity we’ve covered enough for now but will reexamine far more in Volume Two); I’m going with that number because I am trans, thus don’t fit neatly into the binary but have met people who certainly do:

  • my ex-roomie, Beavis (not his real name)—a heteronormative, cis-het dude/Catholic masters student with conflicting social-sexual desires
  • myself and my own “Gothic” situation of stupidity and caution: falling in love with a model I drew before Jadis kicked me out and fucked afterwards: Cuwu
  • Dulci’s mom—a half-stupid, overly cautious woman worried about her “wayward” daughter

We’ll also need a monster type, for which I’ve chosen the vampire.

Let’s start with Beavis. His idiosyncratic stupidity manifested in the universal male fear under Capitalism: dying a virgin. Beavis loved animals but had zero idea how to talk to girls. He was also incredibly privileged, jealous and scheming when it came to women, but also searching for that “perfect” wife: the small, submissive woman who looked like his high school crush and would have his kids. While pretty damn telling and creepy all on its own, he was straight-up canceling second or third dates with girls who were DTF because they didn’t want to have “his” kids. Like, if it matters to you so much, just put it on your dating profile, dude; people aren’t telepathic!

Beavis never learned. He not only insisted he “was a nice guy” (code for “creep,” these days); he was also a secret gun nut who squirreled away fucking assault rifles and lied to Jadis and I about it! This put me in a weird spot because—while I thoroughly detest guns (my three brothers once pointed our paternal grandfather’s rifles at me without checking to see if they were loaded and then pulled the trigger like a damn firing line)—Jadis was working on their master’s thesis and I didn’t want to worry them; but then things eventually came out and, well, that was a mess! Pro-tip, kids: Don’t keep secrets if you can help it (to be fair, Jadis was abusive towards me, but we’ll explore that even more during the synthesis roadmap when we discuss most directly synthesis/oppositional-grouping stratagems like girl talk and healing from trauma)!

(artist: Mike Judge)

In the end, Beavis never scored (unless he finally found his maiden on his mom’s Catholic dating app). I tried for weeks to be a good wing girl for him—eventually deciding to protect women from him when I realized he needed to learn for everyone’s good. I got increasingly weird signals from him and tried to teach him to be better. Rather than listen, though, he just whined and moaned, blaming women but also lusting after the ones he “wanted”: the most prey-like. He wouldn’t sleep with the hot, slutty girl who was DFT or any of the girls on his dating app; he just fawned after someone at work who not only had a boyfriend, but—you guessed it—looked like his high school crush. She was a very nice person; i.e., was actually willing to try and hook the lad up with a friend if only he stopped making things weird. Sadly, Beavis didn’t listen to me or her at all; it was like he had it all figured out, but was paradoxically tormented by his Catholic grief (akin to Matthew Lewis’ Ambrosio). Frankly he had no clue. I told him, “College is the time when you’re not under your mother’s thumb. Just experiment!” He never, ever did, blaming women by default for his failures (the classic Catholic’s Original Sin victim-blaming/male victimhood complex—a wicked combo).

While Beavis’ ordinary-looking appearance belied an internal, vampiric predator—and his stupidity was altogether impressive for a single person (never underestimate the power of stupid people in groups)—his own psychological divisions were less acutely severe than more immediately pluralized persons, in large part because his privilege spared him the kind of trauma such fracturing demands. Yet, he was still divided in ways utterly commonplace under Capitalism (and well-at-home in Gothic novels; e.g., Matthew Lewis’ 18th-century take on the incel: Father Ambrosio): from sex and nature; i.e., girls were alien to him and he fetishized them for their natural biological functions for him to dominate. Indeed, Beavis’ biggest problem was that he wanted manufactured consent, not genuine, informed consent. The sex-positive idea is to want someone to want you, like that Cheap Trick song—to need your body and your personality, your sense of humor and your touch, your pussy or your dick, etc. At the same time, appreciating value goes both ways when relating to others in whatever ways we can actually get. To whatever extent you both agree on, it’s not about fitting in perfectly or agreeing on every little thing being offered; it’s about being however intimate you’re both decidedly comfortable with: FWBs, fuck buddies, one-night-stands, marriage, “just experimenting,” etc. All the same, any “vibe check” should be done, if not on your toes, then at least on your feet; watch out for false friends, because people suck! The same goes for false symbols, fake rainbows, assimilated homosexual men (which vampires represent), etc:

(exhibit 11b1a: Top-left: Our classic friends of Dorothy making an appeal to a very heteronormative, colonizer/false wizard; higher-bottom-left: proletarian wizard, Mike Jittlov; middle: liminal, appropriated witch, Mila Kunis from Sam Raimi’s 2013 Oz the Great and Powerful; bottom-right: Artnip; bottom-left: Talia. Rainbow Capitalism loves to slap rainbows on pretty much everything. All the same, the rainbow during oppositional praxis remains a liminal symbol of queer liberation amid heteronormative appropriation—can be re-slapped on art that feels sex-positive to the person altering it; i.e., a countercultural marking to an already iconoclastic artwork or artist. During oppositional praxis as remediated through pastiche, there arise many bourgeois/proletarian witches, queens, queer folk, monsters, dream girls, etc—all of which we’ll unpack and examine throughout the book, but especially in Volume Three, Chapters Four and Five.)

While proletarian caution applies to queer circles as things to infiltrate by state enforcers playing the vampire (and asking for an invitation inside), it also applies to heteronormatively Gothic stories as things to camp. For example, in McG’s surprisingly good, 2017 horror-comedy, The Babysitter, Bee the blonde bombshell evokes a shape-shifting devil on par with Matthew Lewis’ gender-swapping Matilda: every cloistered boy’s wet dream/worst nightmare. In this case, the hero is an awkward white nerd called Cee, whose innocent virgin blood Bee requires for her Faustian witchcraft. Making this movie, McG is just as self-aware and playful two centuries later as Lewis was, evoking complex wish fulfillment: a desire to victim-blame warring with wanting to use someone according to canonically assigned (and iconoclastically rebellious) gender roles. This playful dissonance is typical of the Gothic story and has been since Horace Walpole first wrote The Castle of Otranto.

Not only did Walpole originally pass Otranto off as a “historical” artifact “disinterred” and presented as “genuine”; his goal was to illustrate the novel—a story of everyday experience—as married[2] to the Ancient Romance, a tale of high imagination, adventure and reinvention of the medieval period. Doing so requires working within the imaginary past as something to reassemble in the present, generally with incongruent, imperfect replicas; i.e., on par with Beltane or tarot as something to appreciate/appropriate depending on who’s doing the reinvention; e.g., Marilyn Roxie’s The Public Tarot as an appreciative example of digital hauntologies in videoludic form (the game is no longer online, but a screencap of it is, below):

Rainbows and queerness are generally Gothic, but also consistently liminal and grappling with various renditions of themselves: Jojo’s Bizarre Adventure (1987) vs Rainbow’s cautionary “Tarot Woman” (1976) illustrating the quaint paradox of manly rainbows versus gay ones. Not only can phenomenological conflict through an unheimlich not be avoided; I would argue it’s the whole point of Gothic stories: to face agitated, warring confusion (often in relation to repressed sexual desires and gender dysphoria) and deal with it (and the doubles that cause it) as part of the advertised experience commenting on the Western home as imperiled from within. This includes people infected by Capitalism, becoming stupid, vampiric abusers who have survived trauma only to become arbiters of capital through ghosts of the counterfeit furthering the process of abjection through lived experiences passed from person to person but informed by popular stories.

Similar to Walpole and Lewis, then, McG’s Gothic is not just the wholesale stuff of fiction; it’s a turbulent, fun commentary on real, everyday events told in displaced, dissociative, half-real language not quite divorced from the present space and time: fairytale love and over-the-top, outmoded betrayal when the vampire (the classic master of the Gothic castle) comes home to roost in an American suburb where a) no castles exist, and b) the houses are full of fresh, tempting virgin blood!

This paradoxical authenticity is something I can vouch for in my own life. Despite Cee obviously being a cis-het teenage boy navigating the monomyth inside his own house as hellish, I had a very similar experience myself while still inside the closet. In a galaxy not so far, far away… a past friend and sex worker called Cuwu (who the book has mentioned repeatedly by now) used me for their own stupid, selfish needs after Jadis kicked me to the curb. Like a vampire hypnotizing their prey, Cuwu’s courtship happened in ways I didn’t completely agree to. All the same, they made my wildest dreams come true (we once fucked on the floor and recorded it while discussing my thesis work on Hollow Knight (2017) and watching this 2021 Silk Song fan video by Less [above] afterwards)! Before Jadis had thrown me out for calling them abusive, I had met Cuwu online a month prior while drawing sex workers (which Jadis knew about). Like Jadis, Cuwu also talked a good game and knew a ton about DBT (versus Jadis’ extensive knowledge about BDSM and tendency to selectively follow its tenets for their own benefit). Cuwu’s premise was to offer me a safe, loving environment after my breakup with Jadis. It worked like a charm, lowering my defenses and making me stupid. Pussy on the brain will do that (or dick; just ask Alcibiades), classically leading to live burial (which, as Eve Sedgwick explains, is symbolic of repressed, harmful libido communicating a symbolic form of generational trauma tied to house and home as invaded by predatory doubles; but for us is more a lived experience akin to unrooting in one’s homestead as foreign and populated by wild fictions indicative of such transplantation).

(artists: Cuwu and Persephone van der Waard) 

Note: We’ve included some photos of Cuwu up until now—i.e., for the second edition of this volume—but when discussing them briefly here and in the postscript, I’ll only include a photo (or two) per section; they’ll get plenty of exposure in Volume Two, trust me! —Perse, 4/7/2025

At first, Cuwu was incredible. However, after I flew home from their nomadic household, my time with them long-distance started to feel unstable and insincere, but also draining. They had borderline personality disorder and manifested in more overt pluralities—less like Beavis and closer to my mother when she was manic. I had to fight very hard not to blame Cuwu even when I felt their abusing potentially coming home to roost. In part, I was entirely afraid of losing them and the vampiric essence they offered me, while having already been dispossessed by Jadis (who actually left me for their own ex after the three of us were living in a polycule, trying to triangulate that person against me by calling me the homewrecker[3]) and shortly thereafter losing my uncle to a spontaneous heart attack; I also knew Cuwu was sick and trying to improve. In other words, I was Cuwu’s “good boy” because I thought they’d actually try by detaching from their abusive past, thus not preying on me; i.e., the vampire that doesn’t drink blood.

(artist: Edwin Landseer)

At first, they seemed sincere. I hadn’t come out yet, but Cuwu encouraged it/were my mommy dom and little fuck puppy. So for a short-but-blissful time, I was living in my own variation of Bottom’s Dream from A Midsummer Night’s Dream (and not for the first time, even, but I’ll get to that in Volume Three when I discuss my first love, Constance):

I have had a most rare vision. I have had a dream—past the wit of man to say what dream it was. Man is but an ass if he go about to expound this dream. Methought I was—there is no man can tell what. Methought I was, and methought I had—but man is but a patched fool if he will offer to say what methought I had. The eye of man hath not heard, the ear of man hath not seen, man’s hand is not able to taste, his tongue to conceive, nor his heart to report what my dream was. I will get Peter Quince to write a ballad of this dream. It shall be called ‘Bottom’s Dream’ because it hath no bottom (source).

Before I came out, my name was Nicholas, so Nick Bottom is a character I always relate to; it’s also kind of a funny BDSM pun (thank you for pointing that out, Ginger). Personally, I think Shakespeare’s bondage of the rude mechanical, Nick, by Titania was a little too pointed and ceremonial to be a complete accident, but maybe I’m just an ass. You have to be a little stupid/risqué to let someone in and play games with them where—like the vampire—you can actually get hurt.

Note: A Midsummer Night’s Dream and “Bottom’s Dream” from it are tremendously important to my work. i.e., both are things I’ll return to repeatedly in Volume Two; e.g., “I’ll See You in Hell” or “Call of the Wild” in the Demon Module. —Perse, 4/7/2025

Let’s return to The Babysitter. The story is, like many other novels of the Neo-Gothic tradition, at least superficially concerned with growing up/becoming an adult. In that vein, Cee has to learn to protect himself from the more experienced girl he loves preying on him. The imperfect moral shared between Cee and myself is, “We all have to learn to form boundaries and protect ourselves, even from those we love; even if they talk a good game, they can still fuck you over or up.” In McG’s movie, Cee’s taught this by more than one person—Bee, but also her himbo servant, the high school quarterback:

“You want a head start?”

“You’re the quarterback, man!”

“Life’s not fair, dude!”

Whether male, female or intersex, the Gothic hero’s trial is overcoming adversity through love-making (courtship) as an inherently complicated and risky endeavor. In Cee’s case, he’s being attacked by someone else (the quarterback) being manipulated by someone else (Bee) being misled by something else (an old book of sacrificial blood magic). Deceivers take many forms and concentrically deceive themselves and others (the classic flaw of the Gothic villain). Facing this cold, sad fact—that many people most definitely suck, including assimilated, fearful workers—is merely part of this stupid, absurd game called life. But life can still be good! We just have to play it for ourselves, taking chances at enrichment while doing our best to be good friends, but also teachers and workers interacting back and forth to end the problem at its root: capital.

How you chose to go about this is entirely up to you and yours. As mentioned in Volume Zero, Cuwu’s borderline personality disorder would give them panic attacks/make them dissociate. To counteract these comorbidities, I used to read Cuwu The Hobbit before bed; the book, combined with my voice, helped calm them. It wasn’t a perfect solution, though. How Cuwu desired to become strong! They especially loved Smaug the dragon, who was “strong, strong, strong!” and started to adopt that principle in their own “healing” behaviors; i.e., having been abused in the past, but also having been a self-confessed abuser towards their own ex of six years. In other words, I wasn’t Cuwu’s first victim, but they also weren’t entirely an abuser when all was said and done; they were like Bee, who “used to be weak” and desired strength—abusive and controlling towards Cee even if it came from a place of real trauma (victims, like people turned into vampires, often become traumatizers themselves):

Neither Bee nor Cuwu were all bad (“just because she’s a psycho doesn’t mean women are evil,” Cee’s movie crush tells him), but there was still legitimate betrayal towards those they called friends. Cee and Bee had a sweet friendship but she still exploited him in non-consensual ways; i.e., draining his blood like a vampire for her black magic as ostensibly giving her everlasting life, but still a stupid decision and that alienated her from her best friend. Likewise, Cuwu fucked me over despite making all my wildest fantasies come true and, in the end, calling me “one of the best friends they ever had” (which strikes me as incredibly sad, given how short our friendship ultimately was); they were very vain and loved attention (and unlike the vampire were constantly gazing at their own reflection), but could be incredibly sweet when they were stable and medicated (or had their fill of “blood[4]“)! They professed to love nature[5] and had been upfront about their abusive habits, too—had insisted they’d turned over a new leaf. And my dumb ass, rebounding hard after Jadis and firmly under Cuwu’s intensely erotic spell, was only too happy to believe them (to be fair, they talked a good game, the tricksy little Commie).

Note: We’ll revisit Cuwu’s vampirism repeatedly in the future; e.g., “Red Scare” and “My Experiences” from the Poetry Module, and “Leaving the Closet” from the Undead Module. A fiercely forward and hypnotic exhibitionist, Cuwu loved to dress in red to draw their audience in, but also were “a little ho with a mouth like a clown demon [Pennywise leaps to mind] and a body like a fairy reaching over from fairyland to take [a bite out] of me” [re: “My Experiences”]. Furthermore, the Demon Module PDF would dedicate to them, saying about Cuwu, “I‘ve often thought of you as a demon (and compared you to Pennywise the Clown for your wide, hungry mouth, below), so it only makes sense to dedicate your contributions in the Demon Module, itself.” Long story short, they were always hungry and gave as good as they got! And frankly I loved their vampirism enough to subvert it; i.e., in my own instructing of ludo-Gothic BDSM marked by Cuwu’s “vampy fae” aesthetic, but also their gung-ho Marxist-Leninism, stabs at DBT and fluctuating borderline personality disorder! —Perse, 4/7/2025

In the end, I paid a heavy price for my continued desire for Gothic-style adventures, but it was still a learning experience normally only seen in novels, movies or videogames (thus denied to everyday persons in advertisements about where to even find love). Through my own happy accident, I learned the same Gothic moral that Cee did: sex is dangerous, but it’s also entirely worth it if you can find someone to trust (which Cee eventually does). I now have friends I can trust and confront trauma with: several partners (Crow and Bay) and loads of people working with me on this book. However, developing that also took a lot of time, perseverance and work from both sides; it’s also, as this chapter has hopefully illustrated, an uphill battle, one that requires fighting societal coding with reclaimed animal-monster language and learning (through said language) paradoxical ways to open up to each other and reconnect with the nature world. Don’t be afraid to do that or you’ll grow divorced from nature, from sex, from love as not being paywalled in their most delicious forms—in short, you’ll miss out on what makes life worth living!

At the same time, be careful! Like Cee and Bee, Cuwu and I were intimate with each other in a variety of ways; I loved them fully and deeply. But I stood up to them knowing on some level I’d never see them again (as I did with all of my exes). And as much as it hurt, I regret nothing insofar as it all panned out. However short, I laid with someone special; i.e., a little fae-like cum-magnet made entirely of that weird, special stuff that only dreams are made of: darkness visible. All my exes were like that; I guess it’s my type. Pick your poison, kids; vis-à-vis, Paracelsus, it’s all a question of application and balance: “All things are poison and nothing is without poison; only the dose makes a thing not a poison,” condensed to “the dose makes the poison.” To that, toxicity in relationships is normally a question of function, flavor and degree, including the poetics involved and what they encourage; i.e., Gothic irony and enjoyment as more of a liminal scenario challenging state-sponsored stupidity.

Now that we’ve examined Beavis’ idiosyncratic stupidity and my own, let’s move onto Dulci’s mother. Her idiosyncratic stupidity manifests in uneven female fears: getting raped and killed by creepy men; i.e., the legitimate concern about male “conquests” acquired through dishonesty and theft; e.g., drugging/date rape as projected on people Dulci’s mom thinks are creepy. In fact, she was worried I’d roofie her child! Like, context matters, lady! I’d known Dulci for ten years at that point. I wasn’t gotta use drugs or lies—just tell them I wanted to have sex and if they said no, I’d respect their boundaries and wouldn’t push it. That’s how trust, boundaries and negotiation work, and most cis-het guys act more like vampires trying to seduce (and brute-force) their way past these (see: Beavis). As such they resort to “date rape” tricks during conservatively canonized, ritual-like spaces; e.g., high school and prom. That’s a risk that’s prone to fail and rightly so, because the only time it won’t fall apart is if the romantic interest is battered. It’s unhealthy and stupid, but also taught through popular stories with popular devices centered around the ghost of the counterfeit and the process of abjection (moral panic): magic and high adventure, but also sex, drugs, and rock ‘n roll as vampiric reagents (the Gothic castle being cemented in videogames, thus neoliberal culture, with Metroidvania; i.e., as we discussed extensively in Volume Zero regarding Metroid and Castlevania but also their various palimpsests and imitators; e.g., Alien and Jojo, Dracula and others).

Ignoring the fact that Gothic stories are largely nostalgic, operatic and suitably wacky affairs (of the time-traveling sort), prom is at best heteronormative; i.e., compelled sex dressed up in ritualistic make-believe; at worst, it’s the same thing but rapey (centrism in action) but still required to help the hero (the young man, by default) succeed in life: to get what he wants. It’s class betrayal and dormant stupidity-in-the-making.

Take, for example, the Enchantment Under the Sea high school dance from Back to the Future (1985). This “rhythmic ceremonial ritual” hails from a hauntological 1950s nostalgia made by neoliberal filmmakers, then pointedly sold back to Reagan’s 1980s and its children of the future as the end-all, be-all of true love. Newsflash: Robert Zemeckis’ wacky courtship ritual (and its myriad clones) don’t actually teach you how to talk to other people; it just alienates workers inside a compelled, colonial binary where the “good” strong prevail against the “bad” strong in literal duels over a helpless woman who tells her own future son this is how things are: “A man should be strong, to protect the woman he loves.” Never mind that George McFly was a Peeping Tom[6] according to his own son, and who Loraine Bates only fell in love with Florence-Nightingale-style[7] because he… got hit by her dad’s car?

Dulci’s mom is similar to Loraine in that she’s “half-stupid.” “Bad timeline” Loraine lectured Marty about vice, only to change her tune when Marty rewrites the past; Dulci’s mother taught her daughter about contraceptives, but also sees rape everywhere and defers to heteronormative male authority. Bitch, please; negotiating frankly doesn’t “kill the romance” (an idea made from ignorance that fascism and neoliberalism absolutely cherish in their gradient of canonical, heteronormative love stories). Building trust is sexy. So is boundary formation and minimizing risk while taking chances. Healthy relationships require some degree of informed risk, including sex: risk-taking while also taking randomness into account. They don’t have to be entirely sexual all of the time (or even part of the time, for all you ace folks out there). However, if they are sexual in some shape or form, then it behooves both sides to be open and honest, but also game.

This honesty and good-faith “gameness” can take different forms. To that, I’m a mid-sized trans woman (~170 pounds) and could help relieve stress by fucking Dulci’s sweet little pussy when they were feeling it; but Dulci actually prefers (or so I thought when I wrote this) big, strong “teddy bear” men who don’t ask for sex at all. As long as everyone’s on board ahead of time, then no harm, no foul (which sadly isn’t the case for Dulci’s currently abusive partner preying on their stupidity for his gain; in the end, I told Dulci that predators don’t change—that he’d keep abusing them if they stayed with him. Sadly Dulci stayed, a common phenomenon among battered partners). More importantly, such negotiations can extend to experimentation and labor as things to rescue from their sex-coercive arrangements (and pornographically appropriated equivalents) in Gothic poetics.

To that, let’s cap off the chapter with vampires; i.e., by exploring how both labor and social-sexual expression can be rescued without involving prom, but instead delving into forbidden experimentation with Gothic poetics, including bodies from places that are normally exoticized and farmed for their vampiric qualities as things to behold: full, fleshy and vivid, the color red serving as the Catholicized color for excessiveness and enrichment (symbolizing the literal blood of Jesus Christ), but also raw hunger and blushing engorgement; i.e., as red as lipstick, as the apples of the Tree of (forbidden) Knowledge.

(artist: Nya Blu)

Experimentation is vital to social-sexual health and understanding but also healing. For instance, I’ve mentioned how Cuwu once wanted me to fuck them while they were asleep, telling me in advance they were taking sleeping pills for a consent-non-consent ritual (how’s that for “rhythmically ceremonial,” Doc). The iconoclastic idea, here, was appreciative peril—a sex-positive instance of controlled dissociation/calculated risk to help Cuwu deal with their own trauma by facing it in a controlled environment where they have all the power as the sub. Normally rape is impossible when both parties mutually consent. However, it’s still a trust-building exercise as consent-non-consent requires the dom to not actually harm the sub during paralysis, bondage, etc. There’s a performative irony there, not unlike Eddie Money’s costumed “Dracula” being bit on the neck by the “sleeping” beauty during “I Think I’m in Love” (1982). As I fucked Cuwu, I felt foolish, guilty and excited all at once—like I was learning something I shouldn’t and partaking in the kind of game most don’t get to play—and that my teacher was just as foolish as I. In truth, looks can be deceiving. Cuwu was borderline, but they’d chosen their partner well; I did exactly as I was told, and learned a wonderful lesson in the process (one taught through the vampiric exchanging of fluids).

The same basic playfulness applies to the Gothic camping of “necrophilia” and “live burial” as paradoxes to double and perform: enjoyed during ironic BDSM ceremonies and vampire metaphors that explore psychosexual trauma through rituals of, at times, regressive healing practices (meaning “to regress to a childlike or immobile state”). For these to be sex-positive, they mustn’t condone the historical-material abuses their reclaimed rituals are based on, and which unironic/canonical necrophilia is associated with (which denotes a harmful lack of agency and inability to consent regardless if one is literally or figuratively dead). For the persons being packaged and sold as Gothic commodities (normally women[8]), there is often a degree of desperation and theatricality to their work; i.e., something to temporarily feel as you devour it like a luscious crop. Per Jameson, middle-class consumers wolf down these melons during their own class nightmares of relative privilege inside the Imperial Core. But in the Gothic sense of the fatal harvest, the neoliberal siphoning of resources from the colony back to the motherland generally disguises ongoing genocides inside exotic, culturally appropriative yarns. While each storybook reverie is filled with danger and excitement as forbidden-yet-delicious, these can be interrogated regarding the skull-like pit that always waits at the center of the fruit. Vis-à-vis Barbara Creed, it becomes not something to merely discard (as Jameson would do) but an aegis for workers to utilize however they decide: to reverse the process of abjection through the same ghost of the counterfeit.

(exhibit 11b1b: Artist, left: Nya Blu. We all have skulls inside us. According to the Gothic tradition inside the Imperial Core, inheritance anxiety historically-materially communicates internalized trauma as suggested within workers but expressed according to their surface-level appearance in the material world; i.e., who, regardless of their origins, will be judged and consumed based how they appear relative to a cultural understanding of the imaginary past as something to constantly look at, vis-à-vis Segewick’s “Imagery of the Surface” [1980]. Nya, for example, is covered in tattoos that speak to Cartesian trauma and the Gothic as something to wear on her skin, reassembled there after having been created many times before. She’s a walking fortress, utterly stacked but rife with surface tension. She performs the paradox that Charlotte Brontë’s Anne Causeway could not, the latter woman entirely doomed inside the attic for no one to see [except in dream-like reveries]. The paradox is a doubled form of emancipation that occurs through confrontation; i.e., a savvy and brave wielding of the very things used to coop her up in the white man’s home, but also his colonizer’s heart and mind and those of an imperial readership then and now seeing her “of nature” and nature as psychosexual food [something to remember during the roadmap, part three, which examines Cartesian fetishization of nature-as-food and how to subvert it with our bodies during ludo-Gothic BDSM].)

The paradox of theatrical “necrophilia” is not even corpses or bodies, but vampirism within capital (thus at large) as driven by animal hunger and need, but also invitations to enter and submit as tied to and expressed through one’s mouth and appetites as undead sexual metaphors; i.e., alien symbols tied to trauma, power and decay in various forms, but also powerlessness. For example, in Metalocalypse (2006) a male band member is having a one-way conversation with a girl in a literal coma. Afraid of the girl and wanting to separate, pre-coma, now the guy doesn’t actually want to break up with her because she’s useful to him as “the ultimate girlfriend.”

This skit is arguably funny because it’s patently absurd; it’s also a poor-taste rape joke shining a light on the vampiric nature of rape culture among white men towards women. Per Hogle’s ghost of the counterfeit, the show passes off an “abject reality or hidden barbarity” that, vis-à-vis David Punter, “displaces the hidden violence of present social structures, conjures them up again as past, and falls promptly under their spell” (source: “The Literature of Terror: A History of Gothic Fictions from 1765 to the Present Day, 1980). This obviously goes well beyond Metalocalypse, and yields a vampiric function in neoliberal fantasies like Back to the Future: a hypnotic lullaby that sublimates abuse. Not only has this abuse gone nowhere; its Gothic commodities, whether subtle or overt, have grown even more tempting (for the middle class) as time goes on—i.e., as Capitalism drains us of our blood (and brains) and sells them back to us in cartoonishly delicious, addictively sugary forms. Stories like The Babysitter generally camp these cartoons, but the expression is still liminal; i.e., like Nya Blu and her succulent embodiment of the Gothic, or Cuwu lying in bed, smiling like a vampire as I fucked them in their sleep (the smile indicating the drugs, like Juliet’s “sleep of death,” weren’t strong enough). As I did, I couldn’t shake the feeling that Cuwu wasn’t quite as asleep as they let on, but also were well-and-truly stoned; i.e., their own “love-in-idleness[9]” something of a partial, zombie-like ruse—a, educational game that was half-real, somewhere in-between all manner of things, satiating the raw, animal hunger felt by both sides:

(artist: Christopher Sean)

This kind of compound, appropriative-versus-appreciative peril illustrates the difference between negotiated boundaries and compelled boundaries/manufactured consent—i.e., choosing to be a “doll” (with the vampire having porcelain-line skin and painted-looking lips) in a sex-positive rape fantasy (Cuwu’s schtick) versus being compelled into a doll-like role in literal and figurative forms of coerced rape by those in power (as stated in Volume Zero, appreciative rape fantasies can be intense, potentially affecting the dom far more intensely than the sub; Cuwu’s games arguably did with me because I was awake and Cuwu wasn’t[10], though for the knowledge I gained and the fun I had, I don’t regret partaking part). Faustian “agreements” more broadly have a habit of “getting worse all the time”—e.g., Darth Vader’s warning to Lando Calrissian: “I am altering the conditions of our agreement; pray I do not alter them further!”

This being said, “deals” made through force or lies are not deals at all; they’re slavery and exploitation, even when dressed up (re: Sauron’s rings of power). That’s what neoliberalism is beneath “the magic.” Cis-het men historically-materially treat women like de facto stress toys without their consent, transforming them into their pets, their property and/or their compelled sex dolls (so-called “Brides of Dracula”). For privileged, sexist men, intimacy is automatically sexual and rapacious to varying degrees; for battered/compelled women, this invokes body dysphoria: plastic, assimilated bodies made to please men; i.e., Stepford Wives (with eating disorders being an extra variable—incredibly dangerous, but also shameful and secretive). This “Barbie Doll effect” amounts to colonization/manufactured appearance—plastic surgery and purity/moderacy and sexy outfits (exhibit 8a; re: “Predators and Prey“). It also leads to compelled brides of vampires through the Christofascist return to tradition; e.g., the Mormons’ coercive polygamy intrinsically linked to settler colonialism.

In other words, the ghost of the counterfeit is detrimental to workers within capital when left unchallenged; or worse, when entertained, the vampire-like draining and announcement become a spectacle to purchase and consume like second-hand blood.

For example, in my mid-20s I once had someone approach me asking me to illustrate them a fantasy about a man who turned women into sex dolls against their will—a bit like Jeffrey Dahmer lobotomizing his victims with hydrochloric acid, except in the client’s story the syringe merely incapacitated the girls long enough for him to submerge them in a magic bath. Said bath literally turned the girls’ bodies to rubber but kept their minds active—displaced/dissociative violence in action, wherein the idea behind the bodily destruction isn’t reclaiming someone’s lost agency but rather exploiting a particular group to vampirically enrich a privileged party. Eventually I learned to say no to weird clients like these, but back then I was younger, dumber, and poorer. I drew the story because I felt like I needed the money. However, I also thought, “This feels like a horror story outside of the text—like the person I’m working for is a devil-in-disguise.” Eventually my shame eclipsed my fiscal needs and I learned to form boundaries and say no to predatory clients preying on a) my financial desperation (thus stupid hunger) and b) the exploitation of historically abused groups (women, in their case).

Creepy art commissions aside, labor can also be transmuted into iconoclastic, sex-positive forms. In the case of Cuwu but also Dulci, I helped them rescue their labor from sex-coercive arrangements—by experimenting with them as our sex, art and friendships intersected in different ways per case. Like Cuwu, Dulci and I did sex work and made monster art together that aimed at making us less hungry but also less emotionally and Gothically stupid regarding our labor and bodies. Open sexuality antonymizes sex and harm but acknowledges past forms of trauma (and bad-faith versions of the same theatre) that synonymize these things. They provided and I provided and like vampires feeding out in the open—giving essence back and forth—we communicated freely without guilt, secrecy or shame; we learned. And even if our relationships didn’t ultimately work out, the lesson—like a corpse in a coffin—”survives” to be gazed upon by future generations. Such feeding arrangements (and their Gothic aesthetics) are so much simpler and more educational (from a sex-positive standpoint) than how they would be under heteronormative arrangements, robbing one side of their power under violently compelled, mendacious circumstances. None of us wanted to get married and have kids—i.e., serve the state’s will in nostalgically propagandized ways like Back to the Future.

That movie’s hauntological song-and-dance (all so Marty can get his dick wet by compelling his own parents to get back together) is every bit as emotionally manipulative as it is nostalgically curious (e.g., 1986-era Marty needing a car to have sex, similar to how his mother “parked” with neighborhood boys to escape her 1950s repressive household; i.e., American car culture being an escape from imposed socio-material conditions) but also borrowed: the 1946 palimpsest, It’s a Wonderful Life, nakedly fear-mongering independent women, presenting George Bailey’s wife as being entirely reliant on broke, hopeless dreamers and—funnily enough—Peeping Toms.

Marty’s plan is terrible for several reasons. Not only should it have not worked; it presents George McFly as this self-made man when in truth, the entire coercively manufactured production made it possible for him to “get Lorraine back” (despite never earning her to begin with), then take all the credit after privatizing[11] it in “his” novel. Back to the Future is easy to like; dialectically-materially it’s a giant, dangerous lie. That’s not “just” Reagan’s 1980s in a nutshell; it’s something that’s continuously being sold to the next-in-line as “wholesome, good, and safe” for workers, making them stupid.

To borrow from Anita Sarkisian, though, I can enjoy “Earth Angel” rerecorded with the orchestral accompaniment (1985) and refuse to endorse Ronald Reagan, Robert Zemeckis, et al in the same breath. Just as Milton loved angels and demons, and Horace Walpole made his own castles out of whole cloth, each gave future peoples the intricate potential to challenge the status quo through Gothic (crypto)mimesis and pastiche: the institution of marriage as a fearsome place that we—using the spectres of Marx—can take and transform into something better while keeping the devilish aesthetic[12] as a naughty keepsake; i.e., from Pygmalion’s shadow to Galatea challenging said shadow while pimped out in black-and-red fetish gear and having all manner of submissive cuties under her powerfully parodic spells. Except unlike the status quo—re: Tolkien’s unironic rape of anything deemed dark and terrible in misguided and ultimately dishonest attempts to conquer death—Galatea’s darkness visible camps canon, “making it gay” as a false “jailor” threatening “rape,” “torture” and various other things in quotes set to funky music; e.g., “Down, Down to Goblin Town” (1977). It might seem like toothless bullshit—nothing except empty fetishes and clichés to consume—but I got news for you: that’s how language works! Meaning is arbitrary decided through the function of aesthetics as something to inhabit within the endless chaotic copying. So we may well use the aesthetics for medicinal, psychosexual leverage; i.e., when navigating the socio-political landscape under Capitalism, looking for kindred spirits among its assorted wreckage (the steady trauma, disintegration and alienization) while also employing Sarkeesian’s adage among the Gothic assemblage: anything begot from those older bricks—first taken from the ruinous, undead whole (extending to videogames and their paratexts, of course) and charged in a power not entirely our own: “no man is an island” and all that. Ask not for whom the bell tolls, indeed.

Sex positivity between sex workers and friends liberates them from capital and, more to the point, is no less democratic or humane than a cis-het marriage. Quite the opposite—it’s far more democratic and humane from a systemic standpoint. Marriage has historically offered false “protection” to cis-het women during manufactured conflict, scarcity and consent; it only segregates them from other women and lets their husbands legally abuse/rape them—the Marital Exemption Act only being abolished in all fifty states in America in the early 1990s. Like Roe v. Wade, though, the repealing of the Marital Exemption Act is something that Christofascists/SCOTUS will try to overturn, blaming symptoms of Capitalism and its decay on minorities while simultaneously reining women in and cracking down “on crime” through an expanded state of exception’s ghosts of the counterfeit. Neoliberal capitalists will allow this to occur through the oscillating pendulum of Capitalism and American politics working very much as intended: as a Puritanical institution, America was founded on genocide, rape, war and worker exploitation, as well as compelled marriages defended during moral panics.

As vampires demonstrate, there’s frankly countless ways to personify then subvert trauma and the status quo; i.e., while seeking catharsis as one moves away from closeted self-hatred and towards self-acceptance, self-fashioning and self-love. These are topics we’ll cover much more in depth in Volume Two and Three, but I’ve included some additional examples—four exhibits over the next eight pages—that pointedly use the Gothic mode in relation to vampirism.

If you want, call it a taste of things to come:

(exhibit 11b2: Artist, top: Maloroid; middle-left: unknown; bottom-left: D. H. Friston’s illustration for Carmilla [1872]—a cautionary tale about female forbidden love; bottom-right: Nat the Lich.

Something to keep in mind about criminal hauntology [and which we’ll return to in Volumes Two and Three, exhibits 47a1/2 and 86a2] is that it relishes in the commodified suffering of the buried, the gays as automatic criminals, fugitives, unironic monsters through various fictional twists: nine times out of ten, we’re the closest monster in the WASP-penned murder mystery or we’re the victim as someone to punish by the damsel, detective or subjugated Amazon [the xenomorph is both: the cumulative forces-of-darkness black knight, cosmic rapist, pre-fascist corruption dressed up in ’70s fetish gear, exhibit 60d; re: “Follow the White-to-Black-Rabbit“]. The canonical vampire narrative, then, isn’t just a night stalker/queer boogeyman that only comes out at night [like Edgar Winter]. It also emulates various animal attacks and—like medieval lycanthropy—is a crude analog for mammalian diseases and medieval psychology [the humors] that brings a none-too-subtle metaphor for sleep/death, staking the queer while they’re helpless; but also the sleeping woman as often naked and/or defenseless, like a babe in its cradle [similar to her sitting on the toilet or standing in the shower but even more vulnerable]: the compelled voyeurism of Gothic conventions demanding that we stare at her unironic rape as something to relish, to worship, to covet.

To “sleep,” in this case, is overlapped with “playing dead” when faced with a sexual predator but also the reality that wives, teenagers and young girls would have been sitting ducks for their patriarchal overlords; i.e., to be violated and to have no conscious idea, but faced with the haunting suspicions through the “nightmare” of being visited by a succubus/incubus paralysis demon [exhibit 51b1; re: “Demons and Dealing with Them“] that has its way with the chaste maiden/celibate man-of-faith as an unwilling/unironic sacrifice [camped to hell and back by Tim Curry’s Dr. Frankenfurter sleeping with Brad and Janet; i.e., less “making it gay” and more about exposing the repressed queer dialog amid monstrous proliferation as something to poke fun at and make your own in the process]. It becomes a spectating match by the audience as complicit in the whole ordeal, demanding a rape victim to worship, mock and fetishize as part of the night’s usual entertainment.

Of course, consent-non-consent during ludo-Gothic BDSM allows for the ritual of induced sleep sex to have playfully sex-positive BDSM, fetish and kink flavors; i.e., sleep sex being a regular event in cis-het bedrooms, but nevertheless one that is canonically used to scapegoat queer persons relegated to the shadows of a rising sexual discourse [while cis-het men continue to hunt their prey from the same darkness]. To reclaim the night and its creatures from the cis-het curse of a patriarchal, “Dark Father” sex pest, the subversion of the symbolic tableau always occurs through rape play/voyeuristic peril of some kind or another—of catharsis and trauma as occupying the same playground. This liminal expression can dress up in the aesthetics of death [exhibit 9b2; re: “Prey as Liberators“], be openly vampiric swooning [exhibit 87; re: Volume Three], include animalized bondage and commands of tinctures of sleep and submission [exhibit 51d3; re: “Dark Xenophilia“]; or promote/execute doll-like sleep sex in various animate-inanimate forms [exhibits 38a and 38b1, ” b2, ” b3, ” b4; re: “Meeting Jadis“]. It can also be evoked as a kind of guilty pleasure in heteronormative circles [exhibit 86a1, exhibit 86a3; re: Volume Three] meant to scare and infantilize women; such fear and dogma can be reclaimed by Gothic counterculture—i.e., by sex-positive couples whose invited voyeurism/exhibitionist nudism [exhibit 101c2; re: Volume Three] helps move society away from harmful and coerced wish fulfillment: “It’s ok to look or indulge if all parties want it.”)

(exhibit 11b3: Artist left/middle: Aroma Sensei; right: Horny X. “To sleep perchance to dream.” The fantasy of subjugation can be sex-positive but must subvert the imagery of the monstrous-feminine as targeted for “slaying” by traditionally male implements: the woman-in-black or the Amazon as threatened by the “knife-like” penis, but then actually wanting it [breeding kink being a common one, fantasizing about making monster babies and having monster sex to improve the orgasm, exhibit 87a; re: Volume Three]. Badly. Such notions of a sex-hungry woman are, as usual, forbidden in heteronormative spheres, but remain an open secret sold to people through the procurement of forbidden fruit as pornography that hardworking American adults [usually men] may consume. It becomes pay-walled, a sale of indulgences classically overloaded with a variety of harmful stigmas [exhibit 32a; re: “Concerning Knife Dicks”]. As always, these stigmas must, like individual trauma, be reclaimed and subverted in the same dream-like zone: between the fiction and the rules, on the surface of the image in intense thresholds neither here nor there.)

(exhibit 11b4: Artist, bottom-left: Kay; bottom-middle: Kristine Walton; bottom-right: Jesús Campos.

The queer man as a de facto sodomite is often driven to seek trauma in such a liminality and being synonymized with deserved self-loathing and psychosexual violence—e.g., failing to understand that Rob Halford is crooning about “The Ripper” or “The Isle of Domination” [exhibit 38c1b; re: “One Foot out the Door” but also “Facing Death: What I Learned“] in an ironic, cathartic sense—but also stared at by straight people looking for a medieval shock on a cryptomimetic vein [e.g., Trent Reznor’s “Closer” (1989), exhibit 43b (re: “Seeing Dead People“); or Panos Cosmatos’ Mandy (2018), exhibit 40a1b (re: “Mandy, Homophobia and the Problem of Futile Revenge“)]. The same goes for the woman as the presumed whore/virgin. Ironically reclaiming these markers of shame occurs in the same place they are unironically applied, thus subject to constant scrutiny and moral panic the way that white straight men are not. Under the Neo-Gothic standard, though, the fearful imagination of a WASP-y moral panicker has produced centuries of stories about the devilish white person acting “non-white” but also not Protestant; i.e., like an outsider from the barbaric past [wherein Blasphemous is a thoroughly curious Metroidvania: Catholic fear and dogma, especially torture and miracles, dressed up as Gothic nostalgia]. Misdirection is a powerful tool, understood by common abusers and benefactors profiting off the conservative adage, “Perception is reality.” Broken trust makes anything seem possible, but also plays on the mind in ways that render one the dupe/accomplice; i.e., to be under someone’s power regardless if you’re asleep, on drugs or in a seemingly healthy relationship.

This applies to real life, of course. For example, I thought Zeuhl loved me [we’ll discuss Jadis at length, later] but I didn’t realize I was being used for most of our relationship. It didn’t matter because I perceived our love as genuine based on what I was told. For a while it felt manageable. All of a sudden, it wasn’t [I winced when they fingered my asshole too hard, secretly second-guessed them when they didn’t want me to meet their other boyfriend, who I’ll call Paris; and asked me for money after the breakup, or other favors while stringing me along in various ways]; after that, I felt like I had been lied to, used, and manipulated like a silly unicorn. Zeuhl taught me that self-denial is a powerful thing. And yet, while the beard is often used by queer people to blend in or navigate choppy waters, the same idea is used by bigots who blend in with token spouses and partners [rendering them dupes, victims or accomplices in the process]; i.e., a theme of penance for past crimes, but also ongoing deceptions for the false penitent seeking sanctuary by directing blame at others/casting suspicion away from themselves and their habitual misdeeds. Like a game of Clue or a cheap “Whodunnit?” no one is being honest, even if this deception is societal; i.e., coded through heteronormative propaganda, fear and dogma [contrition, or the forced confession, being its own issue within police states; and drug abuse, torture and isolation used to keep victims in check, suggestible, even complicit]. In other words, “It just wasn’t talked about,” an open secret; the victim becomes not just the fly on the wall, but the wall itself part of a desolate, perfidious cathedral where people care more about keeping up with appearances and delighting at the coded barbaric’s schadenfreude. Eventually it all falls apart, but also becomes forgotten and rediscovered as ruinous, esoteric.

To this, real life and fiction collide and fuse in a dialectical-material sense. The murder mystery/black confessional is a foundational trope of the Neo-Gothic’s historical-material record: the secret letter or diary entry as a fictional throwback then and now [e.g., Ann Radcliffe’s having Monsieur St. Aubert write a letter to his daughter, as well as the entire Confessional of the Black Penitents—aka The Italian]. Its poiesis amounts to familial open secrets [of the Gothic sort, the bloodline] married to the myth that society is corrupt, not genocidal; i.e., the scapegoating of the fascist or the false authority figure as anomalous: the husband, preacher, father, teacher, etc. This kind of murder mystery has the centrist effect of directing blame away from the elite, from the distribution of power/material conditions at a societal, criminogenic level. It presents persons as reprobate, deceitful, fallen, not the state [the demonizing of the Catholic faith being a displaced critique of a former structure “on its way out”; i.e., during the crystallization of a Protestant ethic amid and after the Neo-Gothic revival, contributing to the rise of the current state of affairs: modern war, the nation-state, Capitalism as a neoliberal hegemony built on older hegemonies. These, in turn, produce newer kinds of complicit, bourgeois vampires versus older ones, but still rule over and prey on us; i.e., as queer people are buried indiscriminately without power or prestige to protect them].)

(exhibit 11b5: Artist, left: Luis Dominguez; right: Clyde Caldwell. At least as a starting point, the entire xenophobic/pre-fascist exercise of vampirism is basically anti-Catholic dogma ridiculing transubstantiation [exhibit 41i; re: “The World Is a Vampire“]. However, the female vampire ritual is further complex and bifurcated under Capitalism as a Protestant affair [we’ll also examine anti-Semitism and queerphobia/-philia in Volume Two and Three]. It either often desires a cathartic ritual to the paralysis, thus a reassurance that the dark dominator isn’t abusive like a past real-life example might have been; or it desires a reversal to the trauma, exacting “revenge” and “torture” on the perceived patriarchal dominator [in BDSM, this is calling “switching”]—i.e., by swatting them like a pesky bug. Coincidences aside, a female mosquito has been buzzing around my head as I write this exhibit, dutifully reminding me that male mosquitoes do not drink blood, and that the drinking of blood by these insects is an abject, chimeric metaphor for Archaic-Mother sexual reproduction, as well as sex and power in general; or, as I write in “War Vaginas” [2021]:

Mythical weapons can symbolize female rebellion and power. Take Medusa’s snakes: Functionally her snakes aren’t female-exclusive, or man-made; they’re purely cosmetic. Medusa kills her victims with a petrifying gaze. Gothic tales treat this freezing effect as a shock response: The female “snake” is viewed as a symbol of antagonistic power, threatening traditional masculinity through castration fears (robbing the phallus of its mythical power) expressed in patriarchal myths like the gorgon. The snake can also be overtly phallic. Benisato, a female villain from Ninja Scroll (1993), attacks with venomous snakes, including one hidden inside her vagina (a man could arguably cram a “snake” up his bum, but homosexuality is often seen as “female”: othered, ridiculous, impotent).

The second symbol of female rebellion are natural, entomological weapons. These can be vaginal, tied to sexual reproduction. Insect brood mothers are a natural example of the Archaic Mother, using their powerful wombs to birth hostile armies. There’s also phallic-looking weapons with female functions. The ovipositor of parasitoid wasps injects an egg into an unlucky host (the life cycle which inspired the xenomorph in Alien). However, all female Hymenoptera (wasps, bees, ants) have an ovipositor, the stinger of which is a modified version thereof. Stingers inject [paralyzing] venom, but also eggs[!]. It can stab and kill, but no male can have it. Like the womb, it is forbidden to men (“womb-like,” vaginal spaces have a forbidding alien atmosphere, which we’ll explore in a moment).

Insects tremendously impacted popular monsters like the xenomorph and later, Samus. Amazons are monsters, and Samus is only half-human. The other half is avian, but my point still stands: Humanoid insects (or animals more generally) are the site of alien depiction, but also behaviors humans typically abject. Unnatural strength is a thing to be feared, especially when viewed through a sexist lens. Though Samus is not insectoid, she still has levels of strength that mirror female insects. Hymenoptera are female dominant. Males are small, weak; they only exists to mate, and cannot work nor soldier—not unlike the submissive male roles in imaginary Amazon societies [source].

 [artist, left: Luciano Garbati; right: Benvenuto Cellini]

To this, the female [actual or in appearance/performance] vampire is something of a chimera, but also dragon, Godzilla or dominator whose powerful fangs/stinger is feared by powerful men/token executioners [cops] through collective insecurity but also collective, hand-me-down [master/apprentice] guilt: the proverbial sins of the parent against a vengeful monstrous-feminine. As usual, this code is executed in canonical, heteronormative videogames; i.e., to neglect, deny or scorn anything that isn’t “the Man.” Knights don’t just slay dragons; they make trophies of them.)

I went with vampires in this subchapter for a reason; they’re a very closeted kind of monster—always staying indoors, away from sunlight, but also hiding in plain sight by passing themselves off as “straight” (fooling no one; the point isn’t total concealment, but feigned subjugation within postures of controlled opposition). Sexuality under Capitalism is generally closeted, and the ancient canonical codes that Foucault warned about in A History of Sexuality weren’t generally applied to powerful-looking men: Count Dracula as presumed straight but actually being the poster boy for Sodomy 101 (the musical, theatrical play and Gothic castle [danger disco] serving as the relegated domains of the classic tortured queer seeking catharsis). True to form, praxial catharsis must happen according to a raising of emotional/Gothic intelligence and class/cultural awareness in order to break through Capitalist Realism’s myopic inability to imagine a different future; i.e., by reimagining the Gothic past, expressing state trauma during the present in relation to our past, present and future selves (we’ll unpack this more during Volume Two when we trot out Frederic Jameson’s corpse and beat it with a stick). This requires challenging the current chiefs of a colonized dialog raising cathedrals ringed with weird canonical nerds: Pygmalions as arbiters of the ghost of the counterfeit, hence the process of abjection.

Contrary to Pygmalions and canonical weird-nerd culture, monsters aren’t just commodities; they’re symbolic embodiments of speculative thinking tied to larger issues. You don’t simply buy and consume them (commodifying struggle) but use them as a means, if not to put yourself directly in the shoes of those being oppressed, then to think about things differently than you might normally. It’s an opportunity to empathize with the oppressed and contribute to their pedagogy in ways that, to be frank, make you less stupid, nasty and cruel.

I’d like to conclude this chapter, then, by using vampires to consider the Pygmalion standard as a) something to challenge in relation to oppositional praxis, and b) whose curious double standards have evolved into themselves over centuries; i.e., between men and women who, should they choose to challenge the status quo in a genderqueer fashion, might find themselves being compared to vampires (or similar monsters) during moral panics valorizing the likes of those who don’t rock the boat. We’ll work in pairs, looking at Radcliffe and Lewis, Steven King and Elvira, Farley Granger and Roddy McDowell, doing our best to consider what commonalities and discrepancies these disputes might entail. However, before we dive in, I have a few points for you to keep in mind…

(artist: protski)

First, the author’s foreword from Volume Zero introduced the Pygmalion as something to oppose through a Galatean double; i.e., not a subservient statue with (as Jameson puts it) “blind eyeballs,” but a cagey challenge to Patriarchal Capitalism and its heteronormative devices. Ignoring our usual Pygmalion’s commodifying of monsters, Galatea was just as gay as Dracula, and her Gothic mode of monstrous, Satanic poetics includes examining our own traumas and memories—be they real, imagined, or reimagined—as Gothic pastiche. This includes vampires as quick, scrappy shorthand for things that people tend to relate and respond to; i.e., the monsters, but also where to find them and how they function during liminal expression across various mediums (movies, television shows, books, masques, musicals, short stories, roleplay and videogames; etc) that likewise interact back and forth during oppositional praxis: canon vs iconoclasm.

Second, we need to remember that challenging the status quo occurs within sectors of capital that incentivize people not to speak out, but paradoxically give them the means to do just that (albeit in fabulously vampy ways). A generous portion of the Gothic mode, then, lives inside Western entertainment, whose industries host dialectical-material debates often held by famous personalities—talk show hosts, once-upon-a-time, but before them, novelists. The practice effectively started between Matthew Lewis and Ann Radcliffe, famously fencing back and forth while establishing Schools of the Gothic mode; in turn, their combatting fictions led by example, offering up warring critiques, art, political statements, porn, apologia, and polemics on a variety of taboo subjects (often centered around sex and violence). Through the ghost of the counterfeit, these became a stream of commodities that moved money through the natural-material world and formed a well-trod path for abjection to move forwards or in reverse.

Third, the vampire is something that survives by hiding in plain sight, while also being allergic to close inspection (most notably broad daylight) and whose revolutionary cryptonymy (as we shall see in a moment) strives for various amounts of stealth and showiness. This means that any attempts to challenge state monopolies yield moral panics that showcase the kinds of double standards present between men and women since Lewis and Radcliffe, into the Closeted Era of Gothic queer expression and towards bolder (more GNC-inclusive) times; i.e., in a Gothic dialog that has, until fairly recently inside mainstream circles, been commercialized as cis (and honestly still mostly is). As Radcliffe showed us, the accommodated author is generally complicit and celebrated for being straight, thus focusing on straight plights surviving foreign threats; as Lewis showed us, these “threats” took on the form of genderqueer demons, which later became the vampire as the 19th century saw homosexuality shove itself into public discourse (1870 seeing the arrival of the homosexual man as “a new species,” according to Foucault). Even out in the open, the male queer historically survives inside the theatre closet as something to take with them, never allowing the public confirmation of which team they play for but certainly teasing the Straights’ fear-addled brains. So while homosexual men were pegged as vampires, their status as men historically granted a fair bit of leeway to stretch their wings and vamp it up: onstage (with women historically being denied this privilege which simultaneously seeing their own homosexuality as fetishized by cis-het men in pornographic markets).

In short, the expression of vampires (and indeed, any monstrous symbol you could assign to genderqueer forces) historically has played out very differently depending on your orientation, but also your birth sex as naturally assigned; i.e., for centuries, men and women were treated violently when suspected of queerness (witches were burned alive, and gay men were labeled as criminals, but also as a plague, etc), but men like Lewis could still write The Monk and own it, provided they didn’t say the quiet part out loud (or without a disclaimer on par with Shakespeare’s Puck from A Midsummer Night’s Dream: “If we shadows have offended, / Think but this, and all is mended…”).

These three points are all things to keep in mind when considering the stupidities of workers around us who learn from famous persons working through the Gothic mode; i.e., working to enrich themselves, to be sure, but also express their thoughts and feelings on taboo subjects tied to the profit motive. The more you make, the more credence lent to you, but this varies further depending on if you’re male/female and if you queer/straight, etc.

Fourth, “Pygmalion,” as I use the term, is generally applied in reference to men—e.g., Steven King or James Cameron—but it could just as easily be applied to token groups; i.e., sell-out women, queer people or other minorities in the entertainment business banking on Man-Box bigotry to turn a quick buck against members of their own (or other) oppressed groups (and leading to various disastrous effects: unironic forms of the narrative of the crypt, Cycle of Kings, infernal concentric pattern playing out in real life). Radcliffe certainly did that, but she was straight. Nowadays, a Rainbow-capitalist market allows for an expanded degree of authors (and content creators: weird nerds not tied to big studios or publishing houses) who are complicit and/or closeted beyond just Lewis and Radcliffe fencing back and forth, but also working alongside one another in the same market; e.g., Elvira, Mistress of the Dark, sitting opposite Steven King through the decades in which they both worked:

(exhibit 12: Steven King is a white cis-het dude cashing in, but also a Pygmalion pushing his moderately heteronormative idea of Gothic commodities; i.e., fear as a structure that he manipulates and manufactures as a product, first and foremost [similar to Radcliffe]. According to legend, King Pygmalion creates and falls in love with Galatea. For our purposes, Pygmalion is the shadow of the Cycle of Kings[13], a patriarchal influence that banishes queerness to the shadows and dimorphizes workers to be cis-het men and women. This Shadow of Pygmalion is the lasting influence of such a myth on the public imagination, whose Gothic poetics must be challenged by active, constructively angry Galateas who buck the status quo in genderqueer ways that have been with the Gothic since the days of Matthew Lewis [also a Galatea—see my previous point about Pygmalions not needing to be male]. Cassandra Peterson is one such Galatea. A lesbian-in-secret for decades and now out of the closet, Elvira has been advocating for queer expression onscreen just as long.)

Under Patriarchal Capitalism, the creation of monsters is heteronormative, thus binarized and sexually dimorphic, but also divided between male and female creators in cis language alienating non-binary forms of Gothic poetics. Called “the Pygmalion effect” in my thesis[14], we’ll explore this facet of Capitalist Realism throughout the remainder the book: Heteronormative men (and token enforcers) are Pygmalion “kings” who create monsters in their male-dominated industries; subservient girls/queer people are monsters/monstrous, sexy props/de facto brides or chattel that sell abject merchandise by embodying blind pastiche. This applies many different registers—from Alfred Stieglitz to Frank Frazetta; to George Lucas to Ronald Reagan to Steven King to Jordan Peterson; to Elvis to Michael Jackson; to Dracula to God. All are kings, all are imperfectly and asymmetrically imitated by wannabe-monarchs—the female queens/princesses coercively wedded to powerful men and their Cartesian visions/misogynistic nightmares like the brides of Dracula or Frankenstein, etc. These marital sublimations of dynastic power exchange, hereditary rites and patrilineal descent manifest as cultish, but inclusive. As Deborah Layton puts it, “No one joins a cult. You join a self-help group, a religious movement, a political organization. They change so gradually, by the time you realize you’re entrapped—and almost everybody does—you can’t figure a safe way back out” (source: PBS’ Jonestown: the Life and Death of Peoples Temple, 2006).

By this same token, Pygmalion’s opposite, Galatea, offers up classically female/genderqueer “monarchs” and non-abusive groups/communities with which to belong during oppositional praxis; e.g., Elvira (exhibit 12, a proletarian queen) and Ripley (a liminal, sometimes-proletarian “space trucker” queen/sometimes-bourgeois “TERF queen,” exhibit 8b) or your run-of-the-mill sex workers rebelling and conforming to varying degrees: existing on the “rungs” of power as queens, but also figurative/literal princesses, lieutenants, captains, soldiers, etc. Either praxial type is distinguished by their good-faith or bad-faith façade; i.e., what is the queen-in-question angry about and what are they fighting for behind the persona—be they a witch, werewolf, zombie, vampire or some hybrid thereof, with all these canonical monsters personifying venereal disease but also bourgeois metaphors for homosexual[15] men as the problematic practitioners of monstrous-feminine sex, of sodomy (which we’ll examine more in Volume Two when we look at the history of vampires as a specific monster type): Roddy McDowall from Fright Night (1985) performing a queer/queenly horror show host similar to Elvira’s outspoken iconoclastic role as the “mistress of the dark.”

Similar to Walpole or Lewis, both horror hosts were queer but courtesy of Hollywood being staunchly heteronormative, coming out had its risks. Of course, a common way to hide was with a “beard”—marrying a member of the “opposite sex” (the phrase ignoring intersex people, of course) to keep the nosy blue-blooded neighbors from gossiping too much about your “female accomplishments” and string of male bachelors running about the place; i.e., hiding in plain sight.

Some people never bothered. For example, Terry of Gay Influence writes on Farley Granger (a co-star to McDowell in several productions, below):

unlike most other actors who were gay or bisexual, Granger refused to marry to keep his fans and studios off the scent of his male relationships. When studio bosses berated him for being seen having dinner with composer Aaron Copland, a known homosexual, he shot back, “(Copland is) one of the most important composers in America, a gentleman I met at this studio when you hired him to write the score for The North Star,” which was Granger’s debut film (1943). “I’m not going to be told…who I can or cannot see in my private life.” Granger turned on his heels and walked out of Sam Goldwyn’s office (source).

Of course, this was a giant risk that could have gone either way. Generally it would have been one taken by men who, depending on their level of status and the political climate, would have had better or worse odds announcing themselves as “problematic lovers” (re: “Understanding Vampires“). It’s vital, then, to be unafraid to reexamine the past with fresh eyes and language that historical figures wouldn’t actually have used, but may have understood better than you might think. Oppression is oppression, and that certainly hasn’t changed much in the recent centuries. At the very least, we need recognize the cone of silence that then-and-now continues to linger over those who fear state punishment as not only refusing to die, but expanding horrifyingly in all directions.

Revolutionary cryptonymy offers a paradoxical means of challenging these monopolies (and subsequent brain drains). However, until the Internet Age—i.e., since Lewis wrote The Monk over two centuries ago—resisting the decay of fascism and moral panic was something few men of privilege actually tried to an extent that would threaten their established livelihoods; e.g., like Oscar Wilde. But revolution won’t work if we martyr ourselves en masse, and smaller efforts can add up over time (especially collectively during intersectional solidarity in the Internet Age).

While learning from past struggles bleeding into fresh ones, it’s vital to consider how—after more precise language cemented queerness as a cultural identity in the shadow of the state—such persons merely became a separate species, but also a social disease that was commonly recognized as male (rebellious women were generally cast as witches, Amazons or whores, but their method of disease-spreading was seen as whore-like; i.e., attached to prostitution and unruly merchandise [again, women] versus sodomy being a crime committed by persons under the law—men). As often was the case, such things were seldom discussed out in the open at all, but that certainly didn’t preclude political action being taken by those with privilege, generally those who waited until they were older and more secure; e.g., Vincent Price as someone who “didn’t broadcast his sexuality [or use the words that would have spelled it out, but still stood] up and was counted when it mattered—attacking Anita Bryant’s anti-gay crusade in the 1970s, joining PFLAG as an honorary board member, and shooting one of the first celebrity PSAs to allay public fears about AIDS” (source: Dan Avery’s “Vincent Price’s Daughter Confirms He Was Bisexual,” 2015).

It’s important to recognize these instances when they actually happened, but also to understand the class-based stigmas and cultural forces guiding these persons to behave how they did: our aforementioned trifectas and cultural stigmas tied to state monopolies during oppositional praxis as an uphill battle ringed with dreadful, often unseen struggles. This obviously extends to homonormativity and queer assimilation by embodying the very stereotypes that straight people expected once the queer community couldn’t be ignored, but it also preceded it through the actors whose behaviors shaped future generations. McDowall, for example, played many queer-coded characters, but not actual gay persons. But something of the closet continued to trap them even after gay people supposedly were “out.” Time and time again, queerness has become both highly legendary and as invisible as Dracula’s reflection. The sad joke is, Dracula wasn’t invisible; he felt that way as a queer-coded behavior reflected back at him that he was expected to carry forward by victimizing himself and others around him—i.e., the LGBA targeting trans people by making them invisible, preying on them exactly how the state wants.

Such behaviors have clearly overstayed their welcome on- and offstage, demanding to be recoded through future cryptonymies that serve a revolutionary purpose (which we have already discussed in this chapter and which Volume Three, Chapter Five is entirely devoted to); but these older codes still remind us how desperate minorities become when they are treated as inhuman, diseased and invisible their entire lives. To feel welcome inside the one place they could ostensibly be themselves (Gothic theatre), token agents triangulate against the state’s enemies if it only means they can stall their own demise in the process. Some are less predatory and more meek (not a stab at their personalities but their character during class and culture war). As for McDowall, Andrej Koymasky of The Living Room writes:

Although McDowall never officially came out, the fact that he was gay was one of Hollywood’s best-known secrets. Like many of his contemporaries from Hollywood’s “Golden Age,” McDowall never publicly discussed his sexuality, but his relationships with other men were poorly-kept secrets and friends and lovers have confirmed in the years since his death that he was gay (source).

Yet, all of these examples were men, of course. A gay woman in Hollywood would face her own struggles to face when trying to “raise Galatea.”

Returning to Cassandra Peterson, then, Jazz Tangcay writes how Peterson is being “sexually fluid” in real life, but has largely been in the closet about it for decades for “business reasons” (echoes of McDowell, Price or Granger):

As Elvira, Peterson served as the Mistress of the Dark for four decades, starring in dozens of B-movies and portraying her alter ago on many TV shows. But behind the makeup, Peterson was guarding something very close to her heart—her sexuality. “I was scared that by coming out earlier, I could do some serious damage to my career,” she admits.

Peterson revealed all in her 2021 memoir, Yours Cruelly, Elvira, detailing her 20-year relationship with a woman while labeling herself as sexually fluid. The hesitation in talking about her personal life came from having seen many good friends come out—only to have their careers end up in tatters. When asked, she won’t name names, but she saw what happened. “They were men” is all she offers, and she couldn’t imagine what it would be like for a woman to do the same. […] After Peterson turned 70 last year, she decided she was ready to be herself in public: “If I don’t do it now, when the hell am I going to do it? Who cares if people hate my character as Elvira and it goes down the tubes?” (source: “Elvira, aka Cassandra Peterson, Opens Up on the Freedom of Coming Out,” 2022).

These same reasons haunt popular media at large, regarding women; e.g., the Gothic/postpunk “disco-in-disguise” of female musical personalities like Siouxsie Sioux from Siouxsie and the Banshees or the ambiguous sexuality of Joan Jett from The Runaways. Similar to Price, Peterson, Lewis, or Hirohiko Araki, etc, their queerness could be found at the castles they built for themselves; i.e., not to conquer death, but to live among and embrace it, dancing with the skeletons while making the Gothic their own through something akin to ludo-Gothic BDSM as I would describe it (and doing as Walpole did but further).

(artist: Quruiqing)

This short foray into vampires—and challenging the cultural stupidity engendered by Pygmalions and other weird canonical nerds—has merely been the beginning of a very monstrous (as gay-as-fuck) journey. Before we outline that odyssey in the next chapter, please remember that pastiche is merely the presence of remediated praxis, which Capitalism reduces to cheap, mass-produced counterfeits—called “blind” parody by Jameson and showcased in literal and figurative examples of the Gothic mode on various registers: workers acting like monsters; monsters representing workers, the bourgeoisie or their social-sexual power exchanges and linguo-material reminders of those things. As sublimated trauma, monsters are easier to confront, attack or befriend in complicated ways (doubles). Sticking with a dialectical-material approach, these monsters, lairs/parallel space and phobias can be canonical or iconoclastic within oppositional praxis, and there’s room for liminal, in-between gradients, too; re: as half-real, the ludo-Gothic BDSM-in-question happening on and offstage at once.

For the remainder of the manifesto, we’ll list these remaining things in order (then devote all of Volume Two to unpacking and exploring the history of monsters during oppositional praxis; e.g., Vampires being given their own chapter alongside ghosts: “They Hunger“). After that, the instruction half of the volume will consider their synthesis (of praxis) when confronting systemic trauma in our own daily lives; i.e., as healthy social-sexual habits that help bring the revolution of Gothic Communism home through ludo-Gothic BDSM. A vampire penetrates through sleeping and wakening moments crossing over into something profoundly more liminal, the animal hunger something to slake and camp in equal measure (sending “fluid” [and power, knowledge] anisotropically in both directions, mid-feeding time; re: Cuwu harmed me in taking too much, but I camped it to hopefully help others heal from rape even if they fully could not! Nothing lasts forever but some things stain and spread across their surroundings; i.e., through ghostly individuals who—long after they’ve left their mark—contain to gloriously haunt us: their dark desire to be remembered after they’re gone, neither here nor there but somewhere in between! To it, “Capital is dead labor feeding on living labor,” said Marx; we can feed back to camp his ghost, but also Cuwu’s!

(model and photographer: Cuwu and Persephone van der Waard)

Onto “Monster Modes, Totalitarianism (menticide) and Opposing Forces: Oppositional Praxis“!


About the Author

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). Any money Persephone earns through commissions or donations goes towards helping sex workers through the Sex Positivity project; i.e., by paying costs and funding shoots, therefore raising awareness. She takes payment on PayPal, Patreon, and CashApp, etc; all links are available on her Linktr.ee. Every bit helps!

Footnotes

[1] This process is generally referred to as “hammering swords into ploughshares”—not the end of the world in Biblical terms (where the term originally comes from), but an end of history as envisioned and historically-materially perpetuated under Capitalism as enacted materially and culturally through the Base and Superstructure.

[2] “…in Otranto, it was [Walpole’s] aim to combine the ‘imposing tone of chivalry’ and ‘marvellous turn of incident’ of the ancient romance with the ‘accurate exhibition of human character’ to be found in the modern novel” (source: Dale Townshend’s “Horace Walpole’s Enchanted Castles” from Gothic Antiquity: History, Romance and the Architectural Imagination, 1760-1840, 2019).

[3] I.e., the classic role of the vampire, with Jadis insisting I was the monster feeding on their sanity and blood, not the other way around. Ironically their accusations happened before I met Cuwu, who a) Jadis never knew about, and b) who pointedly told me they didn’t want to be a homewrecker towards Jadis and I.

[4] Vampirism isn’t rooted strictly in literal blood, but sanguine as a medieval form of physiological expression (essence) connected later to British morality plights about improper relations; i.e., extramarital sex as something that, if it didn’t kill you upfront, drained you of your sanity and lifeforce over time (effectively serving as a quadruple xenophobic metaphor for infidelity and venereal disease, but also domestic abuse and serial murder).

[5] They gave me their copy of A History of the World in Seven Cheap Things, which helped me tremendously when researching for this book.

[6] I would call this phenomenon “half-invited.” Yes, the exhibitionist girl had her window and curtains open/was showing off to anyone who would look while she (un)dressed. Even so, George was still in a tree with a pair of binoculars looking secretly at her. Despite involving a willing exhibitionist and voyeur, the circumstances weren’t actively agreed upon, thus exemplifying Mulvey’s Male Gaze in a canonical narrative.

[7] According to know-it-all, “Operation Paperclip” sublimation, Doc Brown. Re: “Paperclip” was the post-WW2 transplanting of German Nazi scientists into America’s institutions—with Wernher von Braun, the “father of modern space travel,” being a literal member of the Nazi party while Doc Brown’s de-Americanized family name is… von Bron (with Doc being a similar age to Wernher regardless of which fictional age you select). Like, Einstein was a Socialist and opposed to the Manhattan Project; why couldn’t they have made the loveable Doc a Jewish scientist, Spielberg?

[8] We’ll examine the vampire’s historical usage vis-à-vis homosexual men briefly here (exhibit 11b4) but much more fully in Volume Two.

[9] The drug given by Puck to Titania in A Midsummer Night’s Dream (source: Marissa Nicosia’s “Love-in-idleness, Part Two: Intoxicating Botanicals in A Midsummer Night’s Dream,” 2022).

[10] “Somno” (short for “somnambulism,” which means “to sleepwalk”) is sex wherein one party is asleep and the other is fucking them. It’s not uncommon for feelings of discomfort to be felt by the conscious partner—usually guilt—which often requires not just spoken agreements beforehand, but collars worn to visually signify the sleeper’s agreement that help mollify the awake partner that it’s ok to proceed.

In Cuwu’s case, they drained me while they were asleep; i.e., as a reversal of the common feeding scheme: feeding on a sleeping victim, which vampires perform as a kind of sex demon. The inverse—feeding on someone while sleeping/playing dead (sleep is the cousin of death)—can also be true!

(artists: Cuwu and Persephone van der Waard; font generated by Rezuaq’s “FromSoftware Image Macro Creator,” 2022; re: “Dark Shadows“)

[11] Fun fact: The actor who played George, Crispin Glover, was replaced because he disliked the monetary reward the McFlys get in the end; i.e., that the movie is arguing that they need to acquire it to be happy—not because they are interesting people but because they were assimilated. According to Adam Donald’s “How Back to the Future 2 Tricked You into Thinking Crispin Glover Returned” (2022):

Bob Gale, co-writer and co-producer of the Back to the Future trilogy, has long claimed that it was a salary dispute which led to Glover not reprising his role in Part II. Gale has claimed that because Glover was not a huge fan of the sequel’s script, he demanded he be paid $1 million to appear in the movie (source).

In essence, the producers fired Glover, lied about what he said and used his likeness without his permission (a taste of things to come in the AI days ahead of us).

[12] Including musical homages imitated and bandied to and fro; e.g., Michiru Yamane’s emulation of Western styles in Castlevania as a Japanese neoliberal counterfeit of the Gothic castle as originally forged in Britain.

[13] A term I coined, which my thesis volume describes as, “the centrist monomyth, or cycling out of good and bad kings and all the kings’ white cis-het Christian men or those acting like these men, thus warrior-minded good cops and bad cops in hauntological copaganda apologizing for state genocide—i.e., TERFs and other token groups.” Likewise, the “Shadow of Pygmalion” (another term I created for my arguments) is the harmful, lasting influence of the Cycle of Kings felt between fiction and reality concerning weird canonical nerds producing, consuming or otherwise endorsing material that upholds Capitalist Realism.

[14] “…inert, heteronormative dogma stuck on loop—our ‘Pygmalion effect’ as part of the broader Shadow of Pygmalion, which zombifies worker brains to not simply accept these moon-sized tortures through Capitalist Realism, but embody them as menticided soldiers and victims […] The two exist simultaneously within various offshoots of the colonial binary under the Shadow of Pygmalion; i.e., as a harmful mythic structure enforced by the gender trouble that weird canonical nerds experience; i.e., their rape culture‘s heteronormativity-in-crisis being pitted against the campy gender parody of weird iconoclastic nerds” (source: “Thesis Body”).

[15] Dale Townshend once told me in grad school that homosexuality—in the early 1800s—went from the “love that dare not speak its name!” to “the love that wouldn’t shut up!” by the time Bram Stoker wrote Dracula in 1897. “Love” is of course a tremendous misnomer, assigned to queerness as a kind of canonically monstrous “false love” tied to rape, disease and the disillusion of marriage and decency. Likewise, while good sexual health and education are important, they are also not the state’s aim. Rather, the state uses outmoded, Gothicized fears of venereal disease to stigmatize select groups as “spreaders” that need to be contained, controlled, even killed.

 

Room for Both: Horror and Social Commentary in 3 Japanese Classics

This is a 2025 reupload of a three-part blog series I did for Marilyn Roxie back in grad school, 2018. Originally posted on Video Hook-Ups between January 30th-31st and February 1st, 2018. While the June 2018 reuploads are still up on my old blog, I wanted to include them on my website, as well.

This article is a three-part cross examination of three mid-20th century Japanese movies that my partner and I have watched, together, over the past four months: Hiroshi Teshigahara’s Woman in the Dunes (1964), Toshio Matsumoto’s Funeral Parade of Roses (1969) and Kazuo Hara’s Extreme Private Eros: Love Song (1974).  Part one examines the plots and technical delivery of each. Part two explores Love Song more closely. Part three describes my love for Japanese cinema.

Video Hook-Ups is now set to private; but you can still find mention of it on Marilyn’s indie label, Vulpiano Records:

I’ve covered said material in the past; e.g., my YouTube video “My review for Vulpiano Records’ 10-year anniversary cassette tape*” (2019) specifically covering the C45 cassette version, which you can find on Vulpiano’s Bandcamp:

*The blog version that said video reads out loud: “Vulpiano Records Ten-Year Cassette Review” (2019).

Part One

None of these movies are related, apart from that. What’s curious is that each ends up feeling like a horror film, to me—in spite of it being inadvisable: the act of classifying them as “horror” in a purist sense. All the same, while watching them, I couldn’t shake the feeling of watching very different movies than whatever I had initially expected.

Teshigahara’s movie, Woman in the Dunes, is about an entomologist—tricked by some rather unscrupulous villagers into being lowered down a hole, out in the desert. The hole is surrounded by sand dunes that must be shoveled on a daily basis, lest they grow unstable and threaten the village resting on top of them. Meanwhile, the hole contains a hut, which will be destroyed first, unless the dunes are dealt with. A woman lives in this hut and she shovels sand. Like Sisyphus, she is resigned to her dull, inescapable task.

What a strange system, I thought. Why not use more practical methods? The answer is simple: Slaves are a readily-available, cheap alternative (one theory as to why the Romans never developed past a certain technological state is because they didn’t need to: they had all the slaves they could ever require; the same warped logic is applied by the villagers). In any case, the man falls in love with the woman, who becomes pregnant and is evacuated, while he remains. When, at last, he has a chance to escape, he chooses not to. He has acclimated to his new prison.

At the end, I was left feeling as though I’d just watched a lengthy Twilight Zone (1959-64) episode. This was not my feeling going in. The best horror often leads off this way. It establishes a false sense of security and then disillusions it; said reveal can be sudden, or gradual. Dunes was a bit of both—the shock at the start, and the gradual acceptance of one’s inescapable doom.

In Funeral Parade of Roses, we are presented with something altogether different: a “queen,” or man who dresses and acts a woman, including sleeping with men—in 1960s Japan. This seemed largely to involve performances—makeup, body language, upspeak—rather than surgical procedures. Needless to say these persons aren’t always accepted: they skirmish with surly women, whilst their own male lovers uselessly fawn over them from a distance.

Wanting to be different, the protagonist, Peter, walks around, troubled, not simply because he is a queen, but how he became one. Towards the end of the movie, his past is shown, with his mother scolding him fiercely for wearing makeup like a girl. The son explodes, killing his mother—along with an unfamiliar man whilst the two adults are about to have sex. It’s a very violent ordeal, brought to life with terrific blood effects. Peter’s tendency to explode builds, eventually leading him to gouge out his own eyes, like Sophocles’ Oedipus. The gore, here, is equally fabulous, using makeup and prosthetics to rival the sort of digital visual effects showcased in much newer movies.

Being shot in black-and-white, Roses reminded me of a much bloodier version of Alfred Hitchcock’s Psycho (1960). In that movie, Hitchcock used chocolate syrup for its famous kill. I’m pretty sure Matsumoto didn’t, with his actors. Blood is hard to get right (while far from the greatest movie ever filmed, Brian O’Malley’s Let Us Prey [2014] at least manages to). In particular, fake blood in older movies generally looks pretty shoddy. For example, in William Friedkin’s The French Connection (1971) it looked way too thick, like ketchup; then again, in newer movies, like Tarantino’s latter-day output Django Unchained (2013) or The Hateful Eight (2015) the blood looks oddly like paint (this is a stylistic choice, not a technical limitation, however). Whatever the reason or method, Matsumoto’s blood looks fabulous; his characters wear white, and their pure clothes are coated in black blood that stains, runs and ruins.

Maybe blood, like cigarette smoke, simply looks more striking in black-and-white. Then again, maybe not: many horror movies look excellent in color. I certainly can’t imagine Fred M. Wilcox’s Forbidden Planet (1956) in black-and-white: when purple, those blaster shots simply leap off the screen at you. At the same time, they were displayed as black-and-white in John Carpenter’s Halloween (1978): in that movie, a little girl stares at Forbidden Planet, featured curiously on her family’s old, black-and-white television set. Such sets were common, in the 1950s, when the movie was new (seeing it in color would have been a privilege exclusive to the theater). I’m not sure if they were, in the late 1970s, but I remember my brother owning one as a collector’s item, in the 1990s. Apart from colorful visual effects seen in Forbidden Planet, the Technicolor showcase The Wizard of Oz (1939) initially bombed. It didn’t pick up steam—not until broadcast on family TV sets, in the 1950s (the irony being that many of these sets would have been black-and-white).

The fact remains, Dunes and Roses both felt perfect to me, as black-and-white movies. So does the third movie, Love Song. Shot by Kazuo Hara, its premise is explained from the offset: Hara, unable to cope with the loss of the girlfriend who left him, shoots her (with a camera). He does this with her permission, while she and her partner(s) are in the room. To quote Tom Hanks, from Joe Dante’s The ‘Burbs (1989): “I’ve never seen that; I’ve never seen someone drag their garbage down to the middle of the street and then bang the hell out of it with a stick.” Despite having seen hundreds of films, across genres, I’ve never seen what Hara does with Miyuki.

That being said, I’ll be the first to admit that the premise of unwanted separation can be used to great comedic effect. Just watch Nicholas Stoller’s Forgetting Sarah Marshall (2008) or David Wain’s Role Models (2008): the guy who can’t let go is either a hilarious or a sympathetic wreck. And yet, while I’ve heard an ex stalking a former girlfriend, including by filming them, I’ve never in all my days heard of someone seriously being allowed to do so by their old partner—to act as a silent observer in midst of all her future shenanigans. Who’d want to film that?

I figured, Hara must be a glutton for punishment—that or the whole affair had to be royally trashy. Instead, I found it fascinating and insightful. This is because whole the invasive process required Hara to have been in the same room with Miyuki and her lovers (an immediacy assisted by the analogue approach); we’re privy to it all, seeing how his unwelcome presence exhibits a toll on everyone, including him. It’s a unique perspective, to say the very least.

Miyuki’s also a piece of work. She boldly “experiments,” trying relationships with other women, and black men with “big black cocks” (which she writes, in pamphlets she wrote and printed herself, before trying to administer them amongst angry men, in Okinawa). She hotly encourages women to simply take a man’s money and run. I don’t think the 1970s would have allowed for anything other than radicalism, given how stringent expectations on female behavior were, in Japan or abroad (the Okinawans tore up Miyuki’s pamphlets and attacked Hara).

If I’m being honest, my gut reaction was that everyone in the movie was ridiculous. However, then I paused and wondered to myself, what’s so outrageous about birth or parenthood? These are very ordinary things. Miyuki simply didn’t want to be a stay-at-home mom, didn’t want to have to be stuck with a man she didn’t love (simply due to him being Japanese). Sure, it sucks to be him; then again, given the way Miyuki was acting would he have been happy with her as she was? Or should he have put her in her place?

The movie, to its merit, raises awareness towards a lot issues like these—ones that would otherwise simply go unaddressed, even nowadays. I shall explore Love Song in further detail, in part two.

Part Two

Horror excels at exploring taboos—those things which disgust us. Here, the movies Woman in the Dunes, Funeral Parade of Roses and Extreme Private Eros: Love Song do just that. In particular, Love Song has Hara follow his ex, Miyuki, around, filming her as she jumps from partner to partner. From an emotional standpoint, this, right here, would make for a good horror premise, wouldn’t it?

The movie does us one better, however. It has Hara film Miyuki giving birth to Yu, her second child (not his). And when I say he films it, I don’t mean shots of her groaning stentoriously followed by an immediate cut to her magically holding the swaddled tot. Instead, I mean the actual birth, unsterilized (eat your heart out, Ridley Scott).

It’s goes beyond mere medical exhibition, though. We’re not just seeing the kid being pushed out, here, but a scandal in the making: a birth that is anything but the result of a purebred Japanese nuclear family (a native husband and wife who bears only his children). Instead, the baby is Miyuki’s second: from another man—and not just any man, but a black man! Perhaps in today’s day and age this isn’t so odd; in 1970s Japan, it would have been unimaginable.

Thus, leading up to the birth and during it, we have actually have three nightmare scenarios: male impotency, racial supplantment; and the delivery, itself. First, the abandoned lover is made redundant by another man. Second, that competitor is black. Third, the fruit of their deplorable union is exposed for all to see (when shooting it, Hara was so nervous that he failed to notice the shot wasn’t always in focus). The movie doesn’t imply these themes; it candidly narrates them.

Miyuki continues to surprise, as well. During the birth, we watch her calmly speak about how exhilarating it is as a process. There is nothing fake about any of this—especially her conviction. She squats and prods her belly before laying out the plastic sheets, the buckets of water. She knows the whole process like the back of her hand; and thus, might as well be cutting the lawn, for all the shock it poses on her system.

Indeed, she smiles and laughs all the way through, chirping happily into a microphone being held by another woman, who smiles politely and listens to everything Miyuki says as she gives a blow-by-blow commentary on and during her own pregnancy. I was hooked, all the more so because this isn’t a visual effect, but a real, undeniable event. As Kambei Shimada in Seven Samurai (1954) said, of the speared woman carrying her baby to safety from the burning mill: “What willpower!” Concerning my reaction towards Miyuki, the incredulity was no less inspired.

All the while, the baby is forced out, dangling by its umbilical cord as Mom prates nonchalantly about placentas. If that isn’t horror I don’t know what it is. Yet, Miyuki isn’t rambling. She’s lucid, putting her money where her mouth is. The movie paints a genuine picture of earnest, enthusiastic motherhood detached from men altogether. To this, the movie raises a lot of interesting points. For example, in watching Miyuki give birth, I have to wonder why men consider any resultant child to be solely theirs, the so-called “fruit” of their labor versus the mother’s. Given the choice, what man would swap places? You tell me.

Personally I think this kind of rhetoric—of men owning their children and their money—is aimed to keep women around more than convince them of anything that is actually true.

One, my own father spent as much on other women than he did Mom; instead of providing for us kids, he wooed other men’s wives (men who were his friends, who trusted him). Was it his right, simply because he worked, as a man? The only reason Mom couldn’t work was because she was pregnant, thanks to him. Yet, after the divorce, she worked and went to grad school, doing her own thing. Likewise, Miyuki decided to raise Rei and Yu on her own. In my opinion, she succeeds. Yes, she lives with men, but also women, and eventually on her own. All the while, Rei’s father misses them; Yu’s couldn’t care less. Regardless, Miyuki simply doesn’t need their money to be a mother because, like them, she’s capable of making ends meet.

Two, is men’s money actually theirs? They certainly like to say it is. To me, the whole idea of owning money seems odd (for the majority of us who don’t own banks). It’s not like most men own the place they work at, either. I mean, does the paycheck they get actually constitute as theirs when it’s signed by someone else? I wonder.

Furthermore, should they be allowed to do whatever they wish, including let their own children suffer from neglect? Whatever happened to parent responsibility? This includes managing funds and not devoting the majority of those to drugs or booty calls whilst one already has a pregnant wife and three small kids sitting at home. If one can’t handle that, then don’t have kids. Or, is that and having sex every man’s right—essentially to do whatever one pleases?

I can’t condone such heedless, flippant hedonism. So while I may be a result of my father’s errant trysts, it doesn’t mean I approve of what he did, following that. Nor do I approve of telling “lazy” women or kids to fend for themselves, while the “hard-working man” assumes total ownership over them, but doesn’t actually provide. Such a blatant double standard is having one’s cake and eating it, too; it’s convenient nonsense. There’s no reason to allow for it beyond enabling those in total control to bask in the luxurious perks.

None of this means I like Miyuki—point in fact, as a mate, I don’t; I find the idea of being with her not only unappealing but impossible (she wouldn’t allow it, for starters). At the same time, whilst giving birth to Yu, Miyuki seemed pleased, more so than she was at any other point in the movie (with the men, on-screen). And why shouldn’t she be allowed that chance, the same as everyone else?

At the same time, the men are free to complain, here. If they felt wronged, certainly they could’ve taken it up in court. None do. Let’s not forget, these men choose not to be in the picture; many simply disappear long before the woman knows she is pregnant (especially in those days, when pregnancy tests and contraceptives were far less reliable than they are now). Should Miyuki pay for it by being labeled a slut? If so, then why is the man given a pass, here? Is what happened to Miyuki just another case of the old adage, “boys will be boys; girls will be mothers”? Or, should both sides be held accountable?

What I liked about Love Song is that it gets one thinking about these questions, even if we don’t agree with the answers. For example, I initially thought Miyuki was mental; in the end, I felt her methods extreme, but not devoid of merit. At the very least, she shows us society isn’t fixed, but can change. I didn’t see this as a bad thing but that’s just me. Certainly it can always be argued that some people are happy with the way things are. However, what about the ones who aren’t? Shouldn’t they also be allowed to do as they wish? In fact, doesn’t the whole idea of individualism revolve around such entitlement? If people want to be themselves and try to change the world, in the process, more power to them. That’s what free speech is all about.

Part Three

My partner and I love to show each other movies. Our mutual aim is to show the other something different, and to explore new things together. Neither of us had seen these three movies. I wasn’t quite sure what to expect. However, lacking a better way of putting it, none of the movies—based on their premise, cover or pedigree—screamed “horror!” They sounded like dramas, more interested in social commentary. What I didn’t realize is there was plenty of room for both.

All the same, I was interested by them, having been deeply fascinated with Japanese movies ever since I was little. One of the first Japanese movies I saw was Kurosawa’s Seven Samurai (1954). Having repeatedly heard it to be one of the greatest movies of all time, I decided to watch it; I loved it, and showed it to my friends and family (and their friends). To this day it’s one of my all-time favorites.

From Kurosawa’s own canon, I also saw Ran (1985), Throne of Blood (1957) and Stray Dog (1949). By the time Kurosawa did Ran, he was no longer working with Toshiro Mifune. However, from 1945-68, the pair had done 16 films together. Needless to say I was exposed constantly to Mifune on-screen; he always had a starring role, always hit it out of the park. I was engrossed with his talent, and Kurosawa’s. However, whilst Mifune remained as prolific as, say, someone like Clint Eastwood, I daresay he managed it without the burden of only being portrayed as a man of few words (whereas Eastwood made a career out as just that).

Watching Mifune, I realized how varied he could be: In Throne of Blood and Seven Samurai, he was over-the-top, demanding your attention. And yet, in movies like Kihachi Okamoto’s Sword of Doom (1966) or Hiroshi Inagaki’s Samurai trilogy (1954-1956), he displays much more reserved warrior—in the form of Toranosuke Shimada or Musashi Miyamoto, respectively. That variety certainly didn’t hurt his career or the notoriety that came with it; he continued to acting for another three decades, but (for better or worse) would always be the man who played Kikuchiyo, Tajômaru and Miyamoto.

To this, one can note a cross-cultural heritage throughout worldwide cinema: In seeing Inagaki’s aforementioned trilogy, it was for me hard not to compare it to Leone’s Dollars trilogy (1964-66) that followed, ten years later—just as I struggled not to compare John Sturges’ The Magnificent Seven (1960) to Kurosawa’s Seven Samurai.

This is because movies mirror each other. It just happens. Likewise, so do actors: I see Mifune’s varied career and find myself thinking of Robert Redford and Paul Newman, working together as reversible, polarized opposites in the George Roy Hill movies Butch Cassidy and the Sundance Kid (1969) and The Sting (1973). Good actors should play against type—if not, should own it (see: Eastwood). The best do both (see: Mifune).

The point here is that movies are flexible, as are their actors. Mifune wasn’t restricted by what made him famous, early on. Instead, he evolved, demonstrating himself capable of being more than anything suggested by his outer layer (that, and he had expensive appetites—bills that weren’t going to pay themselves). Thus, as of now I can’t simply look at him and assume anything concrete when watching a new (to me) movie, from his extensive canon—anymore than I could of Robin Williams, Max Von Sydow, or Peter O’Toole.

Williams has made more garbage than I so easily list, here; he’s also starred in excellent movies like (according to me) Seize the Day (1986) and (according to most people) Good Will Hunting (1997). Max Von Sydow starred as Antonius Block in the seminal The Seventh Seal (1957) and Ming the Merciless in the guilty pleasure that is Flash Gordon (1980). O’Toole immortalized himself as Lawrence, in Lawrence of Arabia (1962) then co-starred in the frankly-awful Supergirl (1984).

Perhaps they needed paychecks. Mifune certainly did. Then again, it didn’t stop Frank Langella from delivering a wonderful performance as Skeletor, in Masters of the Universe (1987). His thespian heft doesn’t change the fact that the movie is mostly sub-par, but at least Langella is having fun; if not for that, the movie wouldn’t be any at all, for us. It just goes to show that, when dealing with movies and their actors, you shouldn’t judge a book by its cover—or, as James “J.Y.” Young from Styx once said, “sometimes the cover makes the book.”

The same is true with Woman in the Dunes, Funeral Parade of Roses and Extreme Private Eros: Love Song. Each is a black-and-white Japanese movie from the mid-20th century. As I watched each, it seemed straightforward enough: drama, and society commentaries on controversial topics. However, as things progressed, I realized I was dealing with a trio of films that worked just as well as horror as anything else. I went into them with my own subdued expectations—least of all, the sort of classic horror provided by Carpenter, Cronenberg or Scott. At the same time, I also wasn’t surprised to have these predictions obliterated, given the sheer potential contained within Japanese cinema, as demonstrated by Kurosawa, Okamoto or Inagaki. Instead, as each movie proved itself capable of being more than whatever I simply predicted, I was delighted to be proven wrong.


About the Author

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). Any money Persephone earns through commissions or donations goes towards helping sex workers through the Sex Positivity project; i.e., by paying costs and funding shoots, therefore raising awareness. She takes payment on PayPal, Patreon, and CashApp, etc; all links are available on her Linktr.ee. Every bit helps!

Book Sample: “Make It Real” Volume Contents and Disclaimer

“Make It Real” is a blog-style book promotion, originally inspired by those done with Harmony Corrupted and Romantic Rose for Volume Two; re: “Brace for Impact,”  “Searching for Secrets” and “Deal with the Devil” (2024). Those promotions sought to promote and provide Volume Two, part one and two’s individual pieces (two halves, but three modules) for easy public viewing in single-post form; re: for the Poetry ModuleUndead Module and Demon Module. “Make It Real” shall do the same, but with Volume One/the manifesto (versus “The Total Codex” promoting Volume Zero/the thesis volume). As usual, this promotion was written, illustrated and invigilated by me as part of my larger Sex Positivity (2023) book series. This specific promo post includes Volume One’s table of contents (and hyperlinks to each post), followed by the book disclaimer.

Further Reading: As of 3/13/2025, I’ve given every book volume/(sub)module its own promotion series. Access all of them, here.

The “Make It Real” promotion is fully online; with it, a new second edition of the volume (v2.0) is also online, which you can access for free on my book series’ one-page promo. To learn about the changes contained within the second edition, read the new 2025 foreword, “A 2025 Foreword: On Volume One’s New Edition Focusing on Ludo-Gothic BDSM (and Cuwu)“! —Perse, 4/9/2025

Volume One is already written/was released on Valentine’s 2024! 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)!

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 model(s). For more details about artist permissions, refer to the book disclaimer found either at the bottom of this page or on its own webpage.

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.

(artist: Blxxd Bunny)

Contents (for Volume One) 

Volume One, unlike Volume Two, lacks separate modules or sub-volumes. Instead, it is entirely self-contained. Even so, its material still divides into different sections, whose main halves and separate chapters I’ve outlined ahead of time:

  • The preface explains how Gothic (gay-anarcho) Communism differs from older Gothic and Marxist academia/praxis that I wish to modify and borrow from (Marxist-Leninism, postmodernism, psychoanalysis) in order to proceed beyond the myopia of Capitalist Realism using a unique synthesis of Gothic theories, Marxist concepts, and various other factors presented with commonplace language as freighted, liminal and already-colonized, but also potentially freeing when used by workers to open up their minds in dated, pulpy ways: the proletarian Gothic imagination.
  • Manifestosimplifies the complex theory of our thesis volume by providing our manifesto in full; the manifesto gives our mission statement, as well as a variety of signposts and core ideas I’ve coined/retooled from older thinkers: the six Gothic-Marxist tenets of Gothic Communism (the Six Rs), four main Gothic academic theories (the Four Gs); its essays/essay groups (The Nation-State,” “An Uphill Battle,” and Monster Modes) also explore the topics of the Gothic mode we’ll continue to cover through the rest of the book—its monsters, lairs/parallel space, Hermeneutic Gothic-Communist Quadfecta, and phobias—as well as the Six Doubles of Creative/Oppositional Praxis and their synthetic oppositional groupings through which to synthesize, thus interrogate state abuses using trauma writing and artwork.
  • Instruction focuses on instructing theory once simplified by using trauma writing and artwork as a synthetic, educational means of Gothic poetic expression. The manifesto postscript tackles generational trauma and police abuse by seeing it in others through their pedagogy of the oppressed; the sample essay uses every key idea in my book to analyze a primary text at full speed; Paid Labor stresses the value of paying workers when synthesizing praxis; and the synthesis symposium covers how to use the synthetic oppositional groupings to synthesize our general terms and academic ideas, processing them (and our trauma) into idiosyncratic, emotionally and Gothically intelligent social-sexual habits within our own lives; it covers more at length what we illustrated during the camp map finale in Volume Zero, focusing on Cartesian trauma and how its profit motive unironically treats nature as food: (rape and war that harvest nature through monstrous-feminine dialogs).

These sections essentially function as a module would for Volume Two, save that they operate deliberately inside one book volume rather than dividing it up into separate modules (a tenable goal, given my thesis volume is quite a bit shorter than Volume Twos various modules); i.e., Volume One takes Sex Positivity‘s entire thesis argument from Volume Zero and simplifies it into what I call “the Basics” (of opposition synthesis), while also introducing the tools of the state and ways we can subvert said tools through our own daily synthesis cultivating good social-sexual habits. “Manifesto” and “Instruction” contain multiple chapters, subchapters, and so on (though nowhere near as many as Volume Two’s various sub-volumes do). Even so, it is my shortest and most accessible volume.

Cover model: Blxxd Bunny

Volume Summary

Volume One contains the simplified theory of my book series; i.e., its Gothic-Communist manifesto outlines a teaching method for synthesizing praxis, meaning through an introduction to Gothic-Communist theory from my thesis volume that has been simplified.

Written before my thesis but updated in light of its construction, the manifesto takes a more conversational approach to my thesis argument; i.e., presenting said argument through my original preface, manifesto, sample essay and synthesis roadmap as a potent means of teaching others how to develop Communism through the Gothic mode. To this, Volume One merely begins exploring the application of my theories when trying to achieve development through praxial synthesis and catharsis; i.e., power and trauma as things to interrogate (and negotiate/play with) by writing about and illustrating them through Gothic poetics in the shared dialogs of contested spaces: ludo-Gothic BDSM serving as a flexible, campy and productive means of teaching empathy and class/culture consciousness through anecdotal evidence merged with dialectical-material scrutiny and analysis—where survival and healing from state abuse (and generational trauma) must be expressed through what we create ourselves as stemming from said abuse and its complicated spheres. While the reduction of pure theory to more comprehensible forms remains vital to achieving emotional/Gothic intelligence and class/cultural awareness, their instruction is nonetheless informed by workers living with trauma who inherently distrust the state: the oppressed. Heeding their pedagogy remains essential when synthesizing praxis in our own daily lives; i.e., through our personalized learned approaches to Gothic instruction being assisted by those with less privilege merging their poetics (and theatre) with ours.

approximate volume length (“): ~206,000 words/564 pages and ~394 images

(artists: Cuwu and Persephone van der Waard)

Foreplay to Revolution (opening, outline and preface)

Opening Summary

The opening, outline and preface before the manifesto proper.

Posts

  • -2. “Appetizers; or, Paratextual Documents for Volumes One through Three“: Various smaller and less essential paratextual documents (versus more essential ones; re: “Paratextual (Gothic) Documents“); i.e., those included inside the volume PDFs released after my PhD. Length: ~23 pages.
  • -1a. “Volume One: Manifesto and Instruction” (volume opening): The opening for the entire volume. Opening Length: ~1 page.
  • -1b. “Returning to Volume One, Two Years Later (give or take) after Five Books; or, Cuwu’s Hand in Forming Ludo-Gothic BDSM” (included with volume opening): Discusses my past relationship with Cuwu; i.e., as someone who helped me formulate the early ideas of ludo-Gothic BDSM before Blxxd Bunny and I prototyped it, in 2023. Length: ~12 pages.
  • 0. “Manifesto/Instruction Volume Outline” (included with volume opening): A short outline for the entire book (already included, above; re: Contents). Length: ~3 pages.
  • 1. “Preface: Gothic (gay-anarcho) Communism; or, Synthesizing Emotional/Gothic Intelligence through a Sex-Positive Gothic Mode” (included with volume opening): The preface to Volume One explains, by and large, what separates Gothic (gay-anarcho) Communism from Marxist Leninism; but also, it stresses the importance of killing our darlings/past heroes in favor of a better worker mindset towards universal liberation. Length: ~20 pages.

Manifesto

Opening Summary

Volume One’s second main section, after the preface, takes the complex theory from Volume Zero and simplifies it into a manifesto-like format; i.e., from complex theory to simple.

Posts

  • 2. Manifesto: Simplifying Theory” (section opening): The opening to and signpost element of the volume’s manifesto section. Opening Length: ~3 pages.
  • 3. “The Gist: Our Gothic-Communist Mission Statement and List of Oppositional Praxial Coordinates, Including Our Tenets and Main Gothic Theories” (included with section opening): Gives our mission statement, then outlines the entire manifesto (the manifesto tree of oppositional praxis) list by list. Length: ~19 pages.
  • 4. “The Nation-State: Remediating Modern-day “Rome,” Gargoyles, and the Bourgeois Trifectas; also, critiquing Amazons as Liminal Expression” (feat. gargoyles and Autumn Ivy—included with section opening): Unpacks gargoyles in the canonical sense, then introduces and explores the trifectas of capital, but also explores tokenized coercion; i.e., as it occurs under manufactured conditions during liminal expression inside weird-nerd culture—specifically Amazons and the performance of that particular monster type as “gargoyle-esque” when personified by weird canonical nerds punching down; e.g., Autumn Ivy, a non-binary sex worker who abused me during our own labor exchanges. Length: ~47 pages.

(artist: Roxie Rusalka)

  • 5. “An Uphill Battle (with the Sun in Your Eyes): Operational Difficulties” (sub-section opening): Outlines the many pressures and forces existing during the struggle to synthesize praxis and unify workers using monstrous poetics; the three monsters (and their trauma style) we focus on are gargoyles, Amazons and vampires. Opening Length: ~1 page.
    • 5a. ” part one: “Introducing Revolutionary Cryptonymy and the State’s Medieval Monopolies on Violence and Terror through Animalized Morphological Expression” (sub-sub-section opening—included with sub-section opening): Introduces the problem of state monopolies through violence, terror and morphological expression, and how to fight back as a state victim through revolutionary cryptonymy by using animalized Gothic poetics. Opening Length: ~14 pages.
      • 5a1. “Predators and Prey (part one): Predators as Amazons, Knights, and Other Forms of Domesticated, Animalized Monster Violence” (feat. James Cameron—included with sub-section opening): Considers the state’s monopoly of violence (and terror) as told through its animalized soldiers, but also their bodies as things if not depicted in heteronormative ways, then policed as such; i.e., by the Amazon and similar monstrous-feminine entities as relayed in ways that generally “corrupt” and triangulate against/prey on other minorities. Length: ~31 pages.
      • 5a2. ” (part two): “Prey as Liberators by Camping Prey-like BDSM; Its Bodily Psychosexual Expression and Campy Gothic Origins Stemming from Horace Walpole onwards“: Considers those who hide like, and manifest as, animals in the shadow of unironic Gothic castles (whose initial formation and campy subversion through ludo-Gothic BDSM we will also examine, vis-à-vis Horace Walpole and Matthew Lewis). Length: ~48 pages.
    • 5b. ” part two: “Concerning Rings, BDSM and Vampires; or the State’s False Gifts, Power Exchange, and Crumbling Homesteads Told through Tolkien’s Nature-Themed Stories“: Concerns arrangements of power that are shared and worn: namely rings and collars of the Tolkien-esque sort, and in various roleplay settings but especially the Gothic castle and vampirism as something to summon and evoke. Length: ~44 pages.
    • 5c. ” part three: “Challenging the State’s Manufactured Consent and Stupidity (with Vampires)” (feat. Cuwu): Takes part two’s praxial factors and considers them in relation to the state’s authored stupidities; i.e., as things to challenge through our own Gothic poetics’ creative successes when interrogating trauma ourselves. Length: ~40 pages.

(artists: Cuwu and Persephone van der Waard)

Instruction

Summary

My thesis proper as a statement to introduce, then argue against canon with. Said introduction includes various foundational elements, upon which my core thesis argument rests, and whose body extends into two segues before the “camp map” (which focuses on camping canon): the roots of camp and praxial inertia (obstacles to heed, mid-praxis).

Posts

  • 7. “Instruction: Trauma Writing/Artwork, or Surviving and Expressing Our Trauma through Gothic Poetics” (section opening): The opening/signpost section to the instruction half of Volume One. Opening Length: ~5 pages.
  • 8. “Manifesto Postscript: ‘Healing from Rape’—Addressing ‘Corruption,’ DARVO and Police Abuse with the Pedagogy of the Oppressed in Ninja Scroll and The Terminator” (feat. Cuwu—included with section opening): Discusses learning about the trauma of others to help someone process their own in lieu of state abuses (through the police and their deputized terror tactics in stochastic forms): with heroes and monsters. Length: ~39 pages.
  • 9. “Gothic Communism, a sample essay: ‘Cornholing the Corn Lady—Ghostbusters: Afterlife and Empire’“: Offers a small reprieve while we examine Ghostbusters: Afterlife through a postcolonial lens, vis-à-vis Edward Said. Length: ~15 pages.
  • 10. “Paid Labor: Summarizing Praxis as Something to Synthesize by Paying Workers” (feat. Delilah Gallo, Rae of Sunshine, and Feyn Volans—included with sample essay): Briefly discusses an important refrain to solidarized labor under sex positivity: sex work is work, which needs to be paid. Furthermore, it explores how many different kinds of work constitute sex work, insofar as Capitalism dimorphically sexualizes all workers, and that intersections of art, porn, prostitution, and writing must collectively negotiate and express worker rights and boundaries through intersectional solidarity. Length: ~16 pages.
  • 11. “Synthesis Symposium: Nature Is Food; a Roadmap for Forging Social-Sexual Habits, or Cultivating Gothic-Communist Praxis in Our Own Daily Lives/Instruction” (sub-section opening)”: A symposium that considers trauma as a Cartesian enterprise, treating nature as food. As such, it discusses a means of synthesizing praxis, thus interrogating and processing Cartesian trauma (war and rape) in our own daily lives in opposition to state forces harvesting us. It provides a lengthier sample of synthesis than Volume Zero’s camp map finale, but still constitutes a taste of what we will discuss and propose even more thoroughly in Volume Three; i.e., when we explore proletarian praxis at length. The roadmap comes in four parts, which we’ll unpack and signpost more when we arrive. Monster-wise, though, it explores generational trauma during Gothic poetics in relation to nature-as-monstrous-feminine; i.e., exploited by Cartesian thought to canonize, thus facilitate, unironic war and rape: Medusa, but also forbidden expressions of the Medusa through Georgia O’Keefe, H.R. Giger and more recent, less infamous auteurs. It also examines Cartesian arrangements of state violence and resistance according to Heinlein’s competent man and Kurosawa’s Western. Keeping with the Medusa, though, the roadmap will also explore Amazons, phallic women/traumatic penetration, and various abject morphologies policed under Cartesian binaries during pornographic expression; e.g., racialized tropes, but also fat people at large. Opening Length: ~3 pages.

(artist: Persephone van der Waard)

    • 11a. “Synthesis Roadmap, or Nature Is Food, part zero: Pre-Symposium; or, Synthesis, Equations and Cartesian Trauma (war and rape)” (included with sub-section opening): Explains what synthesis is, as well as providing equations and trauma to prime the reader with before pressing into the symposium itself. Length: ~20 pages.
    • 11b. ” part one: “The Basics of Oppositional Synthesis; or Outlining Girl Talk, Menticide, the Liminal Expression of Subversive Revolution and ‘Perceptive’ Pastiche in the Face of Cartesian Trauma” (feat. Medusa, Stigma Animals and Georgia O’Keefe): An examination of the basics, or pure reductions, of our synthetic oppositional groupings; i.e., how our pedagogic emphasis involves oppositional praxis as something to synthesize according oppositional synthesis with a proletarian agenda: to prevent war and the rape of workers/the natural world by raising emotional/Gothic intelligence and, by extension, a class/cultural awareness that leads to systemic catharsis; i.e., through trauma writing and artwork as things to express and teach through a basic educational approach. Features Medusa and stigma animals, but also Georgia O’Keefe, H.R. Giger and more recent auteurs. Length: ~46 pages.
    • 11c. ” part two: “A Deeper Look at Cartesian Trauma in War Culture” (feat. Robert Heinlein and Akira Kurosawa): An iconoclastic consideration of war culture and how it can be interrogated and synthesized in our own creative responses to canonical forms; i.e., how to recognize said canon and express our trauma in relation to it during class/culture war as a means of challenging Cartesian arrangements of power and outcomes. Features Robert Heinlein and Akira Kurosawa. Length: ~24 pages.
    • 11d. ” part three: “A Deeper Look at Cartesian Trauma in Rape Culture” (feat. phallic women/traumatic penetration and sports abuse): An iconoclastic consideration of rape culture and how it can be interrogated and synthesized in our own creative responses to canonical forms; i.e., how to recognize said canon and express our trauma in relation to it during class/culture war as a means of challenging Cartesian arrangements of power and outcomes; features Amazons, phallic women/traumatic penetration, and violence in sports. Length: ~35 pages.
    • 11e. ” the finale: “A Problem of ‘Knife Dicks,’ or Humanizing the Harvest; Hammering Swords into Ploughshares” (feat. racist porn and fat bodies): Versus part three, the finale examines morphologies policed under such binaries during pornographic expression; e.g., racialized tropes, but also fat people at large and human (often female) bodies targeted for having “fat, immodest” qualities, which are then alienated by capital, before being fetishized and harvested like crops. We have to humanize the harvest. Length: ~26 pages.
  • 12. “End of the Road: Concluding the Roadmap and Volume One” (included with the finale): Quickly (over ten pages) reiterates some key things Volume One has covered that you should keep in mind moving forward. Length: ~12 pages.

(artist: Blxxd Bunny)


About the Author

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). Any money Persephone earns through commissions or donations goes towards helping sex workers through the Sex Positivity project; i.e., by paying costs and funding shoots, therefore raising awareness. She takes payment on PayPal, Patreon, and CashApp, etc; all links are available on her Linktr.ee. Every bit helps!

Disclaimer

(disclaimer exhibit: Artist: Harmony Corrupted, who provided me with various materials from her Fansly account to use [with her permission] in my book, including cum photos. For those of legal age who enjoy Harmony’s work and want to see more than this website provides, consider subscribing to her Fansly account and then ordering a custom/tipping through her Ko-Fi. You won’t be disappointed!)

“If it was not good, it was true; if it was not artistic, it was sincere; if it was in bad taste, it was on the side of life.”

—Henry Miller, on criticism and the Supreme-Court-level lawsuit he received for writing The Tropic of Cancer (1934)

Regarding This Book’s Artistic/Pornographic Nudity and Sexual Content: Sex Positivity thoroughly discusses sexuality in popular media, including fetishes, kinks, BDSM, Gothic material, and general sex work; the illustrations it contains have been carefully curated and designed to demonstrate my arguments. It also considers pornography to be art, examining the ways that sex-positive art makes iconoclastic statements against the state. As such, Sex Positivity contains visual examples of sex-positive/sex-coercive artistic nudity borrowed from publicly available sources to make its educational/critical arguments. Said nudity has been left entirely uncensored for those purposes. While explicitly criminal sexual acts, taboos and obscenities are discussed herein, no explicit illustrations thereof are shown, nor anything criminal; i.e., no snuff porn, child porn or revenge porn. It does examine things generally thought of as porn that are unironically violent. Examples of uncensored, erotic artwork and sex work are present, albeit inside exhibits that critique the obscene potential (from a legal standpoint) of their sexual content: “ultimate sexual acts, normal or perverted, actual or simulated, masturbation, excretory functions, lewd exhibition of the genitals, or sado-masochistic sexual abuse” (source: Justice.gov). For instance, there is an illustrated example of uncensored semen—a “breeding kink” exhibit with zombie unicorns and werewolves (exhibit 87a)—that I’ve included to illustrate a particular point, but its purposes are ultimately educational in nature.

The point of this book isn’t to be obscene for its own sake, but to educate the broader public (including teenagers*) about sex-positive artwork and labor historically treated as obscene by the state. For the material herein to be legally considered obscene it would have to simultaneously qualify in three distinct ways (aka the “Miller” test):

  • appeal to prurient interests (i.e., an erotic, lascivious, abnormal, unhealthy, degrading, shameful, or morbid interest in nudity, sex, or excretion)
  • attempt to depict or describe sexual conduct in a patently offensive way (i.e., ultimate sexual acts, normal or perverted, actual or simulated, masturbation, excretory functions, lewd exhibition of the genitals, or sado-masochistic sexual abuse)
  • lack serious literary, artistic, political, or scientific value

Taken as a whole, this book discusses debatably prurient material in an academic manner, depicting and describing sexual conduct in a non-offensive way for the express purpose of education vis-à-vis literary-artistic-political enrichment.

*While this book was written for adults—provided to them through my age-gated website—I don’t think it should be denied from curious teenagers through a supervising adult. The primary reason I say this (apart from the trauma-writing sections, which are suitably intense and grave) is that the academic material can only be simplified so far and teenagers probably won’t understand it entirely (which is fine; plenty of books are like that—take years to understand more completely). As for sexually-developing readers younger than 16 (ages 10-15), I honestly think there are far more accessible books that tackle the same basic subject matter more quickly at their reading level. All in all, this book examines erotic art and sex positivity as an alternative to the sex education currently taught (or deliberately not taught) in curricular/extracurricular spheres. It does so in the hopes of improving upon canonical tutelage through artistic, dialectical-material analysis. 

Fair Use: This book is non-profit, and its artwork is meant for education, transformation and critique. For those reasons, the borrowed materials contained herein fall under Fair Use. All sources come from popular media: movies, fantasy artist portfolios, cosplayer shoots, candid photographs, and sex worker catalogs intended for public viewing. Private material has only been used with a collaborating artist’s permission (for this book—e.g., Blxxd Bunny‘s OF material or custom shoots; or as featured in a review of their sex work on my website with their consent already given from having done past work together—e.g., Miss Misery).

Concerning the Exhibit Numbers and Parenthetical Dates: I originally wrote this book as one text, not four volumes. Normally I provide a publication year per primary text once per text—e.g., “Alien (1979)”—but this would mean having to redate various texts in Volumes One, Two and Three after Volume Zero. I have opted out of doing this. Likewise, the exhibit numbers are sequential for the entire book, not per volume; references to a given exhibit code [exhibit 11b2 or 87a] will often refer to exhibits not present in the current volume. I have not addressed this in the first edition of my book, but might assemble a future annotated list in a second edition down the road.

Concerning Hyperlinks: Those that make the source obvious or are preceded by the source author/title will simply be supplied “as is.” This includes artist or book names being links to themselves, but also mere statements of fact, basic events, or word definitions where the hyperlink is the word being defined. Links to sources where the title is not supplied in advance or whose content is otherwise not spelled out will be supplied next to the link in parentheses (excluding Wikipedia, save when directly quoting from the site). One, this will be especially common with YouTube essayists I cite to credit them for their work (though sometimes I will supply just the author’s name; or their name, the title of the essay and its creation year). Two, concerning YouTube links and the odds of videos being taken down, these are ultimately provided for supplementary purposes and do not actually need to be viewed to understand my basic arguments; I generally summarize their own content into a single sentence, but recommend you give any of the videos themselves a watch if you’re curious about the creators’ unique styles and perspectives about a given topic.

Concerning (the PDF) Exhibit Image Quality: This book contains over 1,000 different images, which—combined with the fact that Microsoft Word appears to compress images twice (first, in-document images and second, when converting to PDFs) along with the additional hassle that is WordPress’ limitations on accepting uploaded PDFs (which requires me to compress the PDF again—has resulted in sub-par image quality for the exhibit images themselves. To compensate, all of the hyperlinks link to the original sources where the source images can be found. Sometimes, it links to the individual images, other times to the entire collage, and I try to offer current working links; however, the ephemeral, aliased nature of sex work means that branded images do not always stay online, so some links (especially those to Twitter/X accounts) won’t always lead to a source if the original post is removed.

Concerning Aliases: Sex workers survive through the use of online aliases and the discussion of their trauma requires a degree of anonymity to protect victims from their actual/potential abusers. This book also contains trauma/sexual anecdotes from my own life; it discusses my friends, including sex workers and the alter egos/secret identities they adopt to survive “in the wild.” Keeping with that, all of the names in this book are code names (except for mine, my late Uncle Dave’s and his ex-wife Erica’s—who are only mentioned briefly by their first names). Models/artists desiring a further degree of anonymity (having since quit the business, for example) have been given a codename other than their former branded identity sans hyperlinks (e.g., Jericho).

Extended, Book-Wide Trigger Warning: This entire book thoroughly discusses xenophobia, harmful xenophilia (necrophilia, pedophilia, zoophilia, etc), homophobia, transphobia, enbyphobia, sexism, racism, race-/LGBTQ-related hate crimes/murder and domestic abuse; child abuse, spousal abuse, animal abuse, misogyny and sexual abuse towards all of these groups; power abuse, rape (date, marital, prison, etc), discrimination, war crimes, genocide, religious/secular indoctrination and persecution, conversion therapy, manmade ecological disasters, and fascism.

Book Sample: “The Total Codex” Volume Contents and Disclaimer

“The Total Codex” is a blog-style book promotion, originally inspired by those done with Harmony Corrupted and Romantic Rose for Volume Two; re: “Brace for Impact,”  “Searching for Secrets” and “Deal with the Devil” (2024). Those promotions sought to promote and provide Volume Two, part one and two’s individual pieces (two halves, but three modules) for easy public viewing in single-post form; re: for the Poetry ModuleUndead Module and Demon Module. “The Total Codex” shall do the same, but with Volume Zero/the thesis volume (versus “Make It Real” promoting Volume One/the manifesto, which I will release after “The Total Context” completes). As usual, this promotion was written, illustrated and invigilated by me as part of my larger Sex Positivity (2023) book series. This specific promo post includes Volume Zero’s table of contents (and hyperlinks to each post), followed by the book disclaimer.

The “Total Codex” promotion is fully online; with it, a new second edition of the volume (v2.0) has also been uploaded, which you can access for free on my book series’ one-page promo. To learn about the changes contained within the second edition, read the new 2025 foreword, “A 2025 Foreword: On Volume Zero’s New Edition Focusing on Ludo-Gothic BDSM“! —Perse, 4/1/2025 (not a joke)

Further Reading: As of 3/13/2025, I’ve given every book volume/(sub)module its own promotion series. Access all of them, here.

Volume Zero is already written/was released on October 2023! 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)!

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 model(s). For more details about artist permissions, refer to the book disclaimer found either at the bottom of this page or on its own webpage.

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.

(artist: Bay)

Contents (for Volume Zero) 

Volume Zero, unlike Volume Two, lacks separate modules or sub-volumes. Instead, it is entirely self-contained. Even so, its material still divides into different sections, whose main three I’ve outlined ahead of time:

  • The thesis statement: Contains my manifesto tree, Four Gs (four main Gothic theories), another small essay about where power is performed during the Gothic mode/inside the Gothic imagination (“Doubles, Dark Forces, and Paradox”), and my thesis paragraph, which the thesis body expands on using most of this book’s keywords and manifesto terms.
  • The “camp map“: Assembles the manifesto pieces and explains (using the Four Gs) how to camp the canon of war as heteronormative by “making it gay” with ludo-Gothic BDSM; i.e., normally canonized through the quest for power in a Faustian bargain (told in the warlike language we’re all accustomed to), which we then camp during our own Promethean Quests (“Oh, no! I’m totally being conquered right now!”). Told in four parts. Part one, explores camp as a counterterrorist activity in relation to state terrorism, and outlines various monster types featured in the exercises (e.g., femboys, catgirls, himbos, Amazons, etc); parts two explores the interrogation of power in relation to Gothic space (castles) but especially in videogames (shooters, high fantasy and Metroidvania); part three considers the making of monsters and goes over more monster types; part four puts all of these ideas to the test, executed by my friend Blxxd Bunny and I prototyping ludo-Gothic BDSM.
  • The conclusion: Wraps everything up and segues into the symposium, which is a conversational follow-up/aftercare “sesh” dedicated to points I wanted to expand on but couldn’t in the thesis proper due to word count/flow.

These sections essentially function as a module would for Volume Two, save that they operate deliberately inside one book volume rather than dividing it up into separate modules (a tenable goal, given my thesis volume is quite a bit shorter than Volume Twos various modules); i.e., Volume Zero comprises Sex Positivity‘s entire thesis argument, ones whose body divides up into the three larger sections previously described. Individually they make up the primary sections/chapters of each larger element for Volume Zero. A given element usually contains multiple chapters, subchapters, and so on (though nowhere near as many as Volume Two’s various sub-volumes do).

Cover model: Bay

Volume Summary

The thesis volume contains the complex theory of my book series; i.e., its various lists of interconnected theoretical devices, as well as the entirety of specialized keywords, all of which I unpack and explain in order. To that, it contains my author’s foreword, a small essay on the performance and paradox of power (“Notes on Power”), as well as my book’s manifesto tree (scaffold of oppositional praxis), thesis argument[1] on Gothic (gay-anarcho) Communism, “camp map” and symposium; it uses them to encompass, then articulate, the entirety of my book’s theoretical content, using a variety of cited material and keywords (e.g., the Gothic, monstrous-feminine, and Amazonomachia) to delve into its broadest/most common arguments as deeply as possible. Written based on years of independent research—as well as older blogposts, essays, and my master’s thesis—Volume Zero essentially operates as my PhD on Metroidvania and ludo-Gothic BDSM but also my total curriculum, which can be simplified as needed when being taught to others in more anecdotal, everyday forms.

[1] (a summary of the thesis paragraph from the thesis volume): “Capitalism dimorphically sexualizes everything under a heteronormative, settler-colonial scheme, one whose Cartesian myopia of Capitalist Realism must be escaped from; i.e., via a deliberate iconoclasm that liberates sex workers (or sexualized workers) under Capitalism through sex-positive art.”

approximate volume length (minus the paratextual documents): ~226,000 words/651 pages and ~474 unique images

Note: I released Volume Zero before I started using text wrapping formatting around images; i.e., the page counts (from the original PDF file) are a bit higher than they would be otherwise/are a bit misleading. —Perse

Concerning Keywords/the Volume’s Age

“What does this key unlock?” —Conan, Conan the Destroyer (1984)

(artist: Moxxy Sting)

Before we dive into my thesis volume, let me provide a belated note about keywords and the volume’s age, included here (and inside the promotion):

First, keywords. Back in late 2023, I originally wrote Volume Zero as an encyclopedia of terms; i.e., keywords to unpack in relation to other terms, all of which I either borrowed from elsewhere and modified, or coined myself; re (from the full, PDF version of the paratext “What I Won’t Exhibit” not found on my website’s “Paratextual Documents” page):

In this disclaimer and the entire thesis volume, I have emboldened and color-coded keywords (rather than opt for italics/underlining, which I generally utilize for emphasis). Generally this is done when first introducing them, but also when I am about to define/am currently defining or otherwise stressing their involvement (I will also do this as a graphical aid to showcase when a bunch of keywords are being used in tandem, especially during the thesis statement). Regardless of when I do, it’s meant to clue you in that we’re discussing words that have specific definitions that are about to be expanded on or otherwise invoked (at the present time or later in the document) or reinvoked after they have already been explained. Also, while this only happens a few times, a couple of phrases aren’t in the glossary because I haven’t been able to define some of the more niche or incidental expressions (usually idioms or figures of speech); this is something I’d like to address in a future, second edition.

In hindsight, this might seem like a good thing to have explained or otherwise included in my blog-style book promotions. However, while not on purpose, I nonetheless forgot to include this explanation inside them; i.e., because Volume Zero is really the only book volume that even uses the keyword system throughout its entirety! Furthermore, this volume was likewise written before I started serializing my books in a blog-style format to begin with (all the PDFs contain the explanation, cited above, near the very start of their documents); i.e., with it being released in October 2023 and my first book promotion, “Brace for Impact,” not happening until April 2024.

To it, I’m not sure how well Volume Zero will translate to said format, but I want to try anyways; i.e., you can always just download the PDF on my one-page book promo and use its bookmark system and Ctrl + F to jump around. Both will make your life much easier when tackling this very dense volume; i.e., it was specifically written with doing so in mind, including accessing the full series glossary to help readers parse Volume Zero’s many sequences of words, each being listed and explained one after another (words in lists, and lists upon lists).

(artist: Moxxy Sting)

Second, the volume’s age. I released Volume Zero first and it shows; i.e., despite being what was essentially my PhD in admittedly independent form, doing so was never meant to be a shield from criticism (academia or otherwise), but a staging point for what I built off its unfinished arguments. I’ll be the first to admit, Volume Zero was researched for years (nearly a decade) but written over a very short period (roughly a month); i.e., it was always intended, from the outset, to be holistic-but-messy. The magic it still offers despite this lies in its pure assemblage of raw thesis material—material I would go on to do much more solid thesis work with, in my later books. The core strength of Volume Zero, then, lies in the constellation of ideas put forth; i.e., surrounding my basic thesis argument: that Capitalism sexualizes everything and that we must camp it (and its canon) to not only survive, but liberate ourselves with gusto (on the Aegis, above and below)! There’s no shortage of ideas, in that respect.

Some get more time and focus, thus more development (e.g., Tolkien and Cameron’s refrain vis-à-vis Metroidvania and the palliative Numinous), and some are given just enough introduction to bloom far more substantially in later volumes (e.g., ludo-Gothic BDSM and the dialectic of the alien chasing the Numinous as a Communist force). There’s plenty to be proud of, here, but plenty to critique, as well. The good news is, any critiques about a lack of development can usually be addressed by directing naysayers towards my later books; e.g., regarding Metroidvania and ludo-Gothic BDSM. Even so, the volume’s biggest weakness is that it often touches on ideas it hasn’t fully been able to crystalize (what Dale Townshend might call “all over the shop”). Conversely, its core thesis argument is incredibly productive (as are many of its other ideas surrounding its rich speculative value). But the volume’s format is definitely love it or hate it; i.e., I was still figuring how to format when writing it, and have since gone on to do things quite differently for my later books. There’s not much I can do about that, here, short of entirely rewriting Volume Zero, and I’d sooner saw off my left foot, Audition-style.

(artist: Moxxy Sting)

To conclude, this volume—more than the series it started—has a great many keywords it presents holistically and intersectionally across a series of concentric charts (often one per chapter). For many of those, the exact order you encounter them is far less important than how you weigh them together afterwards; it will feel soupy and unfinished in spots, because much of what it suggests wouldn’t be finished for months, going on years afterwards—i.e., when meeting newer models, the list growing from a handful to over sixty as time went on (with Moxxy being one of my most recent additions). As such, this book volume’s experimental nature was intended to be read in various directions, not simply from top to bottom. Treat it as such and I think you’ll get more out of it. So if it seems like I don’t mention a keyword right away if at all, rest assured, I will get to it eventually (in this volume or others)! And if something is absent, there’s always the full book glossary contained in each PDF file (and on my website). Hop to it, nerds! —Perse, 3/21/2025

On the Cusp (opening)

Opening Summary

The opening to Volume Zero is the material before the thesis proper.

Posts

  • -1. “Thesis Volume (Volume Zero)” (volume opening): A short little blurb before the foreword—one outlined the entire volume. Opening Length: ~2 pages.
  • 0a. “Author’s Foreword: ‘On Giving Birth,’ the Wisdom of the Ancients, and Afterbirth” (included with volume opening): A foreword dedicated to my conceptualizing of Gothic Communism; i.e., by playing with the Wisdom of the Ancients much like Mary Shelley did: as a cultural understanding of the imaginary past to understand in duality (specifically dialectical materialism, in our case, but with a strong social-sexual component). To it, I describe my own pregnancy with such dark materials—as a trans woman giving birth as such, producing my own monstrous progeny in relative short order (a brevity and productivity the afterword remarks upon; i.e., as I was writing it, and anticipating future book volumes that had either not been written or fully fleshed out yet). Length: ~51 pages.
  • 0b. “Concerning Keywords” (included with volume opening): A 2025 afterthought (the same one cited above) explaining the volume’s age, but also its keyword system and how it mostly only appears in Volume Zero. Length: ~2 pages.
  • 1. “Volume Outline/Summary of the Thesis Volume, “Camp Map” and Symposium Divisions/Subdivisions“: Outlines the remainder of the volume’s largest portions. Length: ~3 pages.
  • 2. “Notes on Power (paradox) and Liminal Expression (doubles)” (included with “Volume Outline”): Paradox and liminal expression come up constantly in Sex Positivity. Said essay discusses how power is theatrical, and plays off paradox and liminal expression (doubles) to develop Gothic Communism. Specifically it examines Gothic Communism’s campy ancestor/palimpsest, Paradise Lost (1667) and its complex relationship to future works that likewise have adopted theatrical Amazonomachia, paradox, and artistic/pornographic liminal (monstrous) expressions that speak truth to power—i.e., through “darkness visible” (the Gothic imagination) but also “darkness deliberate” as performatively mired in the self-same classical allusions: actively utilizing the Gothic convention of fetishes and clichés as class-conscious, thus of the devil’s party and knowing it (unlike Milton; our revolution cannot be accidental if we are to survive). Length: ~30 pages.

(artist: Persephone van der Waard)

The Thesis Proper (pretext, statement, body and segue)

Thesis Summary

My thesis proper as a statement to introduce, then argue against canon with. Said introduction includes various foundational elements, upon which my core thesis argument rests, and whose body extends into two segues before the “camp map” (which focuses on camping canon): the roots of camp and praxial inertia (obstacles to heed, mid-praxis).

Posts

  • 3. “Thesis Proper: Concerning Canon” (section opening): Part one of the thesis volume, which outlines canon; i.e., what we’ll be camping in part two of the volume. Opening Length: ~1 pages.
    • 3a. “On Twin Trees; or, “Taking the Trees Back during Oppositional Praxis”: the Superstructure and Base; Tolkien vs Milton; and Our Manifesto Tree” (included with section opening): A small section dedicated to determining the difference, mid-synthesis, between canon and camp; i.e., using Tolkien and Milton’s Biblical devices in fantasy forms (twin trees) that have extended dialectically materially into the present vis-à-vis Marx’ Base and Superstructure argument. Apart from isolating such iconic structural dualities for us to abstract or reify and play with ourselves, “Twin Trees” highlights the Manifesto Tree of Oppositional Praxis originates; re: as seen in “Paratextual Documents.” Because of the section on Tolkien and Milton (and its overall brevity-yet-importance), I will be posting the entire section in this promotion. Length: ~18 pages.
    • 3a. “The Four Gs: Our Main Gothic Theories” (included with section opening): Our four main Gothic theories, which present identically in “Paratextual Documents” save for a small introduction and conclusion. Length: ~7 pages.
    • 3b. “Doubles, Dark Forces, and Paradox; or into the Shadow Zone: Where We Currently Are and Where We’re Going Deeper Into” (included with section opening): A short essay that considers the performative, liminal paradoxical nature of power and trauma; i.e., as something to perform, generally within the Gothic mode having power and trauma sharing the same half-real venue; re: of exploitation and liberation achieved during ludo-Gothic BDSM. The essay considers this proposition with The Flight of Dragons (1982), but likewise invites the reader to extend such argumentation to any form of media one could dream of. Length: ~19 pages.
    • 3c. “Thesis Statement: the Gothic Mode and Its Reclamation” (sub-section opening): A one-page synopsis that organizes the thesis proper into a spool of elements to unfurl; i.e., unpacking and applying its paragraph and body to the Manifesto Tree (which we also unpack), followed by the roots of camp itself as reclaimed from older Gothic devices and challenges; re: Radcliffe’s Demon BDSM (a precursor to my ludo-Gothic variety) and various other tools (e.g., the Black Veil and exquisite torture) seeking to overcome praxial inertia when developing Gothic Communism ourselves. Opening Length: ~1 page.

(artist: Nyx)

      • 3c0. “Two Years Later (give or take): Returning to My Thesis Argument after Five Books” (included with sub-section opening): Composed of new and cited material, this 2025 addendum accounts for the undeveloped portions of my thesis argument. To it, said reprise deliberately covers the work I wrote after my thesis volume was completed (whose argument I would steadily build on across four-going-on-five additional books, especially regarding ludo-Gothic BDSM and its tremendous utility when challenging Capitalism). Length:~10 pages.
      • 3c1. “Thesis Paragraph: Capitalism Sexualizes Everything” (included with sub-section opening): Contains my entire book’s central argument, distilled into one paragraph (and provides the full definition of heteronormativity). Length: ~6 pages.
      • 3c2. “Thesis Body: Gothic (gay-anarcho) Communism vs the State; or, Galatea inside the Shadow of Pygmalion” (included with sub-section opening): Summarizes Gothic Communism’s primary foil, the state—specifically its monopoly of violence, state of exception and Protestant work ethic in relation to the historical materialism of the state’s propaganda (canon); i.e., canon’s monomyth, Cycle of Kings, infernal concentric pattern and narrative of the crypt amounting to the Shadow of Pygmalion. Length: ~53 pages.
      • 3c3. “Pieces of the Camp Map (from the Manifesto Tree)“: Unpacks the main sections from the manifesto tree in relation to oppositional praxis; i.e., canon vs iconoclasm (camp). Length: ~63 pages.
      • 3c4. “The Roots of Camp: Reclaiming Demon BDSM and Radcliffe’s Tricky Tools“: Examines canonical demon BDSM and Radcliffe’s fiction/tricky tools as popular literary devices that desperately need to be camped (with ludo-Gothic BDSM—a concept we’ll introduce during the “camp map” and explore much, much more in Volumes One, Two and Three). Length: ~28 pages.
      • 3c5. “Overcoming Praxial Inertia: Straw Dogs and Canon’s Teeth in the Night“: Explores some popular examples of canonical, monomyth Beowulf-style heroes and the threat they represent as also needing to be camped (re [from Volume One, onwards]: to have nature’s monstrous-feminine revenge—specifically the whore’s [from Volume Two’s Demon Module]—against profit and the state pimping them). Length: ~36 pages.

(artist: Andreas Marschall)

The “Camp Map”

“Camp Map” Summary

The argumentation of my thesis argument; i.e., when camping the canon, as borrowed from Colin Broadmoor’s “Camping the Canon: Matthew Lewis, Milton, & The Monk” (2021) and retooled specifically for our purposes—when developing Gothic Communism, ourselves!

Posts

  • 4. “The ‘Camp Map’: Camping the Canon” (section opening): The original summary of the “camp map” and its various argumentative elements workers use; i.e., when camping canon themselves. Opening Length: ~3 pages.
    • 4a. “‘Camp Map’; or ‘Make it Gay,’ part one: Scouting the Field” (included with section opening): Explores camp as a counterterrorist activity in relation to state terrorism, and outlines various monster types featured in its exhibits (e.g., femboys, catgirls, himbos, Amazons, etc). It also outlines the Gothic argumentation of oppositional rhetoric for or against the state when making its own monsters to kill, or kill with, normally in defense of capital but for us through a means of performative resistance; i.e., a variety of reclaimed scapegoats within the process of abjection’s canonical reactions, which reify along the Cartesian Revolution’s criminogenesis of said monsters, but especially within the cartographic ludologizing of Tolkien’s refrain: the treasure map. Length: ~42 pages.
    • 4b. “Concerning Rape Play: a 2025 Note on My Development of Ludo-Gothic BDSM” (has its own page): A short new addendum. Briefly considers the development (and application) of Ludo-Gothic BDSM since formally introducing the concept, in October 2023. Length: ~11 pages.
    • 4c. ” part two: “Camping Tolkien’s Refrain using Metroidvania, or the Map is a Lie: the Quest for Power inside Cameron’s Closed Space (and other shooters)” (sub-section opening): Explores the interrogation of power in relation to Gothic space (castles) but especially in videogames (shooters, High Fantasy and Metroidvania). It also interrogates Tolkien’s refrain through the conceptualization of Cameron’s refrain (the shooter); i.e., not through the FPS, but the Metroidvania—a particular kind of third-person shooter (TPS)/castle space that (along with the monsters inside) can be camped, but also achieves immense catharsis through honest and profound theatrical evocations of psychosexual trauma: a palliative Numinous and fairly negotiated (thus sex-positive) ludo-Gothic BDSM achieved by remaking Gothic castles, thus negotiating the unequal power lurking inside an iconoclastic castle or castle-like space. Opening Length: ~7 pages.
      • 4c1. “‘The Map Is a Lie’: the Quest for Power inside Cameron’s Closed Space—Origins and Lineage” (included with sub-section opening): Camping the quest for power where power is centralized—which Tolkien largely tried to sidestep on his own questing formulas and maps and which Cameron jumped headlong into—takes two parts to accomplish; i.e., insofar as I conceptualized the method per “ludo-Gothic BDSM,” then applied it myself, in Volume Zero. Part one unpacks my own real-life quest to understand power as something to map, reassemble and interrogate (so you can understand my thought process and what guided it towards where we are now). Length: ~30 pages.
      • 4c2. “The Map Is a Lie: the Quest for Power inside Cameron’s Closed Space—Interrogating Power through Your Own Camp“: Part two of camping the quest for power (re: the palliative numinous), this section explores playing with power to camp the quest for power in our own lives; i.e., through our own creations/performances’ ludo-Gothic BDSM that interrogate power on maps/castles that resemble Tolkien’s or Cameron’s (on paper) but play out very differently in practice. Length: ~74 pages.
    • 4d. ” part three: “Shining a Light on Things, or How to Make Monsters: Reclaiming Our Lost Power by Putting the Pussy on the Chainwax“: Considers the making of monsters and goes over more monster types (nurses, xenomorphs and other phallic women); i.e., as ludo-Gothic BDSM’s creative foil to Ann Radcliffe’s usual unironic rape fantasies. It also explores how to personify labor action through the making of monsters as a reversal of abjection, thus profit; i.e., through a Satanic poetry whose infernal polity challenges the authority of a heavenly or otherwise sacred establishment, but often in incredibly funny ways; e.g., Key and Peele’s immortal phrase: “Put the pussy on the chainwax!” (Key & Peele’s “Pussy on the Chainwax,” 2013). Length: ~33 pages.
    • 4e. ” part four: “The Finale; or ‘Sex, Drugs and Rock ‘n Roll!’(ludo-Gothic BDSM in practice, feat. Blxxd Bunny and The Scorpions): Puts all of these ideas to the test, the prototype for ludo-Gothic BDSM executed by my friend Blxxd Bunny and I; i.e., using our bodies, labor and Satanic apostacy to camp the canon, effectively making its sex, drugs and rock ‘n roll gay and Gothic (while keeping the first three sections of the “camp map” in mind). Discusses vis-à-vis stochastic popular media, including The Scorpions. Length: ~30 pages.

(artist: Blxxd Bunny)

Volume Conclusion

Conclusion Summary

The third and final portion to Volume Zero, which largely ties up loose ends (and introduces new ones) before transitioning into the manifesto (re: Volume One).

Posts

  • 5. “Follow the Sign: Thesis Conclusion, or ‘Death by Snu-Snu'” (included with “Symposium: Aftercare,” below): A short conclusion to the “camp map” that explores the paradox of activism disguised as play before segueing into the symposium proper. Length: ~11 pages.
  • 6. “Symposium: Aftercare; What Is the Gothic?“: A series of in-text seminars that tries to unpack various ideas a bit more fully than my thesis argument was able to, during the thesis proper and “camp map” portions. Length: ~51 pages.
  • 7. “In Closing: A Gay New World” (included with “Symposium: Aftercare,” above): A short conclusion for the volume/segue into Volume One. Length: ~7 pages.

(artist: Bay)


About the Author

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). Any money Persephone earns through commissions or donations goes towards helping sex workers through the Sex Positivity project; i.e., by paying costs and funding shoots, therefore raising awareness. She takes payment on PayPal, Patreon, and CashApp, etc; all links are available on her Linktr.ee. Every bit helps!

Disclaimer

(disclaimer exhibit: Artist: Harmony Corrupted, who provided me with various materials from her Fansly account to use [with her permission] in my book, including cum photos. For those of legal age who enjoy Harmony’s work and want to see more than this website provides, consider subscribing to her Fansly account and then ordering a custom/tipping through her Ko-Fi. You won’t be disappointed!)

“If it was not good, it was true; if it was not artistic, it was sincere; if it was in bad taste, it was on the side of life.”

—Henry Miller, on criticism and the Supreme-Court-level lawsuit he received for writing The Tropic of Cancer (1934)

Regarding This Book’s Artistic/Pornographic Nudity and Sexual Content: Sex Positivity thoroughly discusses sexuality in popular media, including fetishes, kinks, BDSM, Gothic material, and general sex work; the illustrations it contains have been carefully curated and designed to demonstrate my arguments. It also considers pornography to be art, examining the ways that sex-positive art makes iconoclastic statements against the state. As such, Sex Positivity contains visual examples of sex-positive/sex-coercive artistic nudity borrowed from publicly available sources to make its educational/critical arguments. Said nudity has been left entirely uncensored for those purposes. While explicitly criminal sexual acts, taboos and obscenities are discussed herein, no explicit illustrations thereof are shown, nor anything criminal; i.e., no snuff porn, child porn or revenge porn. It does examine things generally thought of as porn that are unironically violent. Examples of uncensored, erotic artwork and sex work are present, albeit inside exhibits that critique the obscene potential (from a legal standpoint) of their sexual content: “ultimate sexual acts, normal or perverted, actual or simulated, masturbation, excretory functions, lewd exhibition of the genitals, or sado-masochistic sexual abuse” (source: Justice.gov). For instance, there is an illustrated example of uncensored semen—a “breeding kink” exhibit with zombie unicorns and werewolves (exhibit 87a)—that I’ve included to illustrate a particular point, but its purposes are ultimately educational in nature.

The point of this book isn’t to be obscene for its own sake, but to educate the broader public (including teenagers*) about sex-positive artwork and labor historically treated as obscene by the state. For the material herein to be legally considered obscene it would have to simultaneously qualify in three distinct ways (aka the “Miller” test):

  • appeal to prurient interests (i.e., an erotic, lascivious, abnormal, unhealthy, degrading, shameful, or morbid interest in nudity, sex, or excretion)
  • attempt to depict or describe sexual conduct in a patently offensive way (i.e., ultimate sexual acts, normal or perverted, actual or simulated, masturbation, excretory functions, lewd exhibition of the genitals, or sado-masochistic sexual abuse)
  • lack serious literary, artistic, political, or scientific value

Taken as a whole, this book discusses debatably prurient material in an academic manner, depicting and describing sexual conduct in a non-offensive way for the express purpose of education vis-à-vis literary-artistic-political enrichment.

*While this book was written for adults—provided to them through my age-gated website—I don’t think it should be denied from curious teenagers through a supervising adult. The primary reason I say this (apart from the trauma-writing sections, which are suitably intense and grave) is that the academic material can only be simplified so far and teenagers probably won’t understand it entirely (which is fine; plenty of books are like that—take years to understand more completely). As for sexually-developing readers younger than 16 (ages 10-15), I honestly think there are far more accessible books that tackle the same basic subject matter more quickly at their reading level. All in all, this book examines erotic art and sex positivity as an alternative to the sex education currently taught (or deliberately not taught) in curricular/extracurricular spheres. It does so in the hopes of improving upon canonical tutelage through artistic, dialectical-material analysis. 

Fair Use: This book is non-profit, and its artwork is meant for education, transformation and critique. For those reasons, the borrowed materials contained herein fall under Fair Use. All sources come from popular media: movies, fantasy artist portfolios, cosplayer shoots, candid photographs, and sex worker catalogs intended for public viewing. Private material has only been used with a collaborating artist’s permission (for this book—e.g., Blxxd Bunny‘s OF material or custom shoots; or as featured in a review of their sex work on my website with their consent already given from having done past work together—e.g., Miss Misery).

Concerning the Exhibit Numbers and Parenthetical Dates: I originally wrote this book as one text, not four volumes. Normally I provide a publication year per primary text once per text—e.g., “Alien (1979)”—but this would mean having to redate various texts in Volumes One, Two and Three after Volume Zero. I have opted out of doing this. Likewise, the exhibit numbers are sequential for the entire book, not per volume; references to a given exhibit code [exhibit 11b2 or 87a] will often refer to exhibits not present in the current volume. I have not addressed this in the first edition of my book, but might assemble a future annotated list in a second edition down the road.

Concerning Hyperlinks: Those that make the source obvious or are preceded by the source author/title will simply be supplied “as is.” This includes artist or book names being links to themselves, but also mere statements of fact, basic events, or word definitions where the hyperlink is the word being defined. Links to sources where the title is not supplied in advance or whose content is otherwise not spelled out will be supplied next to the link in parentheses (excluding Wikipedia, save when directly quoting from the site). One, this will be especially common with YouTube essayists I cite to credit them for their work (though sometimes I will supply just the author’s name; or their name, the title of the essay and its creation year). Two, concerning YouTube links and the odds of videos being taken down, these are ultimately provided for supplementary purposes and do not actually need to be viewed to understand my basic arguments; I generally summarize their own content into a single sentence, but recommend you give any of the videos themselves a watch if you’re curious about the creators’ unique styles and perspectives about a given topic.

Concerning (the PDF) Exhibit Image Quality: This book contains over 1,000 different images, which—combined with the fact that Microsoft Word appears to compress images twice (first, in-document images and second, when converting to PDFs) along with the additional hassle that is WordPress’ limitations on accepting uploaded PDFs (which requires me to compress the PDF again—has resulted in sub-par image quality for the exhibit images themselves. To compensate, all of the hyperlinks link to the original sources where the source images can be found. Sometimes, it links to the individual images, other times to the entire collage, and I try to offer current working links; however, the ephemeral, aliased nature of sex work means that branded images do not always stay online, so some links (especially those to Twitter/X accounts) won’t always lead to a source if the original post is removed.

Concerning Aliases: Sex workers survive through the use of online aliases and the discussion of their trauma requires a degree of anonymity to protect victims from their actual/potential abusers. This book also contains trauma/sexual anecdotes from my own life; it discusses my friends, including sex workers and the alter egos/secret identities they adopt to survive “in the wild.” Keeping with that, all of the names in this book are code names (except for mine, my late Uncle Dave’s and his ex-wife Erica’s—who are only mentioned briefly by their first names). Models/artists desiring a further degree of anonymity (having since quit the business, for example) have been given a codename other than their former branded identity sans hyperlinks (e.g., Jericho).

Extended, Book-Wide Trigger Warning: This entire book thoroughly discusses xenophobia, harmful xenophilia (necrophilia, pedophilia, zoophilia, etc), homophobia, transphobia, enbyphobia, sexism, racism, race-/LGBTQ-related hate crimes/murder and domestic abuse; child abuse, spousal abuse, animal abuse, misogyny and sexual abuse towards all of these groups; power abuse, rape (date, marital, prison, etc), discrimination, war crimes, genocide, religious/secular indoctrination and persecution, conversion therapy, manmade ecological disasters, and fascism.

Book Sample: The Road to Hell: Summoning the Whore, Ourselves (opening and part one – Showing Jadis’ Face while Doubling Them)

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)!

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 model(s). For more details about artist permissions, refer to the book disclaimer (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.

The Road to Hell; or, Summoning the Whore, Ourselves (and Other Considerations of the Faustian Bargain vis-à-vis the Participants)

Just like a churchyard shadow creeping after me

It’s only there to terrify my mind, a black swan keeps haunting me (source).

Dave Mustaine; “Black Swan,” from Megadeth’s United Abominations (2006)

Picking up where “Summoning Demons (re: Faust and Radcliffe)” left off…

This section takes the path least/most traveled, depending on how you look at it: the road to Hell, examining such runaways as lubricated by a polity of facilitators occupying the same sphere—the angel and the demon, and the virgin and the whore—however they manifest.

Again, we’re starting with canonical variants having evolved out of the chaos of the Middle Ages into the Enlightenment and beyond towards 20th and 21st century variants; i.e., Smile and Evil Dead as built on top of those warring forebears, the war continuing in our own lives, as it did with my ex, Jadis, raping my mind and—through financial abuse—using me for sex and other things. We’ll explore an early history of the demonic—from The Testament of Solomon and Hammer of Witches to Malleus Maleficarum, or Hammer of Witches, and De Praestigiis Daemonum (On the Tricks of Demons) and its appendix, Pseudomonarchia Daemonum (False Monarchy of Demons)—then dive into some notes on Radcliffe and Lewis feeding into the more half-real and recent forms, outlined above and below.

This essentially divides in two basic parts, then:

  • “Going Mask Off: Showing Jadis’ Face While Doubling Them” (included in this post): Gives food for thought about demons as much being real people as fictional ones, during Gothic poetics. The example I give—and doing so in the Radcliffean spirit of demasking bad guys—is my ex and former abuser, Jadis. We discuss my act of doing so not to marshal violence against them, but to learn from the abuse they caused to camp and subvert, hence prevent future harm, on a systemic level; i.e., while making our own media as haunted by said abuse, doing so as a demonic act of thinking critically (through art and performance) about other people that speaks to abuse affecting oppressed groups unevenly (to summon demons is to make them; to make them is to think critically when the resulting parody and pastiche become perceptive).
  • Dark Shadows: The Origins of Demonic Persecution and Camp; or, Applying My Education (from School and Jadis) to Smile, Evil Dead and More“: Considers demonology’s early roots, subsequent Neo-Gothic period, and 20th/21st century revivals, while also going over the praxial concerns of canonical torture vs exquisite “torture”; i.e., by how we can take things further than Radcliffe did while still being aware of the risks she ultimately took herself.

The basic idea is to introduce ideas we can reify in our own lives, but explore simultaneously where those ideas came from and how we can use them during oppositional praxis/the cryptonymy process reversing abjection to double our foes and ourselves, mid-calculated risk! There’s no canon without camp; keeping with the simulacrum, the canon haunts camp even when transformed into a relatively safe version of itself. This isn’t us speaking out, alone, but protecting ourselves, too; i.e., if you’re abused, tell someone, but make sure it’s someone you trust, or that your method of performance protects you if there’s no one to trust.

Sadly, when you’re playing with fire in a man’s world—are the fire in man’s world/the thing those in the Man Box pimp (male or not)—nothing is ever truly safe. From Sophocles’ Oedipus Rex to Walpole’s Mysterious Mother (1768), much of the ancient world and echoes of the ancient world (which Nazis are) fixate on, and tell through, rape play and death theatre, as well as various taboos, fetishes and clichés; i.e., Radcliffe was Austen’s precursor and thought more about marrying monsters (or being abducted by them) than Austen—a marriage junkie herself though never married—did (all her villains start with “W” for some reason [e.g., Willoughby and Wickham] and she basically put men and their violence [e.g., duels, Colonel Brandon vs Willoughby] in the periphery). The best way to protect ourselves during the replication and chaos of fascism mirroring us in bad faith, then, is like these ladies; i.e., by reading the room and putting our ear to the ground—acclimating to the cryptomimetic uncanny in ways we can demonically seize and control: by recreating and reenacting it on the same shared stages infamous psychomachic divisions and liminalities!

In other words, Gothic Communism is a mirror game. All war is based on deception, including class war. This means that revolution is theatre, which isn’t strictly on or off stage, and populated by demons in a dualistic sense. All of them lie to tell truth for different purposes (for workers or the state), the function determined by dialectical-material context. That’s easy enough to parse, after the fact. But how do you do it when you’re being gaslit, and the performance is both ongoing and dictated by socio-material forces designed to conceal themselves? How do you separate the wheat from the chaff when the wheat looks and sounds like the chaff—when you look at yourself and see an alien looking back you that you both fear and want to be, and which speaks through dogwhistle, DARVO, obscurantism and subterfuge? By taking control of the Aegis, of course! Learn from the best, then beat them at their own game!

Going Mask-Off: Showing Jadis’ Face while Doubling Them

“And if I would’ve gotten away with it if it weren’t for you meddling kids!”

every Scooby Doo villain ever (1969)

To summon the whore to expose abuse is, to some extent, to unmask them while copying them into a harmless version we can learn to mirror and make trouble with (to wage class war). Jadis is the “strict” demon we’ll be working with, and we’ll unmask them, in just a second.

First though, some food for thought, followed by a painful-joyous and necessary note about my own succubus who seduced and raped me, Jadis. So often, the theft of souls and their eventual redemption happens in the same poetic spheres, onstage and off, with doubles of the same harmful leeches leeching back (why be a lame detective when you could be a necromancer?):

Demons prey on others as a matter of exchange; in doing so, they operate through the basic idea that people are not gods, but guided by human, thus animal impulses. In theological, but also Gothically poetic terms, they are the gap between things that “God” denies and relegates to the underworld, save that Hell is all around us. So while Perdition and Purgatory are places of torment and boredom, not unlike Hell, “Hell” is also classically an absence of grace (one Protestants address the reprobate nature of through a “holy” work ethic).

It’s also where demons bourgeois and proletarian call home (and which I prefer to say instead of “good and bad,” to be a good Marxist), and whose liminalities assume an infinite number of forms and roads to Hell; i.e., the presence of demons being a presence of Hell and absence of God/grace, yet whose grave danger doubles God’s own human fakeries in a pointed inversion of earthly existence and afterlife, but also eternal damnation as a state of eye-opening punishment through darkness visible—with interpreting God and canon being a Protestant device likewise available to demons living under God’s sphere of influence: a road to Hell, thus temptation of a post-capitalist order in pre-capitalist language by thinking about the socio-material world in the usual poetic arguments along the Gothic’s half-real, trendy bad echo oscillating between canon and camp.

To that, God and canon take away workers’ ability to create, and limit it to bourgeois binarization/privatization. “God” per the Abrahamic religions, then, is just an extrasecular/post-Schism way of arguing for capital regulating desire from a canonical standpoint, using Gothic poetics; “Satan” and demons, a Miltonic and Satanic way of resisting that while inside the state of exception (outside of God’s grace, but not his settler-colonial territories): forbidden fruit, and the feeling of darkness and Gothic fakeries by canonizers playing God and—hopelessly swayed by Capitalist Realism—find it easier to imagine the end of the world in God’s absence haunted by dark forces, than it is to imagine a world without God/capital. Gothic canon becomes another almanac of torture chambers to populate with ghosts of the counterfeit furthering abjection/policing nature as non-white, non-Christian, non-GNC whore: “You weak pathetic fools! I’ve come for your souls!” / “I don’t think so!”

When “Caesar” is at your door, it’s time to survive, solidarize, and speak out (Persephone van der Waard’s “Survive, Solidarize, Speak Out,” 2024), or die trying. And while revolution is a slum, it’s also a party made with cool trash (from pure schlock to Sontag’s true camp and everything in between; re: Persephone van der Waard’s “My Least Favorite Horror Movies?” 2020) that also serves as a disguise. Yet so often, “soul” is a canonical argument for “grace,” thus ignorance, whose violation bad actors will happily exploit in hauntological defense of capital from “degenerate” enemies within; i.e., by exploiting those running away from home (because home is bad beneath the surface) in search of the Numinous. For every one of us, there’s ten of them; who’ll tire first? There’s only one way to find out. Put your money where your mouths are! Put on your masks, and pull theirs off! Break the fetish cop’s monopoly (the duality of mil spec, torture porn, heavy metal, etc, out of the ’70s and ’80s into the present)!

This brings us, once more, to Jadis—a person not without means (at least according to my admittedly limited intelligence, at this point), thus someone I unmask here, Scooby-Doo-style, with some degree of risk (especially since Donald Trump is now president[1]). Whatever hells they visit upon me, should they try to, this step towards my own Hell is one that decolonizes their awful notions of such things; i.e., they were the first TERF/SWERF I encountered, in person, and the primary motivating factor for writing Sex Positivity as a series (which started with the intent to discuss TERFs and not only why they suck, but how they as witch cops look like witches policing their own kind, next page): Jadis was a traitor who raped me (by my definitions of the word; see: “A Note about Rape“) but also a Great Destroyer I could evoke to achieve a palliative-Numinous effect during ludo-Gothic BDSM! With opera—with sex, drugs, and rock ‘n roll (all the stuff that people like)—revolutions live and die on love; it’s why the state tries to monopolize such things.

In short, with Trump now elected and people like Elon Musk literally doing a Nazi salute (a Roman hauntological act) for Trump’s inauguration (Hasanabi’s “Did Elon Just…” 2025), it’s a hell of a time to be brave, but exactly the time to be brave; i.e., Nazis are scared of everything, so give ’em something to fear—a parody of themselves, but also a way of speaking out, thus fighting back in ways that confuse their aggression and redirect it. Silence is genocide, but you can shout loudly in ways the enemy doesn’t recognize using the cryptonymy process to reverse abjection despite them furthering it. We never want to hesitate or question fighting Nazis (while also prioritizing our own safety by fighting back) because that’s how they get inside and pry compromise out of those they’ll only later betray anyways; re: “I’m altering the conditions of our arrangement. Pray I do not alter them further!” But power doesn’t flow one way and we can reverse said flow no matter how “permanently” stuck in the mud things seem.

In short, there’s a time to watch movies, and a time to have the adventure for real, but this still allows for a curious walking of the tightrope, all the same; i.e., relative to games, exile and pushing for something better than what the elite shove down our throats: singing up at their awful food with something delicious. Valor! “Let man’s petty nations tear themselves apart! My land’s only borders lie around my heart!” (ABBAtalk’s “Anthem from Chess The Musical (Tommy Körberg),” 1984). Sing “For Somewhere That’s Green!” (Broadwaycom’s “Jinkx Monsoon Performs…“), or of the Dire Straights’ “Romeo and Juliet” (1980) and similar “come hither and fuck me” clothes, music, performance art, all rolled into one. We’re fighting for what we believe in as being one in the same, a form of demonic expression our enemies will occupy in bad faith.

That’s musicals, of course; the Gothic as an operatic, multimedia mode of danger disco suitably revives the barbarian past in the neoliberal era to control feelings concerning its continued abuses happening in the present—i.e., we return to past trauma revived “in small,” hence in ways we can control by duplicating it. That’s what I’m going to be doing when analyzing said past, and Jadis—someone I have repeatedly described in the past as someone I have history with—is an excellent place to start: a hellish jubilee!

[model and photographer: Jadis and Persephone van der Waard]

Please note: As of writing and posting this piece onto my website, I am showing Jadis’ uncensored face in photographs. That being said, any photos of Jadis provided here show no explicit pornographic nudity of them, nor imagery where we engage in sexual activities with them naked on screen or even in the same room[2]; i.e., any exhibits of them where I am credited as “photographer” (above) aren’t from a handheld camera, but two web cameras—theirs and mine. As I shall reiterate deeper in this section, my doing so is a continuation of my ongoing testimony of their abuse against me during our relationship; i.e., not to sexualize them, but expose them after our relationship ended as a sexual abuser who took advantage of me in multiple ways.

My decision to gradually show more of Jadis—and to the degree to which I feel comfortable in doing so—has occurred slowly as I have healed and felt increasingly ready to speak about these things more openly. It isn’t to invite violence against them, but to learn from what they did to raise awareness about rape/domestic abuse for future praxis among survivors of abuse [strength in numbers and intelligence, babes]. Do not attack them; just know what they did and don’t do it to others. Please refer to the footnote for additional context, links and other information. —Perse

(exhibit 45c2b2: Rapists are masters of disguise, often hiding in plain sight; here is me finally demasking mine. Moderates decay into Nazis. And like Nazis, the real Jadis/my abuser was a massive dork who—apart from routinely abusing my mind to extort my body as succubae classically do—loved Mortal Kombat memes, KFMDM, Tool music videos, He-Man and ninjas, Industrial music, dark ’90s media in general, and rough sex/demonic BDSM [cryptomimetic echoes of their inner “war pig” but also their own abusive mother].

As such, this is as much a photo of them [and their sinister moral poverty] in real life/the flesh versus the simulacrum [shadow/likeness] of them we’ll be discussing in this section for more campy purposes; i.e., the former a demon that haunts my waking moments, the latter a demon I summon for my own survivor’s complicated reasons: the real Jadis summoned the moon to torment me, which I escaped by not only physically distancing myself from Jadis the person, but in creating likenesses of them I could control/”torture” myself with! Jadis was someone who understood the whore’s awesome power, and used it to enthrall me; surviving their holocaust, I made what was best about them into a dark “magic man” effigy [Jadis is genderfluid] that I could conjure up whenever I feel like: “Ravish me, stupid!”

[models and artist: Jadis and Persephone van der Waard, both models; Persephone as artist]

To that, my double doesn’t have the blind, terrifying “death in your eyes” look that Jadis themselves did, but something thrilling that awakens in me new feelings of life [through Radcliffe and Lewis’ terror and horror] that I can “ride the lightning out” until my tremors subside; i.e., on par with the electrifying solo from Annihilator’s “Death in Your Eyes” [2009]. Paradoxically this became not something to avoid, but ride as often as I liked—to take my scars and activate something that, through the pain of surviving rape, pregnancy and loss that Jadis had exacted upon me, became their accidental gift I could relish not simply until the end of my days, but give to all of you vis-à-vis ludo-Gothic BDSM and Gothic Communism.

In short, Communism—from Shelley to Marx to me—is a byproduct of rape, specifically the fascist raping the worker until they radicalize. As such, Jadis thought they were only taking from me when they—in poetic terms, but also materially through fiscal brute force—forced themselves upon me, but any exchange is a give and take, and I used what was given to eclipse and expose them through my rape child. I was the moon, bitch [or “Angry Sun” from Mario 3]! You are but a pale imitation of the Medusa, a little bougie fake whoring yourself for the Man! No TERFs allowed!

Do you think I spent years of my life dwelling and ruminating for mere indulgence? To let shame rule me even though it lives in my battered aching heart to this very day? No, I birthed Sex Positivity precisely because I suffered at the hands of false idols, forever shattering my idea of a safe home and leading me to run off into strange zones to find a sense of balance I would never have, in stillness: demonic wanderlust for the slut whose trauma lives in her body. A world without order or reason is classically a meaningless one, but the beauty of total liberation from state predation [thus fascism] is one where we become free from profit [thus genocide and rape] while being able to make our own meaning among ourselves and the natural-material world. How the tables turn!

To that, learn from my mistakes[3] and creative successes [not just one child, but a serial litter of them, my little trans Dutch girl’s (excuse the expression) “Irish twin” demon babies—less outbreeding a rival army and more passing our revenge along to the next generation] to go and make your own demons passing the demon of Communism forwards; i.e., Sex Positivity was begot from rape, and I couldn’t have written it [and its conception of the palliative Numinous or ludo-Gothic BDSM] without some degree of tragedy possessing me to not simply wake up in the middle of the night afraid for my own life, but to “rip ‘n tear until it is done!” I couldn’t have, any more than Mary Wollstonecraft junior could have written Frankenstein and turned into Mary Shelley without eloping with Percy and getting knocked up, first [a choice complicated by her mother’s death giving birth to her, and God knows what else]—a decision I implore some degree of caution regarding: not senseless risk, flying into danger headlong, but calculated risk as learned by me having fucked up royally so you don’t have to.

But also, learn from my paradoxical joys, during the painful [re]conception, birth and afterbirth; i.e., the fact that it wasn’t all bad, just messy and intense: the sex was good, and Jadis was funny [all qualities I took and put in my book to spite them, but also to love their better half that eventually gave into greed and pride]! God they made me laugh and cum like mad! But they also terrified me and couldn’t control themselves/gave us both more than we agreed to; re: we had a contract, one they didn’t follow while dragging me through a portal into their idea of Hell as they envisioned it—where they were master/victim and I their unwilling slave/abuser! What I say is the truth, insofar as the historical events are concerned, but it nonetheless revives in/mixes with Gothic poetics’ shadows and lies; e.g., Jadis wasn’t a black knight, as much as I wanted them to be. Instead, the truth of them was far more banal:

Jadis was always a person at war with themselves/ruled by their past. In short, they were kinder when they were poor/only began to change once their father died and they inherited a small fortune/dividends [extra emphasis on “small,” but it was enough to immediately change our lives during Covid: to get a new car and home at the drop of a hat and still be able to live comfortably for the rest of our lives]. Faced with that, Jadis’ desires for assimilation and dominion over a partner they could control [“the devil you know” and all that] began to surface—i.e., they had an empty room they could build whatever they wanted inside; instead of making a world together with me, they chose to push me out and orchestrate their ex, Tim, moving in with us [which originally was my idea, but one Jadis gently encouraged by constantly prodding me to mend fences with a former victim they presented as having abused Jadis first; i.e., Jadis was always the only victim].

Due to visual similarities unfolding mid-relationship, though, rape is always a matter of context under dialectical-material scrutiny. Jadis’ and my courtship, being like many others were and are, started through sex. I showed them mine and they showed me theirs [theirs not shown for obvious legal reasons]:

 

[artist: Persephone van der Waard] 

We didn’t just like what we saw, but played a lot online [about five weeks straight] before they swooped in on their chariot to escort me from Michigan to Florida. But this was a process that involved larger world events [Covid], personal frustrations on both our sides [our exes/recent separations], and bad decisions on my part wanting to salvage my present circumstances by ignoring in Jadis what I—and my hot piece of ass/puppy-like enthusiasm—sincerely thought she could fix through tender love and care, but also gobs and gobs of fresh hot cum: saying to them, “This is what I’m gonna give you!” and thinking they wanted me—body, heart and soul! “Best laid plans” ‘n all, this time the mouse being wrong [or the woman working the plow, I suppose].

In the meantime, my prospective partner to plow approved of my sexual appetite and clearly working goods. But the moment I “misbehaved” by calling them out, they traded me in for a different model—treating me like a faulty car* or horse that had thrown a shoe/wouldn’t behave, chattelizing me but also the person who came before and after me [re: they went back to their ex]. I used to think the problem lay with me—that I was “somehow” broken or didn’t deserve love—but in truth, while we both damaged, they used theirs to abuse me. And so I discovered that it not only feels good to bare it all and tell my story to the larger world; but it feels empowering to do it repeatedly as part of the code I’m constantly writing in these volumes!

*Our relationship was basically like Wonderboy and Captain Sunshine from Venture Bros. but especially the seat belt scene with Captain Sunshine’s car (Muffins&Dragon’s “Best of Captain Sunshine,” 2022; timestamp: 3:45): seemingly unnecessary but actually used to trap and keep the ward under constant surveillance while acting like “protection” through said surveillance; i.e., the seatbelt serving as kind of innocuous bondage device framed as love bombing while constantly comparing said ward to the old version the replacement was supposed to, well, replace (and arguably an alter ego for the protector/parent to incessantly baby). Jadis would act exactly like that; re: comparing me to Tim and rewarding me when I “was good” with positive comparisons, yet using said comparisons (and the car) to punish me when I “was bad.” In short, it was literally cruising for sex, then acquiring a fancy car ornament/arm candy during Batman/Robin (master/slave; aka master/apprentice, or the hobo and punk, etc)) syndrome—very 1970s gay and not the good kind!

Hindsight is 20/20. Yet, if Volume Three [the first book I wrote, but have yet to publish as of writing this] was me flirting with the idea of exposing Jadis, and the Undead Module was me telling my story about Jadis in full to begin learning from it, then this section you’re reading now—the Demon Module side of my ongoing testimony—is the logical follow-through of that painful healing process after laying Jadis to rest: strapping myself to the cross by digging their fat zombie ass back up, or in more demonic language, summoning back to the mortal plane to trot out my show pony duplicate of what well-and-truly made my life from May 2020 to February 2022 a living hell! To it, we don’t owe anything to our abusers privately or publicly abusing us; they forgo that privilege the moment they harm us.

[artist: Persephone van der Waard] 

Creation is sacred and profane; you can’t have good without bad, babies without batter, and nothing good ever lasts, but neither does anything bad. Instead, it’s a historical-material cycle, one where state and labor proponents dialectically-materially war to develop or abort Communism. Gothic Communism is Gothically mature and Capitalism is not. In turn, Gothic maturity is the ability to discuss difficult topics using Gothic poetics to achieve holistic, total perspective; re: even the situation I partially described, above, wasn’t all bad—and not to downplay my own rape at their hands, because it was bad—but two things can also be true at once, and good sex, creation [biological pregnancy or otherwise] and relationships need passion to work [insofar as they meet our needs beyond the basic material necessities]. It’s a paradox that abusers frequently exploit to stabilize and handle their prey until they have what they want from them.

Ergo, things with Jadis were incredibly bad but also incredibly good: one, because Jadis caught flies with honey, and two, because their subsequent piss and vinegar pushed me to meet Jericho, followed by Cuwu, and eventually Bay while producing my life’s work having lived a full life. A real Victor Frankenstein making me into the monster they wanted to control—but also Mephistopheles tempting a trans-woman Fausta—consider how Jadis had seduced me with a taste of the good stuff/fire of the gods, which I wanted after they’d “turned off the tap.”

In short, “I’d grown addicted to water” and desired its return! This ultimately backfired and I escaped Jadis’ hold on me—not for good, but enough to get out from under their thumb and build a new life in the desert of their Ozymandian hubris:

“Full life, full book,” so seize the day, lovelies! Yes, Jadis was little more than a robber baron aping the Man to rape me; yet, rape also isn’t a “win button” for the elite to terrorize victims into inaction, but something you can use to build the end of their line during the whore’s revenge [e.g., Morgana helping birth Mordred (through sex and magic) to castrate Arthur]. To it, reclaiming terror language needs to happen, and experimentation is vital to synthesizing demonic knowledge as something that survives as much between us as outside ourselves. So never let anyone discourage you from taking risks [within reason, of course]—and certainly never take anything given for granted/in blind faith: canon is meant to blind you and steal your dreams/power for the elite, but also their lapdogs like Jadis, the person, ultimately was—a real Cuntasaurus Rex. “‘Tis a shadow of a thought that I loved!” “Alas, poor Yorick!”

[artist: Jadis; source: Persephone van der Waard’s “Why I Submit: A Subby Gothicist’s Attitudes on Metroidvania, Mommy Doms, and Sexual Persecution,” 2021]

Beyond making myself feel good, I mention Jadis here because it showcases how the gaslight [and its rape] happen as much between media and people versus either in isolation; i.e., the state gaslights, gatekeeps, girl bosses strict mommy doms to pacify actual labor action trying to subvert canonical Gothic’s praxial inertia, and that’s exactly what Jadis did to me, but also what the demons in Smile and Evil Dead [from Hammer of Witches canonizing Beowulf onwards into the future] are also doing. It’s what Musk and Trump are doing. And so on.

If you feel yourself being tricked by such canonical worship, think of Jadis for a more earthbound perspective to ground you; i.e., they raped me, but also inspired me to survive them in ways I could salvage from their ample “corpse” [Jadis is alive and well, to my knowledge; our relationship is not]: “Mortal Kombaaaaaaaat! Uh-uh, uh, uh, uh, uh-uh, uh!” So do we camp the past to subvert it while having fun, and that means reviving its harmful aspects in fearsome-looking but ultimately harmless clones of themselves.

Eventually Jadis stopped caring about that—choosing instead to betray and harm me instead of actually being a good partner—but if ever there was anything good they showed me without harming me, it was that sex to overcome abuse can be fun. Eventually it just stopped being fun, with them; re: because they gradually started to abuse me. This abuse lasted for nearly two years, and it has taken just as long [and constant hard work] not merely to heal from it, but to turn that healing into something useful towards what Jadis hated more than anything else in the world: developing Communism. Every day afterwards has been a gift—one from me to all of you: my magic man! Ta-da!

[model and photographer: Jadis and Persephone van der Waard]

So forget “you have only to lose your chains!” Only with chains of our own devising—during mutual consent illustrated through informed labor action opposing state forces—can we truly free ourselves from the hellish state bondage and illusion that is Capitalist Realism: a Hell of our own hermeneutic, phenomenology and application, levitating in delicious convulsion and psychosexual “martyrdom” haunted by harm! It’s not an opiate, but forbidden sight attached to pleasure and pain hyphenated to not just survive those people and structures that harm us, but subvert and transform them to help us thrive, speaking to spite their machinations [to meet new mates who, in spite of our mutual weirdness, won’t harm us and vice versa]! Sweet apostacy, let’s proselytize!)

No one asks to be raped; but many rape victims camp their holocaust by putting “rape” in quotes while remembering past sacrifices they made/secret shames they wrestle with as society’s perpetual monstrous-feminine virgins/whores (a fact the Gothic hyphenates on the same surfaces, above). The way to survive the fash, thus the pimp is to break their monopoly on whores. This includes white moderates like Jadis.

“Demons,” like Lewis eating Ambrosio from inside-outside himself (and unmaking God’s Adam to wickedly and deliciously reverse Genesis) during the cryptonymy process, then, are as much us inside ourselves creating likenesses of old friends and enemies outside ourselves; re: my fashioning of Jadis to escape their real-life double, and one informed by a variety of texts we both grew up with. These interrelations, in turn, are entirely endless, and which we’ll examine a handful here, vis-à-vis Smile, Evil Dead, my ex Jadis (again), and other germane concepts; we’ll also discuss summoning them to subvert their potential beyond the state’s intended usage—i.e., in our own performative lands of excess and uncanny valleys of strange contrast hammering swords into ploughshares.

About that. Fascism doesn’t fight fair—is when Imperialism comes home to empire as something to defend from “us”; the world, as a system of exploitation, only “ends” when Nazis stop being Nazis and lay down their arms to dismantle the state with us against the elite. Until then, they conjure up their own “moons” to hunt us down with: warships of all kinds, size and shapes, onstage and off.

However false or real these are, they remain a performance we can decolonize on the same battlefields, be those on terra firma or up in the clouds overhead, the state of exception expanding into outer space (with Musk desperate to go to Mars for some reason). “And the moon rattles in the sky like a piece of angry candy…” With that bearing down on us, it’s normal to question our sanity in fighting something so stupidly big.

But the reality is, they only have what power you give them and you can only see such things in pieces while cutting them down to size. That happens in the day-to-day spheres the capitalist cannot control. He’s too big and fat, only waiting for a worldwide rebellion to come along and burst his bubble; i.e., colonies always have a built-in time limit with a lit fuse, and America is just another police state whose time is running out.

Lucas certainly loved his propaganda battles (above), but rebellion isn’t won by singular monomythic events advancing the rights of single groups (white straight boys); it’s a group effort that leads to gradual change that, sure enough, happens eventually all at once. So now’s the time to fight for that shifting of the tides! Run and change shape, become invisible to them! Steal their plans! Tire them out! Remind them all their power comes from what they steal, so cut off their supply! Infinite form, infinite capacity to affect change by leveraging labor and action against their giant machines needing us to play along to work. In denying them our blood, everything stops, giving us the power to negotiate the slings and arrows through asymmetrical warfare!

To that, next we’ll focus on not playing along during our own plays, doing several close-reads that outline the demonic history and theory we’re working with, here: to apply it to such ongoing battles of development, onstage and off!

Onwards to “Dark Shadows: The Origins of Demonic Persecution and Camp; or, Applying My Education (from School and Jadis) to Smile, Evil Dead and More“!


About the Author

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). Any money Persephone earns through commissions or donations goes towards helping sex workers through the Sex Positivity project; i.e., by paying costs and funding shoots, therefore raising awareness. She takes payment on PayPal, Patreon, and CashApp, etc; all links are available on her Linktr.ee. Every bit helps!

Footnotes

[1] When the wolf is loose—it helps to keep a few masks and buffers nearby. Become something they can’t attack/that others will defend from attack because they see it as human, not expendable.

[2] My side of the conversation was recorded in Michigan, which is a two-party state with an exception for participants. Or as Jeffery Koelzer of Varnum LLP explains: “Michigan is a two-party consent state, with an exception for recordings by conversation participants” (source). That being said, the point is moot given the conversations’ recordings occurred with Jadis’ consent and mine (for which I have their spoken consent on record; i.e., us discussing the recording process in detail while doing it and playing together). As I shall further explain, the image portions I am showing are not sexual, and provide additional context to the sexual abuse Jadis exacted upon me after said videos were taken.

To that, these exhibits are screencaps from previously recorded videos produced between us with their full knowledge and consent; i.e., the videos were recorded with their full permission, explicitly for me to keep for my personal enjoyment*: Jadis enjoyed knowing I had them, effectively making them homemade porn between two willing (and eager) participants. The screencaps used are before sexual activity takes place, with Jadis either having all of their clothes still on, or the nude portions of their body off camera; i.e., my showing of these recorded conversations is to prove that they occurred, not to demonstrate their total pornographic contents, which I refrain from showing in these exhibits (exceptions being towards myself as nude, solo, to demonstrate the erotic qualities of courtship that took place between us: what Jadis and I exchanged, prior to us moving in together).

*Jadis abused me repeatedly in ways I have explained in the past (re: “Escaping Jadis,” July 6th, 2024) and shall explain again, here. The context for these screencaps is to give vital background to what I am explaining, and to show my abuser more than I have previously done in earlier accounts. In short, I’m putting a face to the alias—my right as a victim outing that portion of my abuser as I see fit. My past accounts of abuse regarding them have been up since at least early 2023 (e.g., “You really do have a beautiful body”; source: “Sex Positivity versus Sex Coercion, or Gothic Communism: Manifesto,” modified from July 2022 to 11/4/2023) but expanding in 2024 to include censored images of Jadis’ body but not their face, and more detailed accounts of their abuse (source: “Transforming Our Zombie Selves,” June 27th, 2024).

Furthermore, the older samples cite even older media that has been online since before 2022 and includes uncensored images of Jadis’ face and real name (e.g., “Why I Submit,” February 19th, 2021), recordings of Jadis identifying themselves and their profession for the mic (e.g., “Dreadful Discourse, ep 1: What is the Gothic?” June 26th, 2020; timestamp: 0:35), me with my arm around them after they graduated from UF (source tweet, NicksMovInsight: May 6th, 2021). The point being, Jadis has known about my identifying writings of them since before we broke up (many of which they offered feedback on) being cited in my writings about them after we broke up calling them my abuser and then later still, my rapist. The rape claim has been active for over six months, and my claims of abuse for roughly two years. Not once has Jadis ever contacted me after February 14th, 2022, either to harass me or ask me to cease and desist.

To which, I reasoned back then and now, they know about the claims and ability for their name to be connected to the alias, but haven’t done anything about it; i.e., that it wouldn’t be especially difficult for anyone reading these publicly available accusations to follow the references back to their original, publicly available sources, thus to acquire: Jadis’ full name, where they went to school, what they look like, and ultimately what they did to me. This also includes publicly available Google Docs that detail their abuse not just cursorily but in vivid and extensive detail; re:  “Setting the Record Straight Again; Accounting My Ex’s Abuse of Me to Another Victim_August 30th, 2022” and “Setting the Record Straight; My Ex’s Abuse of Me: February 17th, 2022.”

Said documents have been up, live and unaltered, since their posting dates. Jadis has not once reached out to me to acknowledge them, but apart from blocking their Twitter main, I have made no effort to hide my work from them, either. I’ve even written about their abuse of me and other people and featured images of all of us together (e.g., Tim, with Jadis and I; exhibit 39a2b, “Escaping Jadis“) and Jadis still hasn’t done anything. I can only reason they either know they’re guilty and/or don’t care (and to my knowledge are still living with the other abused person; re: their former ex, “Tim,” who knows everything about Jadis [because I told them] and were with them longer than I was—over ten years, versus roughly two).

[3] Or “happy accidents,” as Bob Ross calls them.

Book Sample: Demons Module Opening

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)!

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 model(s). For more details about artist permissions, refer to the book disclaimer (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.

Demons: From Composites and the Occult to Totems and the Natural World

Who needs chicks when you got demons?” [They’re not mutually exclusive, my dudes.]

—John and Moe, The Gate II: Trespassers (1992)

(source: Austin Vashaw’s “Forgotten Sequel GATE II,” 2018)

Note: I wanted to release this opening/symposium on Friday the 13th, but had to rush it a little. As it extends to the entire Demon Module and discusses everything inside, I’ve not only proofread it more, but expanded on it considerably. —Perse

This module focuses on forbidden, unequal exchange (often power, darkness and knowledge, which for us are synonymous with each other) and radical transformation (commonly shifting shape) through demons, but especially creation using such things and their dark materials’ desire/fulfillment of wishes (commonly around advancement and revenge using black magic/mad science); i.e., going beyond what capital normally allows for most people. The gods, for example, classically use clay to create whatever they want (re: all heroes are monsters). Demons, then, commonly constitute unequal exchange through power, darkness and knowledge as a forbidden creative act; i.e., they make for an incredibly broad category of monster that—famously shown during Satanic Panic, in the 1980s—exhibits beings (thus power, darkness and knowledge) as literally fashioned from clay (an analog of human flesh)! Doing so constitutes highly regulated acts of vengeful creation; i.e., showcasing forbidden ability (again, as power, darkness or knowledge) through limitless poetry that we’ll explore in the pages ahead; e.g., from Pygmalion and Galatea, Milton’s Satan, and Shelley’s Frankenstein, to echoes of those we won’t: Ray Harryhausen, Larry Roemer’s Rudolf the Red-Nosed Reindeer (1964), and Frosty the Snowman.

(artist: Oxcoxa)

Self-fashioning linguo-materially also ties to incredibly old forms of demonic poetics, which the elite package and sell under capital in a variety of media forms, but also dichotomies; e.g., virgin/whore and videogames (with prostitution and whore-as-sex-demon being something we’ll explore at length, in “Forbidden Sight”). So while demonic “claymation” has occult origins dating back to the Golem of Prague (and far older examples), these have since been reinvoked; e.g., with John Carmack’s own Martian variety in Doom (1993); i.e., as also being fashioned from clay before being digitized (a common ’90s technique, Blizzard originally intending their 1996 flagship game, Diablo 1, to also be digitized claymation).

Apart from clay, however, demons are embodied and invoked by various materials and methods reanimating dead things; e.g., ink (above) but also what William Blake called “corroding fires” in The Marriage of Heaven and Hell (1790); i.e., being made of dark hellish materials, summoned from dark hellish zones, or sensed through the imbibing of dark hellish substances:

  • posthuman mad science, composite demons and Cartesian thought leading to modern-day fascism and xenophobia (the Promethean Quest)
  • the liminal expression of occult language, anti-Semitic black-magic symbols, and BDSM rituals (the Faustian bargain)
  • and drug-fueled ecstasies/xenophilic knowledge tied closely to nature, sexuality and gender expression; i.e., as alienated from the modern world and fetishized/pimped out by capital

We’ll go over these ideas one chapter/subchapter at a time:

  • “Of Darkness and the Forbidden” (opening, included in this post) is a symposium that discusses various poetic ideas and paradoxes (contradictions) known to darkness and demons, which will come up throughout the entire module.
  • “Forbidden Sight, Faust and the Promethean Quest” (chapter) parts zero, one, two and three consider forbidden power as something to see; i.e., forbidden sight, per the Faustian Bargain and Promethean Quest. They do so through the history of making/summoning demons—initially according to Gothic, Renaissance approaches and prostitution (whores) as a Faustian bargain, but then unto the Promethean Quest; i.e., Cartesian dualism meant to punish demons, or otherwise summon/pimp them through the ghost of the counterfeit to further the abjection process in service to capital raping nature-as-vengeful (and whose inheritance anxiety occurs inside the Imperial Core, continuing Capitalist Realism as a fear of the outside, of the dark, of the Earth, creativity and nature[1]).
  • Exploring the Derelict Past (subchapter) considers the dialectical-material tensions between a demonic trifecta of damsels, detectives and demons; i.e., as something to enjoy on either side of oppositional praxis, while endorsing pro-state or pro-worker functions (their appropriative dogma or appreciative ironies): according to those expressing and investigating demons and their shape-shifting trauma/catharsis.
  • Call of the Wild (chapter) considers the natural world as a hellish, demonic site of animals-as-monstrous; i.e., demonic and/or undead to varying degrees, which the state will exploit per the Cartesian model and its heteronormative, settler-colonial profit motive. Parts one and two consider the revolutionary potential of monster-fucking and the sex-positive educational device offered by the monstrous-feminine as animalized; i.e., how both liberate nature and workers from state-fueled furry panic using acid Communism (the merger of inter- and extra-community measures).

As we proceed, please remember Weber’s maxim concerning the state’s monopoly of violence (and in connection to it, Asprey’s paradox of terror and Crawford’s invention of terrorism vis-à-vis the Neo-Gothic mode); these apply to any demon, be the iconoclast of mad science, occult magic and/or nature, or to some degree chimeric/undead (e.g., the xenomorph). Made to prey on nature as monstrous-feminine, the state has an intrinsically heteronormative, Cartesian and settler-colonial police character that will double and weaponize Gothic poetics against pro-worker forms of counterterror seeking liberation; i.e., through demonic expression.

(artist: Mizugi Buns)

To it, demons embody poetic exchange—as unequal/forbidden, and with transformative linguo-material devices (re: power, darkness, knowledge; if I mention a particular noun in this module, it’s because I’m stressing it). As such, they are classically made, summoned or found, and argue dualistically (through doubles) along these circuits of poetic discourse; i.e., by creating something out of clay or summoning it into a clay-like substance (or dead flesh, possessed victim, graveyard soil, etc): to deal/treat with power in all its forms, including of nature and death as old, haunted, anathema and ubiquitous. Knowledge is power and vice versa during such exchanges; i.e., as dark, anisotropic.

Couched in “darkness visible” as a poetic, xenoglossic device, we can make not just voices, but also bodies that speak cryptonymically to taboo, illusory and paradoxical things, injecting them with fresh poetic life (trans people are poets of identity and the flesh, above); i.e., a half-real, checkered combination of violent, terrifying and hellish morphological freedom of expression, existing in andro/gynodiverse defiance of state monopolies, trifectas and qualities of capital, hence Vitruvian medicalization and genocidal apathies (re: the Shadow of Pygmalion as white/xenophobic, fearing things not of the West [“not of this Earth!”] and bastardizing them as abject, alien evil, forgotten; i.e., reimagined with asymmetrical/guerilla powers exploited by the state but not monopolized by them)!

(source: Testament’s Dark Roots of the Earth, 2012; artist: Eliran Kantor)

Per Hogle, the ghost of the counterfeit furthers abjection through the middle class upholding status-quo arrangements of power and knowledge through Gothic fakeries; i.e., viewing colonized land as dark and alien, vis-à-vis Cartesian thought and heteronormative language demonizing older forms of culture connected to nature, life and death, having become alien in ways that uphold capital (and its black/white colonial binary argument). Under Capitalist Realism, something is “dark” if it ostensibly moves anything of value (re: power and knowledge) away from the status quo. Generally this darkness is associated with the vengeful imaginary past based on buried historical atrocities, the latter paradoxically twisted by the former to keep control right where it is (among the elite). Anything that challenges this paradigm is canonically framed as dark, evil, profligate; i.e., nature as vengeful whore, which capital takes revenge on through DARVO-style police violence/obscurantism, witch hunts, tokenism and moral panic; e.g., Medusa and her Aegis’ forbidden sight (we’ll get to her).

Rebel power/knowledge, then, becomes ontological in highly dark, Satanic, and “archaically” poetic ways; i.e., through iconoclastic abstraction and impression, but also hefty substance, sensitivity and savory deliciousness regarding the natural world as funerary and wild (as forbidden fruit generally is): “death” as an extant state of constant radical change, made by those “of nature” the forces of light deem ethnocentrically “lesser” or “accursed” while conveniently abusing the same language of the imaginary past’s priestly and funerary necrobiome, themselves (always in service to profit/a Cartesian paradigm raping nature as whore, Pagan, black, the latter closer to life and death through reimagined death gods, post-genocide—above). And yet, all monsters are linguo-material devices, hence exist in anisotropic duality during oppositional praxis; i.e., in dialectical-material struggle, moving power towards workers or the state. This further complicates by a give-and-take approach to what is being exchanged. Whereas the undead take essence when they feed in relation to trauma, demons give knowledge to transform themselves and others into demons when they teach.

From Ovid to Milton to Giger to Vandermeer’s Shimmer (the Rainbow from Hell, per Lovecraft’s “Colour out of Space” [1927] worshipping cosmic nihilism), we Gothic Communists are not “sick”; we change both ourselves and others through love, pleasure, pain, and annihilation, turning into our true forms less as set and more constantly growing: amid a parallel state of existence whose Wisdom of the Ancients challenges Capitalist Realism and its blind, braindead myopia! Not to cheat death, but face and become it, we knock ’em dead—are the guardians of the universe, not its conquerors: the stewards of nature’s mighty-mighty darkness. Darkness is power as potential, waiting not just to happen but intersectionally collect, consolidate and explode in a rising pandemonium of anarchistic intelligence and consciousness; i.e., shifting the giving of unequal, forbidden knowledge towards worker struggles fighting for universal equal rights, dismantling the state as we do.

(artist: Mizugi Buns)

This occurs through playing with power-as-knowledge-exchange insofar as demons represent it through darkness as an aesthetic; i.e., expressed through ludo-Gothic BDSM. Something of an Unholy Trinity that turns capital on its head (usually expressed as upside-down; e.g., the crucifix), power, darkness and knowledge—often as conspicuous, ritualized acts of creation/poetry and (re)invention through magic/mad science—go hand-in-hand during unequal, forbidden exchange, radical transformation and dark desire/wish fulfillment (my demon thesis, the overarching argument for this entire module). The demon symposium shall explore this lofty and productive concept for the remainder of its pages, using these words somewhat interchangeably. In doing so, we’ll conversationally unpack an assemblage of complexities and contradictions/paradoxes inherent to demonic expression as “dark,” thus useful insofar as worker liberation under Gothic Communism goes; and we’ll impose limitations on demonic variation/our study’s focus, just to keep things—while holistic—somewhat grounded!

Of Darkness and the Forbidden: A Demon Symposium

Darkness imprisoning me
All that I see
Absolute horror
I cannot live
I cannot die
Trapped in myself
Body my holding cell

—James Hetfield; “One,” on Metallica’s …And Justice for All (1989)

This symposium is like that great library from The Shadow of the Wind (2001)—many books on the shelves and far too many to read in one lifetime or several. With selective reading, we shall pull this or that down from the dark, dusty stores, doing so to assemble and articulate a variety of poetic ideas/thesis statements useful to rebellious demonic expression, as well as arbitrating the focus of the Demon Module at large: forbidden knowledge and “darkness” to transform ourselves through ludo-Gothic BDSM; i.e., the demonic subversion of state harm by playing with copies of these things just as state proponents do, but in reverse; e.g., incarceration, torture, rape/power abuse, and the all-around policing of ironic demonic sex and force with unironic demonic sex and force: deus ex machina, Deus Vult!

Ludo-Gothic BDSM, then, is to play with unequal power as “dark” knowledge; i.e., plastic and anisotropic, to better make art in any linguo-material form that allows for transformation as such. Often, this speaks to someone’s perspective, but it also ties to violence, terror and morphological expression—a communion with dark earthly forces communicated by their bodies and minds as somehow “demonic”; i.e., in monomorphic ways antithetical to state configurations. Power is a paradox, then, something “dark” to (re)invent and (re)enforce along the control of poetry and knowledge by the state. As a structure, it invents conditions and ideas—generally through the assignment of guilt and innocence—that flow power up by criminalizing nature and policing it in us-versus-them demonic forms; Gothic Communism reverses all of this by inverting the same terrorist/counterterrorist devices and arrangements: to illustrate how those assigning guilt—or otherwise benefiting from capital as a heteronormative, Cartesian, setter-colonial arrangement—are generally the most guilty of all.

For your convenience, I’ve divided this symposium into six larger chunks and a conclusion (all concern demons and darkness, and the titles should give you an idea of what to expect):

  • Hello, Darkness, My Old Friend
  • Playing with Power
  • Limiting Our Focus
  • Expanding Our Demon Thesis
  • Further Food for Thought
  • Broad Strokes; Some Larger Arguments about Demons
  • Conclusion: New Eyes, Forbidden Sight (and “Religious” Concerns)

Before we proceed into the symposium at length, then, a couple of pages about “darkness,” why it’s vague, and what I mean by it in relation to demons!

Hello, Darkness, My Old Friend

“Darkness,” whatever its form, is aggregate, massive, dwarfing the light—man vs nature, virgin/whore, state/chaos, etc—and its poetics and paradoxical ideas of dark knowledge exist within liminal in-between positions of incomplete knowledge. To be “in the dark” is to be at a disadvantage. These states of ignorance and lies actually stem from older pre-Christian religions (re: Judaism and golems), doing so in ways that hauntologically endure well into the present; i.e., “darkness” and “knowledge” attaching to “power” as, per Foucault, being equally broad. Demons are a very old kind of monster—far older than modern vampires or zombies, and still evoking that ancient tenebrous quality to them: a proximity to power merged with a foreboding but also welcoming sense of the unknown. “Dark” = “demon” as evoked by merely hearing or seeing the phrase; i.e., “a being of darkness, thus power as ‘dark’ or from/of nature as alien, vengeful,” simply as something to feel, thus imagine. Darkness is, in one sense, highly subjective—a feeling or a mood associated with demons. Per Plato, though, it operates through shadowy suggestion, having the capacity to liberate dupes or enslave them again through allegory (which is just as old as golems are).

(artist: ArturSG)

Per ludo-Gothic BDSM, “power” is often psychosexual and conveyed in terms of size or classically gendered, phallic/vaginal symbols of sex and force, like caves or swords under Cartesian reimplementation; e.g., Lion-O’s Sword of Omens from Thundercats (first image, 1985) vs Mumm-Ra’s pyramid of power (and his latter-day Egyptology’s skeleton king in two parts: Old Man Saturn and revived youthful tyrant, above) speaking to neoliberal (false) power fantasies made from dolls/pulp and playing with them. Simply put, power is something you articulate through perception, poetry and play as, often enough, “dark,” subjective, unstable, and Gothically vague. Shadows stand in, doing so as simulacra and synecdoche; they abstract to reify whatever our dialectical-material positions are, and whatever is policed by the state and which workers reclaim (usually sex and force, through nature-as-alien, left). Centuries of dogma change how the world is perceived in ways that must be subverted.

(artist: Kinky Birb)

Cartesian arguments classically divide nature into “thinking” and “extended” beings, essentially boiling down to white, entitled European men colonizing anything else per settler colonialism dressed up as “progress”; i.e., taming nature as wild, whorish, savage. For the state, there must always be an enemy expressed as “dark” in terms of a victim for cops to stomp—less a Snidely Whiplash to make Dudley Do Right appear good by virtue of the team he’s on, and more something that either can unite against. There are no moral actions, only moral teams under centrist paradigms, and the portrayal and perception of strength upholding capital, Pax Americana and the state standing against “true darkness (nature)” is the only “good team” under Capitalism: the state was made from clay as genocide during the Cartesian Revolution, the latter seeking revenge against God’s will through the former as something to possess in alien-like, demonic ways. The pastoral yields a shadow the state scapegoats and pimps mercilessly through DARVO and obscurantism: Lilith, Medusa, zombies, etc, threatening daintier forms with “corruption” (rape epidemics, sodomy and blood libel, etc; e.g., Beauty and the Beast, The Creature from the Black Lagoon, Persephone and Hades, and similar stories abjecting or reverse-abjecting our mates; i.e., who we want to marry/fuck versus who we’re forced to). We can defend and protect whoever we want for different reasons.

(artist: waifumelsz)

So while “darkness” is initially a subjective inkblot that serves cosmetically for state forces and victim aesthetics alike, in reality it accounts for the holistic, cosmic, total, objective flow of power through language and nature as phenomenologically ambiguous, dualistic and historically-materially divided in two: team bourgeoisie and team proletariat, workers and nature vs the state, man vs nature (often expressed as women), black/white ethnocentrism vs settler-colonial territory ordered for conquest, ownership and rule (e.g., Tolkien’s Christianized Great Chain of Being and Divine Right[2]), and sex positivity vs sex coercion, etc.

As such, “darkness” handily accounts for the sheer poetic variety recorded, witnessed and experienced under these two constants; i.e., combining the five normal senses, but also swapping their roles to speak to new demonic ones; e.g., seeing in “darkness” but also with it, as with power in all its poetic forms (refer to our medieval poetic devices from the Poetry Module to get a better idea of what I mean: a confusion of the senses, selective absorption, magical assembly and our Song of Infinity). Demons classically mislead. Under state illusions, us-versus-them theatre yields not just cops and victims, but supercops and supervillains. Clarity comes from confusion, then, as something workers control and command to upset state logic/cultural attitudes about nature and workers at large; i.e., to use shadows, seduction and demonic instability to escape bourgeois illusions to pursue Gothic Communism and sex worker liberation through iconoclastic art, instead: our own shapes to occupy. Gothic maturity comes by using “darkness” to achieve sex-positive things, our mirror-imaged twins debating with state forgeries in and out of ourselves (myself being an identical twin, a trans woman versus my cis-het double).

(source: Lina Hoshino’s “‘Ghostly Shadows’ on Petaluma Streets,” 2022; artist: Larry Harper)

Arbitration is just that—arbitrary. “Darkness” isn’t automatically evil; it simply is what it is. For one, shadows are often conceived as “lesser” or “diminished” offshoots of someone formerly “bright”—i.e., to be a shadow of one’s former self—or a vague concentration of some kind of occupation, calamity or hard-to-define force attached to something else (a double or Venus twin). However, this doesn’t make them “less,” and often they have great mass and substance; they’re just a dark side to a person, place or event, or—like a black ghost or spirit—express a presence or entity unto itself that is dark, painful, mysterious, different, intimidating and/or left-behind, etc (a trace; e.g., the shadows of the victims of Nagasaki and Hiroshima, above).

Cartesian thought generally conceives what makes a shadow feel “alien” to begin with; i.e., as needing to be explored, destroyed, and purged, etc (re: the abjection process creating a state opposite to police, a stain generally of nature as monstrous-feminine). But it can just as easily be a pulpy expression of power in romantic language—a potential waiting to happen. To it, the shadowy butterfly Psyche, or ancient goddess of the mind, is a classical symbol of transformation through said potential since Ovid, to Shakespeare, to Keats, to Marvel’s somewhat looser adaption of the same basic idea:

Elizabeth Braddock, Betsy to her friends, grew up in the U.K. with her older brother Jamie and her twin Brian, better known as Captain Britain. Betsy worked for S.T.R.I.K.E.’s psi division after her mutant telepathy manifested, lost her eyes in the line of duty, then was kidnapped by the extra-dimensional media mogul Mojo, who gave her new cybernetic eyes but forced her to star in his wild TV shows. She joined the X-Men, swapped bodies with a ninja name Kwannon, trapped the Shadow King within her own mind, died, and was later resurrected. In fact, there’s not much Psylocke hasn’t done in her life (source: “Marvel Vs. Capcom Origins: Psylocke,” 2012).

Power as “darkness” is something to harness, channel and express for different reasons; it drinks the light trying to purify and extinguish it.

Furthermore, and from a pure applicatory standpoint during oppositional praxis, anyone can betray/stab someone in the back under the guise of luminary holiness and blind faith steered by bad, all in service to American Liberalism, white knight syndrome and capital; anyone can use the abstraction and aesthetic of demons and “darkness” to punch up. Cops and victims, pimps and whores, music and visuals—the state, under neoliberal Capitalism, creates whatever it needs in order to maintain its position; we respond in kind, existing in ways that use the same demonic language for our purposes, passing forbidden knowledge along: “We’re here and we’re queer!”

These ideas generally elide, and it’s actually quite difficult to stress just how similar state and liberatory forms of power outwardly appear. They mirror each other on the same Aegis per the abjection process going forwards or in reverse; i.e., during liminal expression, through state monopolies and trifectas; e.g., “Gaslight, gatekeep, girl boss.”

Cops, then, can look like victims (undercover), and whores can look like cops working for or against the state (re: brothel espionage—with “darkness” ontologically vague in ways the elite can use to expand the state of exception, and for us to hide and communicate inside it during the cryptonymy process). “Darkness” is dualistic, is everything at once, is both the state justifying attacks on workers/nature and the rebel defending themselves/subverting state power through devilish cryptonymy showing you things that normally vanish the closer you get; i.e, are abjected, policed or recuperated by state proponents abusing them: scorn, sedition, lust and other riled-up, simmering emotions/repressed socio-political sentiments, biases, stigmas, phobias, etc (and the linguo-material things attached to either side of them). For political purposes, the disambiguating factor is function/flow, which parses through dialectical-material scrutiny! Cops flow power up towards the elite; rebels redistribute power and knowledge downwards, each addictive, intense, ready to devour and be devoured.

(artist: Durane-S)

Flexibility/vagueness of expression and interpretation is a strength, not a weakness because it constitutes an uncanny ability to play with powerful things and use them to tease people with titillating possibility as “dark,” but also impressive. Whatever their forms, power and “darkness” remain thankfully diffuse and nebulous; i.e., linked to nature-as-monstrous-feminine per the cryptonymy and abjection processes; e.g., shadow warriors or similar beings of darkness, like pirates, barbarians, xenomorphs, Gothic castles, werewolves, and garden-variety Amazonian redheads—all giving weird nerds wet dreams (I want to fuck what I want to be): as badass, of-nature, partially inaccessible things to get close to and play with, “darkening” ourselves in ways that heal the world through subversion and camp as a kind of devious, wicked, energizing pulse to tap into.

Except, our “darkness” and demonic chaos works opposite state “darkness”; i.e., within the same devices at odds through duality. State chaos is a prison, one meant to contain and pacify workers in order to feed on them; emancipatory forms disable all of this, but still work through illusions of power meant to dominate through pain as much as erogenous pleasure. The idea is to unlock the unknown secrets of the body and mind through reunion with alienated fetishized things “of nature,” but especially sex and force injected with irony as inventive; i.e., by pulling us towards truth as, to some degree, encased in powerful, “torturous” shadows that can meet many different communication goals; e.g., Satan’s shapeshifting in Paradise Lost, but also Cú Chulainn’s demonic ríastrad as “a visual reflection of disorder” (re: Enri’s “Inside Out… and Upside Down,” 2013). This can be a threat display to ward off predators, or paradoxically to attract them during calculated risk: “Ravish me, mommy war goddess! Take me into your bush, your sylvan scene! Green light!”

Playing with Power

Darkness is vague, a found document written in Greek; demons communicate through power expressed nerdishly as pleasure and pain, sex and force (Faust was a giant nerd, as was Victor Frankenstein, and so many others pursuing forbidden things to fill in their knowledge gaps). This symposium shall address all of these linguo-materials vagaries and try to articulate the nigh-endless ways you can think about power as such, while still applying it yourselves; i.e., in more productive and less harmful ways than state monopolies do; e.g., Thundercats‘ playing with dolls and symbols of power tied to medieval, European structures of power and their dialectical-material concerns/dualities parallel to various hauntological kinship rituals, rememory and rites of passage. State force doesn’t solve anything and only leads to profit for the elite, thus rape and megadeath for us; to counteract those historical-material effects, workers must familiarize themselves with alienation and exile to poetically speak through the interlocutory (dialectic), cryptomimetic barter of demonic sex and force for workers; re: to give knowledge back to workers, transforming them into outsiders while still inside Plato’s cave and inviting them to do the same with others—through shadows.

We’ll get to that. As demons embody the at-times pulverized exchange of forbidden, thus policed transformative knowledge as a creative act, I’d further like to consider the vague, thus inherently broad umbrella category “darkness” and demonic poetics. We shall do so through an extended exhibit/apologia—one loosely containing various ideas to keep in mind; i.e., insofar as this creative process is a) normally monopolized to serve state forces, and b) reclaimed in the same exploitative boundaries by us to achieve liberation, developing Gothic Communism through ludo-Gothic BDSM: to play with demons, thus hug the alien as a shadowy figure/lie telling truth in virtually endless forms: “Life’s fantasy—to be locked away and still to think you’re free!” (Black Sabbath’s “Die Young,” 1980):

(exhibit 43e2a: Model and artist: Mugiwara Art and Persephone van der Waard. My drawing of Mugi as a dark visitor trapped between their devastated homeworld and ours; i.e., built on the fatal, Orientalist nostalgia of the 1980s Egyptian counterfeit: the return of the demon, demanding submission of the [canonically white] slave, the white Indian: “Frozen eyes stare deep in your eyes as you die!” From Percy Shelley’s “Ozymandias” [1818] to Slayer’s “Seasons in the Abyss” [1990], you’ll have seen and heard such abjection everywhere, and multiple times in this book, already [re: Castlevania‘s Countess, Jojo‘s Pillar Men, Samus Aran and Skeletor, etc]. Here, it serves a vital theatrical role: “antiquity” in decay delivering calculated risk with a Numinous, beyond-the-realms-of-death traveling flavor we can reclaim from the elite; i.e., as neurodivergent personas challenging their bad demon BDSM—reversing abjection! To that, Mugi and I are both neurodivergent, but Mugi is also plural [and unless stated up front is seamless within a system]. Younger plurals tend to be more open about their condition as a matter of Gothic poetics.

For example, my older friend Mavis likes to be underestimated, operating more like a chameleon, a ninja. They are plural like Mugi is and can agree and disagree with me seamlessly within a position of survival. Once taught, they can’t turn it off, and like all demons, they are made by capital exerting its will upon them. Similar to the nightmare scenario of the skeleton lord coming home to roost, plurality is often a consequence of trauma; i.e., demons are made, but as the entire following module will expose, they and their “darkness visible” can be used for different aims, to represent different things; e.g., plural people, queer persons, and/or Communists to varying degrees: medical conditions, social practices, class attitudes, often as things to summon and offer as paradoxes of forbidden knowledge and unequal power exchange. We become false and true at the same time, our way of seeing the world permanently altered: the inferno inverts, as does our sight—revealing that which is hidden by darkness with darkness.

Except the state doesn’t need to be the only ones making demons and using them to advertise, “other cultures are savage, not us!”; workers can place “rape” in quotes using the same faux-Egyptian counterfeit, albeit for sex-positive reasons that don’t unironically seek revenge against nature-as-alien, profiting as the state does on such inherited anxieties [re: “white people disease”]: a funeral procession making the planet dead as an Orientalist metaphor for fascism and moral panic, a cradle of conquerors and the devastation “they” routinely offer [a pro-state DARVO/obscurantist argument].

 

[artist: Zdzisław Beksiński]

Gothic Communism camps what is easily canonical, in this respect. The eclipse, here, equals the rising of the black, “ancient,” faraway castle in either case; i.e., as a projection of all the usual bourgeois abuses onto fear-and-dogma playgrounds: the liminal hauntology of war [a flying castle, Walpole’s Capitalocene] on the rise. Canon-wise, it merely becomes a middle-class opportunity to cash in on abjection, as so many did during the 1980s; i.e., move money through nature while dressing everything neoliberally up as “alien, past” [the Stargate Egyptology trick: ancient aliens tied to Biblical reinventions, specifically Exodus] and speaking to that Cartesian division through metal, cartoons, comics, videogames and so on—to sex, drugs and rock ‘n roll as essentially dark demonic pulp, thus where power truly lies. For canon, the black pyramid is simply the West diminished, apologizing for “Ra” [and the sun-like Imperium] as merely decayed, unstable like a volcano during the dialectic of the alien and needing a Walpolean facelift. It’s abject pacification, mid-consumerism—the worship of power-in-decay displaced to an other time, a liminal space, a Gothic-castle Sodom and Gomorrah to play with all manner of demons inside a castled morphology: floodgates to Hell, promising oblivion once thrown wide!

[source]

 

When I was living this lie, fear was my game
People would worship and fall
Drop to their knees
So bring me the blood and red wine
For the one to succeed me
For he is a man and a god
And he will die too

 

[…] Now I am cold but a ghost lives in my veins
Silent the terror that reigned
Marbled in stone
A shell of a man God preserved
For a thousand ages
But open the gates of my hell
I’ll strike from the grave

 

Tell me why I had to be a Powerslave
I don’t wanna die, I’m a god
Why can’t I live on?
When the Life Giver dies
All around is laid waste
And in my last hour
I’m a slave to the Power of Death [
source: Genius].

 

To this, one of the monopolies I articulate is morphological expression; re: Hell and darkness. This power is neoliberal Capitalism in decay as something to camp; i.e., to monologue as Langella does, the sassy lich becoming a god waxing poetic about the power of “death,” for a fleeting moment: “I feel the power of the cosmos; the universe flows through me! […] The universe’s power! Pure, unstoppable power! And I am that force! I am that power! Kneel before your master!”; re: “I am become death, destroyer of worlds!” He’s a filthy whore, deluding himself as much as being a Darth Vader pimp from Space Egypt.

Such delusion mainly the point, the performative megalomaniacal idea is to own the stage as whore-like; i.e., during a given, profoundly intense and campy instance of the grim harvest/Grim Reaper as exotic, magical, straight-up stylish and cool. We faggish whores do it to draw attention to state predation and puff ourselves up, as proletarian counterterrorist guerrillas historically do; by comparison, the state monopolizes the night’s black boner/sodomy champion/gay butt wizard [the ass is dark and full of terrors] or resident catgirl[3] Medusa death god, summoning and raping them unironically through police violence before banishing them again—rinse and repeat. As always, liberation and exploitation share the same stage/shadow zone’s power-and-death, sex-and-force aesthetics.

In the classic neoliberal refrain, Capitalist Realism strengthens by virtue of a presence of corruption and decay darkening the city scape as coming—per the “black Egyptian” classic displacement—out of the imaginary past to threaten the present world with a ghost of the counterfeit: the pimp-like Great Destroyer traveling from older decayed empires into the Imperial Core as weakened and using garden variety obfuscation and DARVO; i.e., deflecting criticism and projecting state violence onto the same-old victims. Through English operas, rock ‘n roll and Gothic, then, power and darkness express less in funeral poems and more in funerary incantations—Christianized per the Resurrection as abject, Gothic in the NWOBHM style [re: as Iron Maiden did, above, with death anxiety and inheritance fears; e.g., “Hallowed Be Thy Name,” 1982].

To this, a Nazi-Communist skeleton king or Medusa [a dark Cleopatra, “O rare Egyptian!”] conveniently shows up, displacing current systemic harm back onto the same imperiled world; i.e., the Imperial Boomerang and military urbanism returning per a fatal homecoming [as the Gothic generally does]. In response, a white knight is canonically summoned to whitewash the Imperial Core through a false promise of restoration; i.e., one that conveniently banishes the angry foreigner/Wandering Jew [and his global conspiracy/cabal—the titular “Masters of the Universe”] whence they came [from the glossary]:

The Ghost of the Counterfeit

Coined by Jerrold Hogle, this abject reality or hidden barbarity is a hauntological process of abjection that, according to David Punter in The Literature of Terror: A History of Gothic Fictions from 1765 to the Present Day (1980), “displaces the hidden violence of present social structures, conjures them up again as past, and falls promptly under their spell” (source). I would add that it is a privileged, liminal position that endears a sheltered consumer to the barbaric past as reinvented as consumable.

In other words, it’s the usual scapegoater summoning the Radcliffean castle during the liminal hauntology of war to enact Red Scare, except we can reclaim such devices to forge our own destinies with the self-same demonic language of the imaginary past. The state doesn’t monopolize that shit, and Langella’s performance [and Silvestri’s sweeping score] become things to camp the ghost of “Caesar” and Marx with in equal measure: “A battle fought in the stars…now comes to Earth.”

[artist: Drew Struzan] 

For the state, it’s Star Wars‘ billionaire Marxism, but Gothic like Alien was while cycling profit through an endless series of centrist, neoliberal wars, battles, heroes and villains: an Americanized temple of “ancient” war traveling to and fro along with its conspicuously swole deities/avatars thereof [carried into shooter-style videogames, especially Doom‘s unironically hypermasculine Doomguy as a profoundly stupid and violent himbo protagonist]. It’s gibberish, made-up demonic hieroglyphic nonsense settled through force; i.e, disrespectful towards the actual past as something to learn from in imaginary forms, administering dogmatically through faux “archaeology” and sold over and over to maintain Capitalist Realism: by glorifying police violence as “timeless,” eternal, pimping nature as dark and dead graveyard whore.

Canon-wise, it’s an old war-film tactic, and one that translates to pretty much anything violent; e.g., gangster films and Westerns like Heat’s [1995] infamous bank robbery scene and the ending shoot-out to The Wild Bunch [1969]: cops and robbers, but also dragon slayers; i.e., one-man armies whose hauntological worship under capital ignores the regular victims of those exchanges—nature and workers, obscured by evil necromancers. We can camp all of this, but remain entirely beholden to the same astral poetics. Simply put, knowledge is power but limited in ways that Gothic poetics supplement. Like printing money as much as comic books, the state wants to monopolize violence, terror and hellish bodily expression using their us-versus-them arrangement of demons; i.e., a canonical flow of power and knowledge to serve the state by pacifying workers with moral panics and their demonic codes under heteronormative, settler-colonial rule: more targets of state violence, established by playing with demonic stand-ins. All occupy the same shadow zone and use the same dark forces to say this or that.

Canon-wise, banishing a demon back to Hell is functionally no different than slaying a dragon, punching a Jewish-coded wizard, or shooting a zombie, insofar as the endless bullets, beams, missiles, muscles, blades and bombs [re: “stab, shoot, punch”] all equal profit in the eyes of capitalists selling police violence; i.e., by having soldiers, mercenaries and cops [usually himbos and token herbos] use them on the requisite victims, the latter dressed up as monsters: to be destroyed by other monsters during canonically escapist “empowerment” fantasies.

Videogames—being the classic neoliberal refrain—become monomythic war simulators built atop older media forms already designed from an early age to condition people into cops [of media, childhoods]: us-versus-them against nature-as-monstrous-feminine [whore-like] married to anti-Semitic, Orientalist and otherwise xenophobic stories framing nature as abject, as “ancient,” dark, and unruly! Antagonize nature, then tokenize it and put it to work in ways that cloud its vision and judgement; e.g., Amazons like Ellen Ripley and Samus Aran, Hippolyta pimping Medusa. Betrayal is betrayal and cops are cops according to how they attack and drain nature-as-alien: summoned by state necromancers to induce a police, us-versus-them function. Canonically speaking, monsters are made to uphold and disseminate this device; i.e., to learn its ins and outs by playing with it through state-sanctioned toys [classically made from wood, clay and metal, soil and shadows, etc—with L.A. Beast even attempting to make a sword out of Casein plastic: spoiled milk[4]]. Canon makes worlds it populates with Pax-Americana cops and victims, the state Aegis asking workers, “Would you kindly break that sweet puppy’s neck?” while making it look large and frightening. Nature is a whore; rape it [often with whores policing whores, left].

[artist: Xavier Garcia]

While a proletarian Aegis [often, a booty humanizing the whore] can dualistically and dialectically-materially reverse all of this—i.e., in order to make workers reflect on dark unpleasant realities as they evolve—in the eyes of the state, each is already dead and blind; re [from Marx]: dead labor sucks on living labor to enrich the state with cheaply stolen life, itself further rendered [vis-à-vis my arguments] into addictive junk food marshalling the entire process not once, but on loop, mid-Amazonomachia. In turn, the state cannibalizes its “muscle” [cops] per the euthanasia effect [re: tokens first, then black knights/crooked male cops]: “Bitches be crazy!” They must eventually be married off, generally as burly whores stuffed into bridal gowns [or chainmail bikinis enslaving them to the recruitment process, below]: war is eternal, its pimping forever collared during boom or bust [which again, we can camp, but always inside the same poetic spaces and on their dark angry surfaces; “enjoy but do not endorse,” as Sarkeesian sagely puts it].

[artist: Reiq]

Until retirement, cops are bully vampires that enjoy an army of demonic victims, the latter waiting politely to be destroyed by said enforcers in doubled states of purgatorial exception; i.e., fetishizing the alien to disguise how banal and unsexy the state and economics are [e.g., Red Sonya is basically a sexy alien queen/demon warrior dangled in front of nerdy boys, done canonically to pacify them with “Red Scare,” left]. Playing with smaller toys during a Sale of Indulgence as war-like, such canonical war games acclimate children [starting with white cis-het men] to the complicit cryptonymy of darkness-as-genocide; i.e., standard-to-marginalized traitors playing war for the state; e.g., women playing token subjugate Amazons [re: the monstrous-feminine] like Ripley or Samus, Cheetara or Red Sonya, and status-quo knights like Doomguy or Conan, He-Man or Lion-O, Rambo, etc, doing much the same with men. Power is comparable to itself as something to enforce through shadowy likeness.

For the elite, the goal is simple: “Make monster hero predators and monster victim prey[5] and comfort middle-class children, from standard to token as needed; threaten them with pulpy harm, then furnish them with clay-like surrogate parents, avatars and war-bride wheyfus for them to grow into: demonic sex and power fantasies, thus rewards.” Triangulating against state victims by playing victims themselves, cops manifest as supermen/superwomen impossibly threatened by darkness visible [re: “the enemy is both weak and strong”] and motivated by damsels-in-distress [the usual TERF gimmick] tokenizing feminism-in-decay [and other rotting recuperations that eventually rescind state concessions] set within a Gothic liminal space; i.e., the Man Box—one that isolates the hero monomythically inside Hell as a place to endlessly slay between childhood and adulthood, imagination and real life: a cop to call or a vigilante to triangulate against the unruly mob not just as undead, but demonic! Weird canonical nerds don’t just see red, but all the colors of “the Covenant of the Rainbow”:

And God blessed Noah and his sons and said to them, “Be fruitful and multiply and fill the earth. The fear and dread of you will fall on every living creature on the earth, every bird of the air, every creature that crawls on the ground, and all the fish of the sea. They are delivered into your hand. Everything that lives and moves will be food for you; just as I gave you the green plants, I now give you all things [source: Genesis 9].

Through not classically what “Rainbow Capitalism” refers to, the regressive likeness is tempting enough. Called to heel, corporations abuse a Protestant ethic after God’s death [re: Nietzsche] to have state boys and girls rape nature for them in the usual hauntological Crusades: the “apolitical” stance of seeing planet Earth as a game to act power out in ways that historically oscillate/transfer onstage and off. Oddly colorful and toy-like, said paradoxical vision reflects in the hero’s, theirs literally making for a heads-up display[6] [above] but also curiously set to equally hauntological music stolen from a rebellious past.

Visuals and audio, everything becomes like fruity slop—an infernal breakfast cereal stuffed with sugar, bad ideas and even worse intent; i.e., communicating the same fatal nostalgia to gamer culture while trapped inside the Man Box, coded to defend the state by devoting themselves to colonizing said fantasies [any and all of them, across all media forms]. For videogames, this generally locks inside half-real kill rooms mirroring real life in ways the state wants; re: Gothic liminal spaces whose heroically police-violent movement and action inside is written in spilled demon blood—everything set conspicuously to rock ‘n roll and similar “rebellious” music, its plastic reality’s fatal nostalgia turned into controlled opposition: holocaust by sprite and MIDI-tune versions of older devil’s music bled of its wicked irony/potential [from opera, rock, rockabilly [fast cars, faster women], metal, punk, swing and rap, etc]!

Hardly a trade secret, capital needs such things to function according to the profit motive guiding such poetics. As I write in 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]. 

I then go on to expand in Volume One

The grander counterterrorist moral isn’t simply that traumatic penetration is psychosexual violence, which fetishes corporally represent; it’s that such devices can be reclaimed through iconoclastic praxis during liminal expression, wherein one chooses to fetishize oneself in controlled, informed psychosexual terms. Despite the ambivalent, conflicted nature of Gothic language, the awesome power to set ourselves free lives within us and our bodies as transcendent gateways to better worlds of infinite possibility framed as “impossible” by Capitalist Realism. Except, Hell—if it is to be a home for all of nature criminalized by Cartesian thought—must be a place on Earth. We must become of two worlds, then, “half-bred” to wreak havoc and sow discord towards a better kind of place than Cartesian order does when enforced by moderate cunning and reactionary brutes’ usual dogma. Their knife dicks rape and kill; ours “rape” and “kill” to drain our would-be-murders’ potency when aiming their weapons against us. They freeze under our power insofar as we humanize ourselves in their eyes and expose them as the brutalizers.

To this, Gothic-Communist instruction occurs through praxial synthesis telling a different story than canon does, the latter’s norms preying on nature and bodies tied to nature as something to harvest (“fat” being the classic state of something “ready-for-harvest”). By humanizing the harvest, the butt needn’t be a symbol of chattel, nor its owner’s smiling face a forced Doki-Doki-Literature-Club-style mask. The smile of the soon-to-be-fucked can be genuine; when the owner raises their butt, they can illustrate mutual consent, indicating how they actively want it from being hard-up: begging for some dick a particular way from a particular type of person while reclaiming the activity with their body and all too happy to do so—i.e., “We are not animals, nor are we guilty or afraid. Now gimme.” It becomes vitalistic in a vampiric way that celebrates the transmission of essence and vitality through all the usual vectors, minus the stigmas; i.e., a revival of older pre-Cartesian ways for seeing the world, updated for the kinds of dialogs-under-capital that have carefully evolved to bring these monsters (and their complicated humanity under state oppression) out into the open: a vampire standing in daylight, making them sparkle.

Trauma is always adjacent to sexuality and performance, but needn’t determine the outcome. Insofar as harm can be reduced to calculated risk in forms of iconoclastic playfulness, the imaginary past remains plastic, thus can be recoded by empowering monstrous aesthetics with a critical-instructional edge, but also jouissance; e.g., the vampire as a play on rape theatre, traumatic penetration (stakes and fangs) and vitalistic power exchange through medieval language as reclaimed by ludo-Gothic BDSM; i.e., from Cartesian thought’s bad instruction under capital: a harvesting of sanguine that enriches both parties through informed consent that profanes the church and returns to nature [source]. 

which I now tie to demons, here; i.e., this transfer doesn’t have to be seen exclusively as vampiric through a taking of essence, but instead a giving of forbidden knowledge as demons do on their surfaces and inside their thresholds. Such fatal portraits yield a flexible monomorphic poetic lens, one to think of monstrous things in demonic terms as much as vampiric ones: the foreclosure of dreams, but also the brokering of new ones [false or not].

Capital bullies and rapes nature as monstrous-feminine, except the monstrous-feminine is holistic, employing a variety of modules all at once; e.g., Lady Dimitrescu from Resident Evil: Village [below, 2021] being a vampire on her face, but also a giant, shapeshifting demon: the Medusa as a golem-gargoyle Galatea. While she turns to stone when she dies, she’s already statuesque and colossal. And while she has an outwardly humanoid form, she’s also no maiden. Furious or calm, she’s always a whore, and yields strict-flavored energies in a Gothically “phallic” type: a foxy gangster moll with no immediate boss running her side of things—Bonnie without Clyde, the Archaic Mother with a curiously recent, noir-flavored timestamp!

[artist: Felicia Vox]

“Power corrupts” is generally referring to state power. Yes, Medusa’s Aegis can poetically amount to state abuse weaponizing the “strong” against the meek to inherit the Earth for the elite; but it can also be those whores “of nature” taking the planet back—by subverting the dialectic of the alien, making darkness something to get close to and become “dark” in turn! During such reversals, the whore becomes a demonic muse that corrupts canonical data and transmits subversive, concentric replicas inside the Trojan Horse’s formidable “wagon”; i.e., as doubled, bouncing back onto the glass of the screen—not war for the state, but workers raising class, culture and race war through Neo-Gothic, cryptomimetic means: “Medusa lives; now fight back!” Her harvest humanized, Medusa’s letting it all hang out! Merely doing so challenges state monopolies on their face; i.e., states are pimps that rely on whores being policed/punched down against and brutalized into order to exist as states do. Silence is genocide, but genocide is never fully silent. Frontier romances always come home.

[artist: Sinead]

In response, iconoclasts can loudly revisit and reshape the state’s harmful ideas of “past” in Gothic; i.e., through “tone poem” art as highly personal-yet-cathartic—not just the shape, but the perception of shapes that don’t always change that much in appearance; e.g., a drawing I did of Lady Dimitrescu, originally made by me when I was with Jadis, only to have me return to it three years later for this exhibit. My new version, below, and the original share a love for big strong women, and infuse into their surfaces a strict dominatrix/whorish character for the audience to enjoy and shudder at. Even so, the new picture also seeks, despite those likenesses, to make the alien past friendlier to workers; i.e., per an oppressed pedagogy’s Wisdom of the Ancients recultivating the bourgeois Superstructure: as conceptualized since I wrote my PhD and three other books [up to this point].

The two drawings are quite similar in their design and message, then; I’m just continuing to synthesize them more and more to my liking after surviving Jadis—e.g., akin to Georgia O’Keefe painting flowers after leaving Alfred Stieglitz, but in my case, occurring through active daily habits I’ve kept up after leaving someone who was openly a TERF and a SWERF [thus highly abusive towards me as a trans-woman artist and sex worker]!

[artist: Persephone van der Waard] 

Sex and force, pleasure and pain; BDSM, fetishes and cliché rape, death and general power fantasies—all work well enough with demons as undead, in this respect: out of joint, doing their own thang to not just to shapeshift, but turn into objects d’art coded with power. They amount to sex and force expressed as verboten “darkness” but, like the Tree of Knowledge, just hang there begging to be plucked and bitten into. It’s a vanity—a diaphanous robe hanging open and showing the viewer the whore’s goods beckoning into sites of power to play with forbidden knowledge! Per the cryptonymy process, things can be framed to show and hide what you want shown or hidden, but power is always there, always restless and unstable per the vanishing point: “Watch and learn!” but also “Indulge, you sick fucks!” Weird attracts weird, in this respect; trauma attracts trauma, X marking the spot, playing with superhuman symbols of power that range from kayfabe[7] to kawaii: crimefighters and archvillains moonlighting as genuine rebels in our capable hands, a secret identity/alter ago with a secret identity/alter ego! Doubles can double [and double and double…] and whores are an aesthetic and political stance with various sides to them!

[artist: Beefy Kunoichi]

Gothic Communism plays with these accordingly in order to threaten capital and tease development in ways that reward us; i.e., with actual empowerment [socio-material change] while giving the lesson away as forbidden cargo disguised as dumb entertainment/traditional ideas of strength, beauty and vice/virtue: stories classically made during genocide as a spoonful of sugar to help the medicine go down. We take that idea and use it to lead to bitter pills we supplement with our own “sugar” to spice things up! That’s generally how allegory works, and our doing so is yet another black eye we, together as one, align to give state poetics!

“The villagers feared the plague and ran away. All it took was one dead horse to scare them.” Fascism is like a tinderbox. Whores, then, are a crime of reputation that only can redeem itself by doing, as the state defines it, more crimes. When the state sees you as alien, that’s precisely what existence is, but in doing so becomes stronger than the foundations of the Earth, as terrible as the dawn, as deep and unknowable as the depths of the sea. Like the moon, Medusa becomes something to invoke and consequently summon as an appeal; i.e., to the humanity of those demonized. Seen as forces of nature pushing against the Capitalocene, they strive to safeguard nature before state shift becomes permanent. So much damage has already been done, much of it irreversible. But as the saying goes, it ain’t over till the fat lady sings, and she’s just warming up [so to speak].

Life is an experiment, as is rebellion through Gothic art. My experiment with Dimitrescu is just one of many. So many artists play around in much the same sphere of Gothic poetics. The power of revolutionary cryptonymy is something formidable to robe and disrobe as needed; i.e., mixing and matching all manner of powerful and transformative devices, from bodies to swords to castles, to sword-like and castled bodies, etc, as political but appearing as things commonly disputed as “apolitical”; e.g., wish fulfillment and power fantasies told in common language: worker bodies manifesting a desire to never be hurt again but remain desirable—to be stacked in ways that make up for the odds being stacked against them. We are the night, and it can never fully be purged. “What is light without darkness?” The state cannot exist without us to police, but we very much can exist without the state! We want equal rights, not pimps, so tip your sex workers and refuse to ratify genocide in all its forms!

[artist: Vasilia] 

Again, that’s where we come in. Whores are both treated as homewreckers and instructors of forbidden knowledge that turn the nuclear model upside-down; e.g., polyamory vs amatonormativity. In turn, people learn through Gothic sex as sexual, but also as asexual insofar as its BDSM can yield artistic and political commentaries about different social-sexual issues and struggles. As sex symbols of demonic beauty and strength, whores remain powerful while disrobed, reversing abjection as such by refusing to cheerlead profit as a genocidal, heteronormative, settler-colonial affair. Instead, we cheer for our right to fuck/get railed by whomever and own our bodies and their labor value expressed in monstrous, GNC language!

With a body like Eva’s [above] from the same videogame franchise, Lady Dimitrescu cooks with gas, popping cherries. Beyond her and her children, nature is simply “Medusa.” Anyone the state could police and pimp, then, Medusa will double to challenge them through a polyamorous, unruly proletariat’s doubles of state counterfeits. She’s truly seen and done it all, having survived worse: the state often beating and raping workers to submission, but not what they represent in duality! Medusa’s body is sex, and sex is a demonic weapon for which no monopoly is possible! There is only argument for or against the state, generally through theatrical combat where the state tries to portray itself as the underdog and its victims’ the “real” abusers; in turn, truth becomes a matter of position concerning which aspect of theatre you want to support—the Gothic concerned largely with paradox about multiple things being true at once. Such is dialectical-materialism, a series of paradoxes through monsters in duality! Heroes are about overcoming adversity. Unlike the state’s, ours is actually genuine, but theirs is likewise an impossible task. Demons don’t die.

[artist: Vasilia]

So play with “Medusa” from any angle, size, shape, sex or gender your rebellious hearts desire; observe what collocates, then insinuate [with sinew] as your “clay” to work with, making gender trouble for fun. Make demons not to pleasure Pygmalion, but liberate Galatea so she might stomp on the Patriarchy’s balls! “Chonk, stronk, and ready to bonk!” as Jadis would say! BALLS DESTROYED [or sliced with a sickle cropped out of the image, above; re: Barbara Creed, the Medusa, and castration fears from the Archaic Mother and her phallic spawn].

Keeping with darkness visible and paradox, then—and darkly mirroring older morality plays from centuries previous [mainly concerned with warring emotions and desire surrounding sex and force]—virtue and vice become things to demonically double, reify and dualistically play with medieval gags as demons do. Except Gothic Communism abjures the state’s policing character in exchange for actual rebellion; i.e., flashing with power during revolutionary cryptonymy in pursuit of a sex-positive, post-scarcity world! The whore, like Pandora, cannot be put back into her box; her “box” is out there, a mighty-mighty fortress speaking cryptomimetically out against pimps while demanding equal pay and other basic human rights! All such play goes where power is to investigate it, we underdogs existing in the same imperiled sphere as our enemies, camping their canonical, completely unethical [and unfair] refrains!

All this being said, power is often not just visual, but audio-visual; i.e., a peep show generally comes with music of some kind or another! So keeping all that bread-and-circus music and violence we’ve already mentioned in mind, and the vampire-demon exhibit above, canon’s inclusive pandemonium has a commercialized, pandering feel to it; i.e., using older examples of demons sold to men [or those acting like men] who never grow up, but LARP to “defend the realm” from evil: projected onto whatever state enemies they demonize, then conceal/dogwhistle with the usual suspects by proxy. The whore is something to attack in-game and out [which we camp in an equally half-real sense].

Yet, while sight has an aural, heard component to accent its visuals, this can decay and age just as fast when abused by profit. For example, as I write in, “Spectating FPS Speedruns: Potential Pitfalls Exemplified by Doom Eternal” [2021]:

Classic Doom is a curious mix, and takes its visual cues from actual gargoyles, toy guns, and clay demons; its music is MIDI metal, but also post-punk, ’70s prog and ’90s grungeDoom 3 features elegant, nefarious concept art and dark, industrial levels, but minimal music (the opening track is pretty great, but rips off Tool’s “Lateralus“; it also features Chris Vrenna, a former NIN drummer). Doom 2016 had a giant corporation being re-colonialized by the demonic oppressed, underpinned by some desaturated visuals (inspired by late dystopian surrealist Zdzisław Beksiński) and excellent level music (re: “Rip and Tear,” “BFG Division”). This music was composed by Nu-Industrial auteur Mick Gordon.  

As observed in my original reviewDoom Eternal‘s music isn’t bad. Parts of it come alive, though especially when making obscure nods to older games (Diablo) and movies (Predator). Nonetheless, it’s fairly journeyman and rote; or, as [one of my exes] once said, Doom Eternal‘s OST feels like “industrial lite”—music written for people who have never listened to industrial before. For my partner, the music builds, but never climaxes. It hints at NINRabbit Junk or Front Line Assembly but doesn’t go anywhere with it. You’d be better off listening to those bands instead (see, also: Reznor’s soundtrack for The Vietnam War).

For me, Doom Eternal’s checkered music production history leaves a bad taste in my mouth. Originally the story (from id Software Studio Director Marty Stratton) involved an open letter on Reddit in 2020, detailing how Mick’s unprofessional music for the second game was delivered late, forcing Chad Mossholder, id’s lead audio engineer, to have to piece everything together himself; later, Chad and id really got a lot of hate from fans, and Mick seemingly stayed quiet about it. Except after two years, Mick came forward with a ton of receipts, saying 

Marty lied about the circumstances surrounding the DOOM Eternal Soundtrack and used disinformation and innuendo to blame me entirely for its failure. Afterwards, he offered me a six-figure settlement to never speak about it. As far as I’m concerned, the truth is more important (source).

As Greg Kennelty writes in “Mick Gordon Publishes Massive Statement over Allegations Surrounding Doom Eternal Soundtrack” (2022):

All told, Gordon‘s post runs about an hour in length and is long enough to warrant a table of contents. In the Summary of Facts section, Gordon alleges the following against Stratton [emphasis, theirs]:

      • He was not paid for over half of the DOOM Eternal soundtrack
      • He received a contract for the soundtrack 48 hours prior to the release of the game, and was not told the entire truth about the scope of his work
      • He was cut out of the process at the end of the soundtrack
      • Stratton never reached out to him about the controversy, and instead published the open letter
      • He received torrents of abuse and harassment from fans afterward
      • His reputation has been damaged because of this situation

Read the full letter here.

I don’t care if the guy is an artist that “everybody” loves; compared to famous FPS OSTs from artists like Bobby Prince, Trent Reznor or Sonic Mayhem—hell, even Mick himself—the OST for Doom Eternal just isn’t that great. It doesn’t break any new ground, and it feels like a double CD release that could’ve been trimmed down to just the “combat” tracks. You know, the ones with an actual pulse [source].

 

Furthermore, old monsters can start to feel adrift as time goes on, like soldiers without countries or wars to fight. Sometimes there’s a punk element, as Richard Ray remarks in “Doom, Coronavirus, the Mancubus and Me” [2020]:

id Software’s Doom was made by a band of dropouts and misfits led by gaming pioneers John Romero and John Carmack. It is widely considered the grandfather of the First Person Shooter genre. It’s also been aptly described as gaming’s “punk moment.” It was loud, fast, violent and didn’t give a shit about your feelings. It glorified the sound effect of pumping a shotgun and blasting away at fire-spewing Imps, vile Cacodemons, unholy Hell Knights and zombified employees of the Union Aerospace Corporation [source]. 

Except, of course, this gamer-style history of “rebellion”—from Tolkien to Cameron to Romero and Carmack, to speedrunners and content creators at large as weird canonical nerds [seriously, just look at these two dweebs, left]—is all at once incredibly dumb, self-serving and largely false, from a revolutionary standpoint; i.e., aimed squarely at gamer culture performing strength: as something largely white, cis-het and male[8]. Made to “rebel” against a cartoon idea of evil corporations, they do so by soldiering against “evil,” occupying positions of settler-colonial violence to administer as cops do. “Demon,” then, is really canonical code for all the usual things white boys [and token recruits] shoot in the name of state/corporate preservation as beaten into them; i.e., to achieve, for all intents and purposes, an unironic, middle-class clubbism/gang-style revenge of the/for the nerds; re [from Volume Two, part one]: 

In turn, the American middle class (so called “gamer culture”) would gatekeep and safeguard the elite through videogames being an acclimating device to neo-feudal territories to defend in reality (outside of the game world[s] themselves) as capital starts to decay like usual [source: “Modularity and Class”].

Back then, white boys “rebelled” as a matter of having the means to do so on ’90s computers [and other home entertainment systems] evolving into a business they got a jumpstart on for themselves as extensions of capital; i.e., what they created, as such. Their creations—our aforementioned heroes, if they were punk in a proletarian sense—quickly became witch hunters once recuperated amid fairly stupid debates had between fighting gangs circle-jerking it[9]; they invent enemies to feel useful while seeking payment as capital decays like always. It’s vital, then, to court such persons through counterterrorist demonic expression, using ludo-Gothic BDSM to offer them a better path than the state does [refer to Volume One for some good examples of this; i.e., the subchapter “An Uphill Battle, part one: ‘Predators and Prey,’ or Introducing Revolutionary Cryptonymy and the State’s Medieval Monopolies on Violence and Terror”].)

Limiting Our Focus

Despite barely scratching the surface, the above exhibit should hopefully demonstrate the virtually endless ways to manifest and play with power by proxy and in proximity to; i.e., letting darkness inside (or out) versus staving it off through a self-imposed vigilance (thus ignorance of its utility in worker hands). Likewise, neither are poetics, imagination, and creativity divorced from history and politics as a living document; instead, they compose, define and inherit them, hence dictate whatever direction that power flows, or the dark forms it can take through weird nerd culture, en route! Marx argued that history repeats in tragedy and then farce; from ghosts to demons, we faggy whores camp it all, including him!

Arguments are fights, then, for which demonic stand-ins are well-suited. Hell is their home—something to not only show off for those foreign to it, but stare back at them with. This isn’t to so much defeat those being stared at, but demolish their abusive positions towards nature; i.e., as much for the demons to ingratiate themselves through the giving of—you guessed it—knowledge that is fatal to an older perspective that withers in the presence of new forms. On the Aegis, new demons are raised, the exchange helping workers by reversing the flow of power so that state harm against them is lessened and eventually under perfect circumstances, impossible. Nature-as-demonic is effectively a revolutionary’s food for thought—something to love, respect and identify with, post-apocalypse: to camp not holocaust, but our survival of genocide in ways that don’t tokenize into gentrified/decayed spoofs, long after an epicenter of genocide has become a thing of the past (e.g., Afrocentrism unto Afronormativity, post-diaspora).

(artist: Gammel Gaedda)

Keeping both points in mind, we’ll want to introduce some limits to our focus; i.e., when playing with power as demonic argument.

First, classification. As already stated, egregores take two basic, modular forms: undead and demonic (with animal qualities to each, often overlapping in chimeric fashion; e.g., the xenomorph). Both are figuratively manmade in the poetic sense, and undead can act demonic or vice versa; i.e., a demon can feed and embody trauma and the undead can give forbidden knowledge and transform. It’s just not either’s poetic emphasis, historically. While zombie, vampiric or ghostly undeath are qualities that can be supplied to nature, the morphological breadth and liberty of demons invoke elements of actual construction that make them incredibly broad, taxon-wise: literally manmade, summoned/supernatural, and/or linked to nature, the instances of each we shall explore in order—both during the “Forbidden Sight” chapter and in the “Call of the Wild” chapter after it.

Second, morphology. Demons are literally fetishes; i.e., objects (often kinky ones) of fabricated power and darkness, thus status and socio-psychosexual knowledge. As such, the infinite poetic variety and limitless creative potential of demons and nature requires me to adopt a more survey-style approach for the entire module (future editions can always include more close-reads).

In both cases, I’m adopting such pedagogic limitations to be more playful, thus keep true to demons’ shifting physiology and complicated psychosexual torture games; i.e., as poetic license and lens putting “rape” in quotes per neo-medieval expression. So expect a bit of eclectic messiness and campy oscillation to the rest of the symposium and the module at large: something to slurp/chow down on! “Eat me alive, you animal! Oh, no! I’m being ‘devoured’! Heaven help me/the devil take me!

(artist: Gammel Gaedda)

Demons or not, all monsters provide preferential code talking about sex and force as policed subjects; i.e., haunted by abuse concerning these topics for which assorted euphemisms give way to genuine pleasure: a cryptonymic exhibit of at least one, but often two (or more) people playing and having harmless fun behind calculated-risk suggestions of “harm.” Harm haunts “harm.” That’s what the reclamation of monstrous poetics through ludo-Gothic BDSM is all about! Psychosexual catharsis thriving despite state abuse, Hell spills over and cannot be policed!

The rest of the symposium shall remain fairly conversational and holistic. We’ll proceed as follows—first, to summarize demonic expression through a demon thesis, then examine various food for thought about demons and the complicated darkness they represent (each emboldened to signpost them as we go): demonic cosmetics; the paradox of power and its performance, play and exchange; how demons lie as a means of instruction that commonly expresses through genderqueer existence, pleasure-and-pain BDSM rituals, and hurt-not-harm roleplay scenes/unequal power scenarios; intersectional solidarity, our strange appetites/modular thesis, dark desires/courtly love, demon lovers and the anisotropic/pact-like nature of demons.

Expanding Our Demon Thesis

To summarize demonic expression, demons transform and exchange/give unequal, forbidden things (re: power, darkness and knowledge) back and forth; e.g., unequal power as forbidden knowledge (not ordinary knowledge, then, but dark knowledge that supplies the power to change things in radical new directions). . This only sets the stage; i.e., for our aforementioned infinite variety that occurs in terms of what these things actually are in practice. Demons don’t take like the undead do when the undead feed, but rather give forbidden knowledge back as lessons to embody and witness that—once received—turns the recipient into a demon, which can happen over and over again! “She turned me into a newt” can be followed by any other shape/power configuration the demon desires, often from underground (re: golems, clay and animation; e.g., Steve Universe[10] making its golems not just from clay but gemstones mined from the Earth and uniforms made topside). Hell is a place of forbidden knowledge about the underworld, populated by all manner of demons who—knowing things—can magically transform because of said knowledge above ground. The more they know, the more they might transform into this or that—are beings of voluntary contrast, levied against those whose shapes (and knowledge) remain stuck/mired in harmful dogma.

In other words (indented for emphasis, an expanded demonic thesis for the rest of the module):

Something of an Unholy Trinity, power, darkness and knowledge—often as conspicuous, ritualized acts of creation/poetry and (re)invention through magic/mad science—go hand-in-hand during unequal, forbidden exchange, radical transformation and dark desire/wish fulfillment; i.e., someone will trade what they have for what they don’t in order to transform or otherwise fulfill a given wish: with a demon that has the requisite item(s), build and/or abilities (e.g., sensations; re: Medusa’s Aegis/forbidden sight).

Demons are the classic, mighty and at-times-untrustworthy granters of dark wishes/desires, be those fame, fortune, sex, and/or revenge (which transformation facilitates, on either side of an exchange). During a Faustian bargain, power is exchanged for knowledge; during a Promethean Quest, knowledge is exchanged for power, either being two sides of the same basic coin (of darkness)—i.e., knowledge is power and power is knowledge about sex and force, often as darkly shows thereof. Both hail from older forms of barter that return to either challenge/uphold capital; they concern unequal/unfair trades, leading to self-destruction by the human party trading with the demon party—death being the presumed outcome. And while permanent, this event (often of status shift) marks radical, sudden change in ways that are seldom literal; e.g., Persephone, Faust, Medusa’s victims or Lot’s wife standing in as before/after metaphors; i.e., that seal the dealing parties away from the human world, whence they presumably cannot return (as the monomyth generally allows for/encourages). Faustian bargains predominantly involve a deal with the devil in spoken/written discourse; Promethean Quests concern power as found/left-behind by godly forces, which Shelley describes as denying their power to Cartesian agents: to punish them for using mad science to police nature with (versus reclaiming and safeguarding it from the state, as functional Communists do).

Yet, in the demonic tradition, punishment and reward go hand-in-hand as much as power and knowledge do, this being as much an abject, cryptonymic, esoteric commentary on state reprisals as it is for worker liberation through those (and other) Gothic theories. For all demons, power and/or knowledge is unequal both in how it trades and presents, but speaks to the forbidden, oft-anthropomorphic aspects of nature that state forces close off; e.g., as demonic, whorish, vengeful, off-limits, corrupt, degenerate, etc. Demons stress exchange as such in ways that oscillate; i.e., they go back and forth with such data, empowering people by showing them what the elite have stolen from them, and alluding what workers have to gain by defying the status quo; i.e., during ludo-Gothic BDSM, doing so to experience things that are, from the whore’s perspective, natural, but also under their control despite state assertions to the contrary. For Gothic Communists, mutual consent is power because its illustration demonstrates our ability to exchange what the state can only treat as unironic rape, mid- harvest (of Medusa’s peach). Power is sexy for us because it isn’t sexy as the elite envision it; re: to dominate and harvest nature pursuant to profit, because the state is incompatible with life, with human rights, with liberation.

The word “power” appears a lot in the Demon Module. I synonymize it with “unequal,” and each with “knowledge,” “exchange,” “play” and “virgin/whore” (experience and ignorance) as equally interrelated, thus treated to the same rule of thumb during liminal expression; e.g., “power = unequal knowledge exchange/play about sex and force with whores as sex demons.” —Perse

(source: Reddit)

Form follows function insofar as power flows either direction. Speaking to form, then, whereas zombies are more one-note (despite being a hybrid monster, in modern settings; re: Romero) and vampires—despite their own historical prolificity and ontological complexities—tend to look fairly similar across the board, demons and nature are entirely defined by their morphological, sex-to-gender variety and ludic complexity challenging state monopolies. “Demons” are cartoonishly transformative, thus can be whatever you want them to be; their bodies, terror and violence communicate through sex and force as generally uneven, torturous, and raw (charged on black aphrodisiacal surfaces, above). For instance, the Medusa (arguably the most ubiquitous and famous demon to come out of the West) classically and thus regularly plays out this way through BDSM pastiche (above). Raped by the state, she disrobes any such timidity to expose her succubean whore’s furious and febrile darkness; it becomes her revenge to expose  (more on this, later).

To know is to (ex)change; to (ex)change is to adopt a state of mind as a performance one can play out through paradox. To it, the more power given through knowledge, pain or anything else exchanged, the greater the transformation generally is; e.g., Skeletor from Masters of the Universe declaring “And now, I, Skeletor, am master of the universe!” when he receives the fire of the gods, becoming a god in ways that are perceived as “fatal.” His body and his mind—already twisted in pursuit of such things (“It is my destiny!”)—explode in delusions of rapturous grandeur: “playing god.”

A Faustian bargain canonically finger wags, saying “be careful what you wish for” to curious minds/desperate parties; but it also reminds us that knowledge can grant the ability to change our stars in ways that will see us excommunicated from state realms. This isn’t a fate worse than death, but a mercy exiting Plato’s cave: “Better to rule in Hell than serve in Heaven.” The same idea applies with the Promethean Quest’s Numinous refrains—the searching for excessive power that leads to us being punished by false Faustian gods telling us we can’t be gods, too.

“Death” becomes a state of change, then, one pursuant to our own building of better worlds using the Gothic aesthetic/poetics of power and death, sex and force (all the fun things). Poetry is cool; power and death are cool; and anyone who discounts the Gothic’s ability to create genuine rebellion through them is terminally lame/a cop defending private property (thus poetics) for the state; e.g., Mark Hamill [the voice for Skeletor, below] being a dyed-in-the-wool Zionist! Gothic is a smoke screen—a regressive/progressive mode of expression whose “new flesh” (as Priest calls it) allows for all manner of politics under its enchanting darkness (no monopolies, remember)! As much as we whores wear the same aesthetics on our sleeves—i.e., to smuggle in good, sex-positive knowledge, mid-allegory—the state can pimp this out, giving bad knowledge to nurse death anxiety with sin: a clownish juggernaut, leviathan, behemoth, and Great Destroyer getting what he wants (revenge) before ejaculating delight and promoting a world beyond our own that we cannot possibly imagine!

Or perhaps we can. Hauntology is nostalgia unanchored from a specific space and time, but haunted by a specific space and time oscillating as the Gothic does, shaking things up like a snow globe. Building anything that challenges God is considered revenge against God, thus forbidden by God (which extends to capital under a Protestant ethic and neoliberal dogma), thus framed as destructive and deceptive vis-à-vis Capitalist Realism. Darkness bad; darkness crossdressing and murderous, turning order upside down. “Come and see!”

In a dualistic, dialectical-material sense, though, Skeletor becomes a great shadow/castle in the flesh for both sides of oppositional praxis—a wrestler’s heel crossing the point of no return per a kayfabe momentum shift; i.e., his appetite for destruction basically makes him not just Caesar but Prometheus and Faust: a whorish/demonic being seeking his revenge, and for the state (and its police) to deny. His impudence must be punished—for making a deal with the devil/stealing the fire of the gods (and transforming like Loki would, from Norse myth) to become less and less human, or conversely posthuman in gigantic ways: that return him to lost states of existence, which state proponents view/treat as “dead”; re: Capitalist Realism. As such, he’s also Satan/Frankenstein’s monster challenging God—either in ways whose rebellion is false, thus in defense of the state, or illegitimate in ways that—as vice characters so often do—promote the joys of basic human rights demonized as non-Christian, foreign, and alien: swollen hubris and bodies of nature, death, and the monstrous-feminine as equally tumescent.

Any way you slice it/want to think about it, knowledge and power are forbidden, but witnessed paradoxically as vengefully out in the open; re: as darkness visible. Looked at/viewed with, this force classically alienates in ways that canonically distance the state from workers and workers from each other and the state. By comparison, liberated workers may exit normal states of existence to become increasingly demonic, thus drawn to other demons who know things, too! Knowledge is power because it gives us the ability to (ex)change not just ourselves, but the ordering of the universe as canonically ordained by bourgeois forces. Iconoclasts upset this ordainment by existing merely as ourselves, thus have our sweet revenge; i.e., if state proponents ultimately deride Melmothian wanderers (or monopolize them in strictly fascist interpretations; re: Hamill’s moderacy/white knight syndrome decaying into fash arguments), then we fags ultimately celebrate them through camp: to mold ourselves and our trauma like clay into demons, thus gain some sense of agency and control over power-as-poetic during rape play and other unequal, made-from-clay power fantasies haunted by state abuse!

As such, unequal power—as something to play with, negotiate and exchange during ludo-Gothic BDSM—is likewise notoriously diffuse, illusory and nebulously subjective; i.e., formally presented as a dealbargain or negotiation (often of fatal knowledge, through Faust—see footnote), “power” can be whatever you want, can flow in either direction[11] to morphologically arrange however you want (e.g., demon monarchs or servants/imps; circles of Hell, wombs of nature, darkness visible/pandemonium, and other tiered/concentric torture dungeons; “white devils” and other foreigner classifications like “barbarian” or “savage”; kayfabe heels/babyfaces; etc) as an aesthetic or metric (re: Foucault, bio-power)—can be guided by impulse, mood, urgency/detachment and individual preference. Milton aside, one person’s Heaven is another’s Hell, and vice versa. The orgasm (skin or otherwise) is all in the mind!

Furthermore, apart from elemental demons—or demons of nature that yield an elemental quality to their appearance (earth, wind, water and fire; e.g., a fire jinn or water nymph)—nearly all (and their knowledge) are sexual (whores); or they concern sexuality discussed in asexual, meaning in socialized ways that express through BDSM-style rituals of pain, fetishes and kink. These extend to general power imbalance, paradox, public nudism, as well as survived and inherited/generational trauma voyeuristically exhibited. But natural demons, as we shall see in the “Call of the Wild” chapter, often concern sexuality linked to nature-as-abject; i.e., massive and dark, hunted or otherwise pursued and caged/dominated by Cartesian forces.

Divorced from genocide, these conditions become—pardon the expression—breeding grounds (next page) for intense psychosexual expression with asexual elements: to play with that which no one is supposed to see outside the bedroom, but pimped out on street corners and inside bazaars thereof. Reclaimed by workers making the imaginary past wiser, Medusa is a fat, sassy whore (or gigolo) looking to instruct through demonic sex. All are power expressed in dark delicious totality—as, per ludo-Gothic BDSM, something to understand through play! So smack that demon ass, bitches! The more we play god, the more those pre-existing deities of capital seem false and hollow!

(artist: Persephone van der Waard)

Simply put, for demons there’s a million-and-one ways to combine, give and instruct with sex and force through pain (non-harmful or not), but also to marry it educationally with erogenous pleasure, medieval aesthetics, mil spec, time periods, (a)sexual fetishes and clichés, masks, costumes, alter egos, herbos and himbos, Biblical allusions, castle parentage/disputes, fatal homecomings and bread-and-circus trials by combat (e.g., Ornstein and Smough, the black-knight-style demons from Dark Souls, or Marcellus and similar oni-style Yokai from Onimusha and similar Asia-themed survival horror and Metroidvania), kink and BDSM rituals/torture implements (whips, chains, leather and so on), muscle and fat, clay and golems, doms and subs, gender and body euphoria/alteration, and various taboos, stigmas—and biases, anxieties, phobias, what-have-you—while likewise arranging and exchanging power imbalance during ironic/unironic demon BDSM. Existence becomes a point of reference, then, one to wrap our heads around by playing with power as such. In turn, all things expressed and played with as demonic conveniently become food for thought, insofar as playing with power-an-unequal goes.

Further Food for Thought

Let’s pursue that. With vampires, for example, the poetic emphasis leans more on fluid exchange/giving and taking essence as fluid. Though “essence” translates easily enough to power and knowledge through BDSM rituals, “demons” make for an incredibly broad umbrella category amounting to food for thought—can enjoy or express power and forbidden knowledge (about power, essence, or anything else) in any shape or size, vestige or portrayal; and they and their poetic lessons don’t need to be red and/or black (often, green or purple works, too, but really any color scheme[12]). Indeed, they could drink blood as a liquid, breathe spirit as gaseous, or eat a solid shiny red apple;

(artist: Judith Meets Salome)

similar to “darkness,” the apple can represent pretty much anything (cum, power, cum as power, etc) and Eve can be phallic/serpentine through Biblical symbolism, or through illusory-to-allusory stand-ins for stand-ins, dead metaphors out-of-joint with canon, classic-to-Freudian-to-postmodern interpretations/umbilicals, and so on. The potential to change is threatened by implied action and temptation: “Eat me.”

Demon cosmetics remain simultaneously prolific and cryptonymically vague, as such; re: “dark”; e.g., a fat, menacing “castle” something of a vanishing point, mise-en-abyme—an event horizon/Satanic asshole that sucks you in (which assholes tend to do, save when shitting something out). The presentational idea, then, leaps to visual immediacy and in language most people understand/relate to in some shape or form; re: sex and force. Exceptions aside, Western whores tend to classically (within the Gothic mode) dress/appear in black and maidens in white; collars, gloves, corsets, stilettos, stockings and lingerie are popular (next page), as are whips, feather dusters and maid outfits, and various dichotomies like leather/lace, angel/devil, black/white, dom/sub and virgin/whore. They communicate, thus grant knowledge through sex and power as things to recursively reify and exchange; e.g., in a dark forest of desire (again, next page); i.e., in any of the ways outlined above: “Eat me. ‘Die.’ Learn. Change. Grow. Become what is needed.”

(artist: Persephone van der Waard)

All of these can hybridize, mid-aesthetic (all women are virgins and whores), but whores are canonically property first, people second; both something to call and relegate afterwards, they paywall in visually obvious ways—marked in society for being a particular kind of criminalized servant/forbidden merchandise that cops, as pimps, “protect” (versus the legalized variant of women’s work: the bride/wife, relegated to broodmare status, party to “legitimate” bloodlines [and their households] thanks to virgin/whore syndrome; i.e., the husband getting his jollies with his mistress/paying for her abortions to avoid bastard, illegitimate bloodlines).

We really don’t have time to unpack the universal wardrobe for whores worldwide. Just know the sky’s truly the limit regarding what’s “on tap” and how you want to respond to it (darlings can be killed and authors die): to draw your own conclusions/make your own connections beyond what dogma and the Imperialism of Theory (re: Norton) afford! Dogma forces singular interpretation, hence police violence; for us and Gothic Communism, speculation and critical potentiation/prolific interpretation is the name of the game! “Eat the fucking apple! They’re going blame you anyway!” Rock those fishnets, girl!

Hermeneutics aside, demons essentially and creatively have carte blanche, affording users limitless, infinite potential and creativity in how they themselves perform, present/perceive and play power out through demonic avatars and their doubled, darkness-visible paradoxes; i.e., like money and material goods, power is an illusion, but specifically a transient, dualistic, liminal one to play between different states that hyphenate (fake-not fake, authentic-inauthentic); e.g., knowledge is power and power is terror, violence, and morphological expression, under dialectical-material dispute during oppositional praxis. They’re something to exchange for as long as possible; i.e., as a means of communicating state abuse (and our place under its shadowy tentpole): as something to subvert, thus escape under hollow existence and empty threats backed up with police force.

Original Sin makes for a classic, recursive, and dogmatic example. Satan tempts Eve with the apple, which is knowledge, but also power performed between different players casting blame and owning up to/casting off responsibility in the face of state structures (and punishment): it’s a lie but true through state force as something to administer (often through the soul and purity arguments tied to glory and eternal salvation translating, under capital, to a Protestant ethic). Faced with total power, workers will happily point fingers to escape damnation/excommunication; i.e., desperation marries with convenience to encourage paranoid betrayal (which, in turn, amounts to more power for the state)! A witch hunt is a blame game, then, one where the state and the state alone can “win.” Except, it’s a lie, both everywhere and nowhere. Sex is everywhere in ways that, through these excuses to coerce workers, cannot be avoided.

(artist: Domenichino)

Dogma weaponizes sex as something to control in unequal ways. Paradise, per law and order under state rule, is generally threatened by shapeshifting devilry (queerness) and nature as monstrous-feminine (classically female parties, but really anything that isn’t white cis-het European Christian men); i.e., Eve, per Original Sin, corrupts under Satanic influence (which God allows), opening the door for degeneracy and decay of the state, hence moral panics/states of exception, hence profit during police abuse/tokenization when Imperialism comes home to empire (and when the state preys on the Global South until that point): antagonize nature-as-monstrous-feminine (alien) and put it to work under capital/settler colonialism as informed by older power structures like Imperialism, organized religion and feudalism. It’s women’s fault, and the Gays, the fall of Eden comparable to the fall of Rome insofar as white male fragility is “threatened” by the collusion of dark forces against that biggest of “victims”: cis-het men and their DARVO schemes (which lead to betrayal/triangulation during Man Box/”prison sex” mentalities, and really assimilation of all kinds [e.g., black skin, white masks] embedded inside persecution networks/rungs of preferential mistreatment).

So what is power? Per Milton, power is paradox and darkness visible played with; i.e., both infinite and finite, tremendously figurative and objective, cryptonymically dualistic and doubled; e.g., “heaven in a wildflower” vis-à-vis labor value (which has infinite value, the state wishing to steal our power [whatever the shape] through Faustian bargains). Since “darkness” denotes heretical/abject power and “power” can literally take any form (and often manifests as such through theatre, acting and disguise, all happening subjectively in good faith or bad versus objective forms, like material conditions), the simplest way to conceptualize it is, “power is exchange” as a matter of context concealed/showed during the cryptonymy process’ double operation; i.e., regarding forbidden knowledge in terms of gender, sex and anything else; re (from “Notes on Power” in Volume Zero):

Banquo got it wrong: Lies and the language of darkness aren’t inherently bad, meaning harmful or deserving of capital punishment; while he exclaims, “Can the devil speak true?” to himself and Macbeth, the devilish workers of Communism can speak true—i.e., in order to help each other survive the real dangers of a structure evolved to deceive us through harmful forgery (the irony being Banquo was killed by his own friend, not the witches—all for the same status inside the same power structure they lived inside together and which Shakespeare relayed through a stage play whose name people [specifically thespians] don’t like to say).

Language, like the devil, is plastic and can change shape (only following the Cartesian Revolution and Capitalism’s rise of mapping and dominating the world through doubles inside and outside of “pure” fiction [exhibit 1a1a1h2a1] did language solidify and binarize in service of the profit motive). Paradox is an essential component of human language in its natural and material forms; i.e., the immensely popular idea of theatre and duels told through heroes and their monstrous contradictions to ascribe meaning through staged conflict. Within this broader dialogic, the Gothic is mired in mimetic paradox through the communication of “deathly” appetites” (indented for clarity):

Death is the ultimate feeling of a lack of control, to be out of control. To face it as codified according to stigmas and biases, theatre is a tremendous, psychosexual device for calculated risk/informed consent (which operates to give agency through performance as a negotiated, heavily controlled affair). For Gothic Communists, these praxial contraptions are built around the profit motive as something to face and challenge through its praxial doubles: Gothic Communism’s monsters and their poetic, liminal extensions versus Capitalism’s, communicating in shared struggle and language as paradoxical on various registers simultaneously.

calculated risk/risk reduction exercise

A calculated risk minimizes harm but mimics the feeling of being out of control; e.g., consent-non-consent/informed consent.

consent-non-consent

Negotiated social-sexual scenarios through informed consent, consent-non-consent where one party surrenders total control over to the other party trusting that party to not betray said agreement or trust; aka “RACK” (Risk-Aware Consensual Kink) in relation to risky BDSM; i.e., bodily harm; e.g., public beatings, rape scenarios, whippings, knife play and blood-letting (source).

In essence, power is paradox during liminal expression through doubles (two or more things existing at once). From Paradise Lost onwards, then, power and its exchange (again, often through/with forbidden knowledge) becomes something to disguise, then tempt ignorant parties with as a gift; i.e., Original Sin (though, in defense of or from the state, this performative notion [and the epistemological freight it offers each side] goes both ways): canon vs iconoclasm using the same aesthetics in duality. Lies are simply another form of language, begging the question, “Which lies anisotropically serve workers?” As I argue about camp, we want to be of the devil’s party and, unlike Milton (re: Blake), actually know it!

At their most basic, then, devils are splendide mendax sullying Paradise with beautiful lies; i.e., as something to darken law and order (with shadows), to dirty or corrupt the state through forbidden exchange by Satanic forces. “Canon” being the strict, rigid control of information (thus power flow) by state paradigms, a devil is a whore, a tramp, a broker iconoclast of so many different things that earn them backhanded compliments by police agents (applicable to men/queer parties at large, but classically to white cis-het women in a heteronormative scheme): a dirty, naughty and/or bad girl, etc. Whores aren’t just demons, then, but criminals who gatekeep knowledge inside-outside themselves. While iconoclasm takes and delights in that fact, Gothic Communism and ludo-Gothic BDSM are more selective/enterprising than simply offering sex to the uninitiated! It uses any expression of power imaginable to foster sex positivity as antithetical to state aims (namely that of profit, raping nature during us versus them)!

A “devil,” then, becomes someone—usually a charming or brute-force tempter of this or that—to deal with in some imposturous degree of disguise and bald face (the paradox of shifting shape through affect versus literal appearance). But such cryptonymy’s dark, ludic/ontological flexibility further owes to demons being performative/poetic in a highly staged way that goes on and off said stage; e.g., serial killers, vigilantes and again, doms, subs, and switches, classically extending to horny college professors taking advantage of their students through a structural power imbalance (above), etc; i.e., BDSM isn’t just for the bedroom (re: Foucault) and it isn’t purely sexual, combining asexual interrogations of sex and force through demonic power displays and public nudism, amongst other things!

To it, demons teach, and generally by example, mid-poetics. These examples historically date back to the ancient world revived hauntologically in ours; i.e., schools function—from Plato’s Academy to modern universities—as special sites of forbidden knowledge, whose poiesis and exchange are ruled classically by patriarchal agents. Except, anywhere can be a classroom/extracurricular dealing space to exchange with devilish things. Demon sex (commonly framed as “whorish”) becomes an ancient weapon evoking nostalgia and poetics to rewrite the Wisdom of the Ancients; i.e., to levy in devilish arts against the state, which again, their patriarchs cannot monopolize! So long as power can express in parallel courts, it can consolidate there, too!

(artist: Jan Rock)

Revolution or critical analysis, then—but especially labor action and mutual consent established through gender and sex, parody and pastiche—can suitably manifest anywhere; i.e., through artistic/theatrical articulations of forbidden knowledge, demonic morphology and power exchange (above): deals with the devil as a cruiser’s costume—a mask to put on or remove as needed (often in a dungeon, ball, closet or false/inverted “church” of some kind; i.e., a danger disco; e.g., a bathroom stall, below, where forbidden “exchange” and “worship” [often extramarital sex and/or drug use] might take place without interruption or interference: prayer and predation, internment and instruction, education and reeducation, etc)! Pre-capitalist, GNC ideas like demonic androgyny (above) move into a post-scarcity world beyond Capitalism, predicating on the reshaping of those things that, canonized and kept under lock and key/close watch, keep us hopelessly locked in place ourselves: a crucible that heats us up and changes our shape to suit us, not the elite! It hurts, but anything worthwhile does!

To it, demons speak to a heretical desire to change, feel strong and look cool—to fit in, sometimes, but also stand out in ways we pass off as normal, safe; i.e., a death of the old turning into the new as waiting to unfold (as queerness in the closet always is). “The dose doth make the poison,” and we Commie fags—while perhaps setting a trap or two (“The play’s the thing!”)—aren’t exactly Zofloya handing Victoria a poison chalice; we’re giving you, yes you, the chance to learn and grow away from dogma, even if we’re a little slick/two-faced/tongue-in-cheek about it. Nothing lasts forever, and pomp and circumstance eclipse themselves. Things lost stay lost, but can be reborn in new terrifying (and awesome) forms using ludo-Gothic BDSM! As such, demons riot, and “a riot,” explained MLK, “is the language of the unheard.” Mid-argument (thus battle), demons are pragmatic in the linguistic sense, making themselves heard; i.e., through sarcasm, innuendo, play and mood (which Gothic encompasses).

To that, a good BDSM actor/sex worker can take any language on Earth—regardless of where it is written (e.g., in a Bible verse, or as graffiti on a bathroom stall door) or performed (e.g., rock ‘n roll, next page)—and make it powerful through suggestion/subversion, generally through conscious anticipation of various responses, mid-tension-and-release: “I’ll eat your ‘apple’!” Nothing is sacred (except basic human, animal and environmental rights) and anything goes. We whores fuck to metal, then, screw on the first date—in short, we just love to fuck, period—all to spite naysayers and prudes; i.e., they’re hypocrites/desperately starved of good connection, missing out on what makes life worth living! Learning is fun, is sex, is wicked, cunning and bad! “I don’t always cum when I learn, but when I cum, I’m always learning!” Yeah, baby! Everyone loves whores, demons and sluts; the idea is to learn not to hate them, too (e.g., Kim Petras, certified transsexual and slut pop star extraordinaire, below)!

In genderqueer terms, then, it’s less about hating on ourselves (though self-hatred/internalized bigotry are an ongoing problem for those in the closet or threatened with it) and more how we gay devil sluts incessantly delight in fucking with normies’ perceived, pre-determined ideas of sin and salvation; re: green eggs and ham that, once tasted, turn canon’s sad little world upside-down: the sinner being that person in the closet, acting holier-than-thou and for whom “sin” is both a guilty pleasure to watch and death sentence once administered!

Though queerphobia isn’t a joke (token or not), most jokes play with phobias to some extent; i.e., riling workers up not to do what the state wants, but to make some noise/rage against the machine while celebrating ourselves building better worlds while inside: as “unholy” in ways they can’t control, mobilizing us to challenge, hence change the status quo through sex work and art as more or less the same, as far as that goes; e.g.,

These boots are made for walkin’
And that’s just what they’ll do
One of these days these boots are gonna walk all over you (Nancy Sinatra’s “These Boots Are Made for Walkin’,” 1966).

It’s free-love sass, a threat with a wink to the pimp, but wrapped into Vietnam war songs by Hollywood directors recuperating sex, drugs and rock ‘n roll for Pax Americana. Two parties, different goals, same language: dark, fertilizing, of the night as alienated by capital and reunited with workers by workers out of the closet, kissing and telling[13]. It’s fun, natural, energizing and magnetic—the dark, earthly stuff of Medusa/Gaia unchained that rebellion and recuperation build on; i.e., oppositional praxis pimping demons out or liberating them in equal, warring measure!

To it, we sluts live for any theatrical tensions that arise, doing so to create in ways we can control; i.e., watching weird canonical nerds clutch their pearls, fearing our dark suggestions of damnation and delight making them sweat bullets. Trouble in paradise? That’s just our game! We live for it, but also camp canon to survive; re: watching them crap their pants something of a special treat, but likewise entirely necessary during revolutionary cryptonymy: when reading the room to sus out who’s good and bad faith using our Aegis!

Furthermore, torturously disabusing them of such harmful notions—i.e., by radicalizing them through ludo-Gothic BDSM (often sex)—is, unto itself, tremendously validating. Sex and force, pleasure and pain, metal and pulp media at large—modular and united, each works like a charm, the whore using her bag of tricks (“Wind! Fire! All that kind of thing!”) to heat their client up and strike while the metal’s hot. Pent up, we release tension, fight stress, and have fun on top of catharsis. This house is clean, babes!

To that, while certainly drug-like, we don’t owe chudwads (who certainly feel owed sex) an enabler’s taste, nor personal instruction/a benefit of the doubt, be that roleplay or sex. But people are seldom black-and-white. The state, being straight, enforces straightness in its own image, meaning we can corrupt that. Any work-in-progress, then, can promote its own potential to improve, and if we see that potential on someone’s surface and choose to act on it—to mold it like clay into something better than before—well, that’s our choice, isn’t it? “I like them. Let’s put in the work; but regardless of what happens, I’ll have fun!”

So while demons constantly transform, pushing towards a “final form,” they generally shift forever under surveillance, and always towards new growth and understanding. Amounting to perpetual evolution occularized, and furnished by competing natural and socio-material forces, revolution is a journey and a cycle, not a destination (the state will always resist development). To it, relationships don’t exist in vacuums; workers must adapt and, as REO Speedwagon puts it, “Keep pushing!” To learn, then, is to keep learning regarding labor and sex, gender and activism as demonic. Like a birthday party with friends, one happens followed by another amid fresh growth and maturity! Applying that to Gothic, so many breakthroughs, demon “cakes” (muffins, pies, etc) and splashes of wet rapture await (so much yummy frosting to eat and paint ourselves with)!

(artist: Persephone van der Waard)

Furthermore, any teacher who passes sex-positive knowledge to a former entitled dumbass is going to love seeing their work bear fruit; i.e., making the world better according to what we put into it—through what we give back to workers and the world (versus taking endlessly from workers as the state does, watching us). The gift is both an item and a lesson, fighting alienation with demonization: to promote reunion with the never-was to engender what could be.

This goes for sex, but also social practices tied to power exchange through sex work and gender expression; i.e., applying to “devils” among sex workers, lovers, and drag queens, all trying like Sisyphus to get people to abandon harmful ideas by having them watch and learn from us—gazing upon our Aegis’ surfaces and thresholds. Few things are as uphill as rewiring dogma to regain meaningful connection through alien, fetishized things (re: Capitalism alienates and sexualizes everything pursuant to profit, thus rape and genocide). So when it actually happens, that frankly feels amazing! “You’re doing it, babe! We’re doing it!”

(artist: In Case)

Sex is forbidden/anathema under capital, but also sold in conspicuous, highly-watched ways we can recreate, abjuring privatization and breaking Capitalist Realism; i.e., through praise, scorn, or anything else we want to roleplay and give back, on and offstage. It’s not something to fear above all else, but overcome fear about and welcome accordingly back into our lives: letting “Satan” and “darkness” into us as holistic unto suffering-as-comorbid, but also healing through commodity! That’s good praxis, and ideally it should mobilize workers into loving the exchange of/doing away with bad knowledge and lies for good knowledge and lies, thus restoring confidence by synthesizing it. In true demonic fashion, then, these translate to any form of power/knowledge exchange you could dream up; i.e., any relationship or fantasy thereof that can be had between two or more workers; e.g., me meeting Zeuhl and them delighting at the power we shared, and which they often dictated the terms of (often at my expense, though I learned a lot, and savored their fat, hairy “deli-cut” pussy—similar to the one in the illustration, above): something to see power play out as, through sex in common, socialized, artistic forms.

Sex is power and power takes work to, well, work; you have to juggle this with that and while it is generally a lot of fun, it doesn’t always last. And it, as power always does, takes many different forms from cycle to cycle. In turn, complex ideas should be able to be communicated as simply as possible through playtime exhibited! The optics consist of fun, but also profound, demonic change had in life-altering ways—giving and receiving through poetics lenses, liberty and license; i.e., whose licentious ardor can shape how we profligates wield power and see through it as something to operate and articulate unto others: through play reclaiming humanity as “torture.” Churches, after all, are classically prisons of faith people escape inside themselves.

In BDSM, this is called “a scene” or “a negotiation,” and combines imagination with playfulness to marry fun with Gothic conventions/reinvention; i.e., to make us not just horny/cum, but able to navigate/negotiate and give/receive power out in the real world: as half-real, trapped between the fiction and rules, the fantasy and the reality as forever in flux! While physical abuse is something you can disassociate from, emotional abuse is ongoing and participatory in ways that cannot be ignored so easily. Seeing how such games involve people who don’t want to play but are concentrated into tight, cramped spaces that not only surveille them, but force them to participate, the only way to escape segregation is by subverting the flow of power while being subjected to it!

For workers or the state, the aesthetic (and chiastic dualism) of dealings with the devil remain largely unchanged: in punitive systems that would seem to both discourage and encourage said behaviors! To litigate better boundaries, you must break down old ones and learn what works and what doesn’t, using whatever “clay” you decide as you do. Short of total genocide (with ethnic cleansing designed to wipe capital, thus the state, clean[14]), this eventually becomes second-nature on a community level: to work with thiccer and juicer variants of the same-old “clay” formulating new tasty (and backdoor, Hannibal-the-general-style) propositions! Churches classically construct through front-facing façades flanked with not just with divine sunlight, but shadowy confessionals, choir screens, and straight-up torture dungeons speaking to repressed desire under a cloistered existence that expects people to court and breed, but in modest, highly controlled forms (e.g., Mormon “soaking” rituals allowing for PIV penetration, but not thrusting in and out of the vagina—requiring a third party under the bed to assist in the motions by kicking upwards into the mattress): a recipe for worker blue balls, but also resenting those controlling sex for the state.

(artist: In Case)

In Case, for example, specializes in demonic art, of which they express in earthly-to-hellish forms using a variety of costumes (e.g., nuns, left); i.e., tied to different institutions of power and knowledge exchange whose barriers demon(strate) and transform, sure enough, in disguise: tit for tat, changing shape and dress to liberate ourselves through fantasies of transgression that, however gross in excess and provocative they seem, cannot actually harm anyone!

This is not a new idea (though it is a “novel” one, haha). Matthew Lewis’ The Monk (1796)—a story written by a twenty-year-old gay man in a time when queerness was expressed entirely in Gothic fakery instead of medical documents—gleefully has Matilda imitate/profane the Madonna to excite Ambrosio, the story’s star dupe. From Rosio revealing himself to be Matilda and later Matilda as a crossdressing servant of the devil styling herself as a painting of the Madonna that becomes simply the devil, period, “he” becomes “she” becomes something without shape—all according to a hidden devilish urge that Ambrosio both loves and fears, and which Matilda brings out in him to critique and expose the church: as mendacious and rapey through him! As such, Ambrosio becomes a slave to faith; i.e., a house of God that houses jailors who are, themselves, jailed. They preach austerity but do not practice it, are ignominiously ripped apart instead by gay devils in God’s absence!

In Case’s art speaks to indulgence overshadowed by God as someone to defile with relish. In turn, doing so teases a campy, bad-echo, crossdressing power game well at home in Gothic fiction before, during and after Lewis’ work; i.e., nuns dressing in black and white, misbehaving under God’s roof (above): “Heaven holds a place for those who ‘pray'” (Simon and Garfunkel’s “Here’s to You, Mrs. Robinson,” 1968). All constitute ludo-Gothic BDSM, thus precious opportunities to subvert and transgress against canonical, thus policed, pernicious forms of demonic power exchange felt within churchly spheres; i.e., through heretical, “almost holy” games, we gay demons play with things we shouldn’t. Speaking to a profound and ceaseless delight, iconoclastic liberation from inquisition affords fresh, vital perspective, mid-instruction; e.g., “Suck on him like this! Learn what he likes and respond to each other in kind!”

In doing so, you learn how to relate as people do, but in sex-positive versions thereof: through psychosexual rituals of sex and force, thus power exchange on a two-way street. Making people “come” to earth-shattering revelations—e.g., about sex and gender uprooted from biology but able to play with it anyways—is one of a sex worker’s biggest joys: to “see the light” by playing with “darkness.” Attached to morphological and cosmetic freedom, good sex and BDSM can radically change your perception of canon’s unironic aesthetics of torture; i.e., power is control during feelings of no control, paradoxically acted out during calculated risk regaining said control (for us, not the state).

Per my arguments, then, such tutelage and the demonic power it affords remain entirely rooted in performance and play “dressed up”; i.e., in the abject language of power and death, putting “harm” in exquisitely “torturous” quotes; re: ludo-Gothic BDSM! We’re all toys to play with, lessons to learn! Power is plastic, so assume whatever form/combination of forms aid in passing good instruction/demonic flexibility along while collaborating inside inescapable shadows/shows of state rule (necessity is the mother of invention, worker counterterror challenging the state’s throttling of creativity vis-à-vis state monopolies, trifectas, and qualities of capital during class-culture and race war). In doing so, watch your horizons, minds (and other things) expand!

To that, there’s certainly multiple iconic standbys—e.g., the red devil with a pitchfork, pointy tail and horns, or the phallic-woman dominatrix succubus whipping naughty boys inside her retro-future dungeon, infringing liminally on holier grounds. As things to pilot and perform, such dominatrixes take endless forms per the Gothic aesthetic and its “sweet spot” between pleasure and pain (often confusing them on purpose); e.g., Chun Li hyphenating Amazons, slutty mil spec/cop uniforms (the character is a cop, thus crimefighter dressed up, often enough, as a weightlifting whore), all-purpose (and endless) Halloween costumes, toys for boys and honeypots: muscle inside scantily-clad outfits, where the avatar’s thunder thighs, stockings and tell-tale spike bracelets let players police the slum during kayfabe-style Amazonomachia! Sex is literally a weapon, dogma dressed up as fun and games!

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True to form, friendly-looking demons have darker doubles, then; e.g., the cackling, histrionic and leather-clad dark mistresses from the Dungeon Keeper franchise (next page)… which really aren’t all that different functionally from xenomorphs, cenobites, or Lewis’ Matilda dominating through frog-like amplexus; i.e., torturously phallic, faux-medieval poetics hyphenating sex with vaso vagal penetrative violence, queerness with needles and medieval-to-modern medicine/malpractice, etc.  Enemies of the state enjoy one “luxury” afforded to them, in this respect: alienation as humanization (re: Said’s pleasures of exile).

To exist in this sphere is grounds not just for dismissal or arrest, then, but termination of a more exterminatory sort. Until then, it’s constant containment, surveillance, and torture; i.e., the Radcliffe-style[15] rescinding and deprivation of rights, dressed up as justice per the Spanish Inquisition reimagined. It’s moralized, an argument unto itself that leads to generational remorse, regret, and for our purposes, roleplay reversing such axioms through the same basic aesthetics and their associate actions: selling ourselves for workers versus taking state pay to punch down! Prurience cannot be stopped, so the state surveilles it in brothels as prison-like and paradoxically enough, highly publicized and “ecclesiastical.”

In turn, all require us whores, suiting up, to blend in/stand out onstage and off, and whose poetically sexualized weaponization comes with various broad strokes to paint with and larger arguments about demons to keep in mind. We’ll cite some of these next (as block quotes), then close the symposium out with some thoughts about religion (which demons play with)!

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Broad Strokes; Some Larger Arguments about Demons

Concerning the Demon Module as a whole, the holistic demands of Gothic Communism (and sheer poetic multiplicity and potential of demons) all but require me to paint in broad strokes, going forwards: if something is a “demon,” it emphasizes power/forbidden knowledge exchange and transformation (which basically makes the Mighty Morphin’ Power Rangers quintessential demons, per a neoliberal power trip; re: “teenagers with attitude!”). We’ll cover all our bases, through ludo-Gothic BDSM, but there won’t be as many close-reads as the Undead Module (at least, not for the first edition, v1.0)!

As usual, our aim is intersectional solidarity during a pedagogy of the oppressed—one meant to raise the degree of public knowledge and power when spectated about; re: expressed liminally as emotional/Gothic intelligence and class, culture and race awareness during praxial synthesis (class war is race war, race war is culture war, etc): to locate the expression of worker traumas (queer or otherwise) and subvert their canonical, punitive forms. In doing so, we want to reverse abjection along the ghost of the counterfeit felt through our daily lives—the rules and games we install and play out versus those of the state (church or not).

By examining zombies, vampires and ghosts during the Undead Module, we’ve already looked at the many different ways that monstrous persecution and creation go hand-in-hand with conditional monsters; i.e., monsters that imply a status or affliction assigned to them by Cartesian powers (we’ve also examined the “feeding” vector of each monster type relative to this condition). Except, it also applies to demons through forbidden knowledge (thus power) exchange often being sexual: “flow” something to go with and induce/indulge in; re: undead take back when they feed on trauma, demons give back when they teach forbidden knowledge to transform.

(exhibit 43e2b: Artist: Mugiwara Art. “I want you to cum all over me!” Cum = data, darkness, and seeds, but also where to “sow” them. As things to give, commands are powerful, insofar they consider power through sex as, from the French Revolution onwards, relegated to the bedroom [re: Foucault]; i.e., as a side of power exchanges/knowledge checks and gaps both forbidden outside of such areas and canonically advertised everywhere as “terrorism,” vis-à-vis Crawford. Amateur porn showcases that in ways that stress how worker can transform through knowledge exchange as “guerrilla”; e.g., angel in the streets, demon in the sheets. It becomes power for workers through knowledge as something verboten to share: through globs and globs on one’s fuzzy mound and squishy body as delicious—not just forbidden sodomy-style knowledge, but tasty fruit as darkly Satanic per revolutionary practices enacted and witnessed during the summoning of “rape”; i.e., establishing boundaries independent of state dogma.)

To that, specifically keep our modular thesis argument in mind, as I won’t have time to set it up and stress it neatly per monster type as demonic:

Capitalism achieves profit by moving money through nature; profit is built on trauma and division, wherein anything that serves profit gentrifies and decays, over and over while preying on nature. Trauma, then, cultivates strange appetites, which vary from group to group per the usual privileges and oppression as intersecting differently per case; i.e., psychosexual trauma (the regulation of state sex, terror and force) and feeding in decay as a matter of complicated (anisotropic) exchange unto itself, but also shapeshifting and knowledge exchange vis-à-vis nature as monstrous-feminine: something to destroy by the state or defend from it using the same Satanic, darkness-visible aesthetics/pandemonium.

As such, demonic transformation and knowledge/power exchange are anisotropic;

(artist: In Case)

trauma makes us decay/corrupt as monstrous-feminine or fascist (token or not), albeit in ways that cause us to develop demonic habits that are to some degree sex-positive or sex-coercive inside and outside the bedroom as canonically abjecting such things. Said flow of power is seldom clean, too, lurking in the odd, spicy and grey liminal area of the theatre stage, the monster costumes viewed there hardly exclusive to neoliberal Capitalism; re: with past poets closer to death, rape and raw sexuality in ways we’re currently alienated from (save in fetishized forms that serve profit inside the state of exception). Persephone, once in Hell, can stay there if it please her (dualities in full effect, of course); she can “crown” fresh abortions—to witness and play with the mighty and grotesque, but also Numinous afterbirth.

Fortunately, hauntology lets workers brush against the past; i.e., as nostalgic in ways that never quite existed, yet push towards Communism anyways: as canonically aborted by capital/the process of abjection (and other Gothic theories). Exploitation and liberation sit in the same shadow spaces, as do pro-state and pro-worker apocalypse arguments that fend off or expand the state of exception (and state forces using DARVO and obscurantism to muddy the waters): the state is incompatible with life, consent and workers, and we are with it! We must hug Medusa, not fear her, but there can still be Gothic thrills/doubles; e.g., the xenomorph is basically a sex demon threatening alien rape[16] against token Amazonian maidens, but whose immortal design ditches the red for all waspy[17] black: pure death that sometimes covers itself in human blood and gore!

This speaks to an honorary third quality of demons (though it relates to unequal power): sin, but especially desire (commonly expressing in religious forms as “burning passion”). From Radcliffe’s menacing demon lovers and Black Veil (re: Wolff’s “Radcliffean Gothic Model,” which came out the same year as Alien, 1979), we can see the pursuit of a vulnerable party (classically framed as white, cis-het and female, in Neo-Gothic literature) by a dark, arrested/Oedipal, wholly murderous slasher to, if not outright overcome, then at least survive: a killer’s reputation that permeates the dark out-of-doors and castled, churchly and/or graveyard environments to equal measure! Nigh elemental, these are deeply ingrained, well-established-if-partly-founded/unfounded fears with tell-tale classic embodiments (usually big men with dick-like knives; e.g., Jason Voorhees’ machete from Friday the 13th, above) predicated on concealment and revelation occupying the same infernal, golem-esque bodies: “darkness” as a trigger to throw and experience calculated-risk sensations.

Historically within Gothic, a dialectic of the alien and of shelter orbit around a privileged liminal group, white women; i.e., going from property to proprietor amid a state of transition, speaking to the only idea of “affection” they’re ever known—pursuit and abuse from someone for whom restraint is a myth, rape is automatic, and for which sex and harm overlap (rape being an act of total domination): a transient, regressive/reductive violator-inflictor of harmful, psychosexual pain. Doing so per transaction, the class character is one of white, middle-class women demonizing poor people/immigrants/slaves through liminal expression since Radcliffe’s Italian (or Lewis’ Monk, minus that story’s camp)—as abject, hulking maulers, invaders, trespassers in alien likenesses to their homes instead of their husbands and actual houses: getting their knickers in a twist over supernatural-tinged highwaymen (or castle knights) ravishing them.

Though it’s a toy-like, evocative simulation of mutilative, life-or-death exchanges—and Freudian analysis isn’t something Gothic Communism endorses (favoring dialectical-material scrutiny)—the fact remains that genuine feelings of fight, flight, fawn, freeze and flop regularly leap to mind when facing slashers (and the Halloween-grade, mad-science-meets-black-magic, holiday superstitions associated with them and their haunted lands). That’s arguably the point, but these human, or at least humanoid, bugbears sit alongside fearful sightings of state enemies; re (from Volume One):

The Western world is generally a place that testifies to its own traumas by fabricating them; i.e., as markers of sovereignty that remain historically unkind to specific groups that nevertheless survive within them as ghosts of unspeakable events linked to systemic abuse. Trauma, in turn, survives through stories corrupted by the presence of said abuse. There is a home resembling a castle, where a ghost—often of a woman—lurks inside having been met with a sorry fate. But undeath is something that can be felt through echoes of ourselves that aren’t diegetically spectral; they feel spectral through an uncanny resemblance, like standing over our own graves. This becomes something to play with, akin to an (at-times) humorous, even trashy gallows theatre rife with dark, forbidden language: sin, vice, violent sex, all-around death, and other taboo subjects (source: “Healing from Rape”).

In short, these orations of rape/demonic poetics and play are cathartic and criminogenic, educating and agitating to pacify as much as to rebel (re: controlled opposition). They’re chilling and dogmatic, praxially inert in canonical forms that see white women fetishizing those they commodify and police (re: Jameson’s “boring and exhausted paradigm“): the “help” as outsider but also strong-thighed bargeman, lycanthrope, sperm donor for lady what’s-her-name to fantasize with.

As far as demons more broadly go, mortal combat is a huge part of medieval theatre (the duel, Beowulf-style). Obviously this carries over into the adrenaline and ambrosia of modern-day BDSM/vice theatre; i.e., playing for laughs, thrills and cryptomimetic, legitimate-to-illegitimate boundary-breaking and setting exercises; e.g., Mortal Kombat‘s dark ’90s rock ‘n roll, sold-on-CD aesthetic—its arcade-style forces of darkness, outworld shenanigans, and the passing of order into chaos, videogames into celluloid. It’s a place to play and preach in equal measure, for the state or against it using the same demonic, hitman’s stabby-stabby language; re: courtly love, the way of the warrior as lovable scoundrel (e.g., Trevor Goddard hamming up Sonya Blade’s evil foil, Kano below, as part-meathead, part-phantom-of-the-opera). Better to have the language to play with than not; i.e., to play is to think about power through Gothic poetics (and their live-bur-al conventions) for cathartic purposes, making us strong enough to push back—often by killing our rapist in pure trashy schlock with a dark, genuine and swift undercurrent.

At their most basic, then, demons of all kinds operate sex-dungeon clubs/toy-like novelties replete with music, action and gory theatrics laden with an important asexual element: investigating all of the things listed above, granting them an artistic, social, campy/gallows-humor component that concerns healing from trauma versus simply getting off to this or that; i.e., interrogating our confused predator/prey responses, seeking death/the void in ways that speak to our rapturous survival: establishing control during feelings of us lacking control, generally on the cusp of almost-certain temptation, doom, delight and ecstasy! Part of that denial and indulgence (a mentality that embodies the West), the dominatrix is all-at-once inaccessible and forbidden, and very front-and-center! “You want this ‘rape,’ don’t you, slut?”

Do we? It’s complicated, but excluding battered housewives and other comorbidities during ongoing abuse, survivors of abuse like to put “harm” in quotes; e.g., to be spit-roasted by masked men provided there’s an element of control merged with the self-destructive theatrics (and provided no harm takes place)! Humans are messy and trauma only makes us messier (for which there’s the paradox of Gothic oxymorons, too; e.g., Monty Python’s Spanish Inquisition threatening people with comfy chairs to make them confess)!

This forbidden sight extends to world politics, on and offstage. From Israel to America’s Vietnam or any other settler colony project, the problem of demons remains one of police violence; i.e., the deliberate and systemic abuse of demonic language to serve state aims; re: raping nature as monstrous-feminine to harvest it through settler-colonial means. But, to reiterate, they have to essentialize these monopolies of demonic sight to hold onto those territories, which is impossible.

Indeed, as Asprey writes, “Not only can terror be employed as a weapon, but any weapon can become a weapon of terror: terror is a weapon, a weapon is terror, and no one agency monopolizes it” (source). State monopolies seek to decay rebellious forces (and their perceptive vision) and present them, vis-à-vis Parenti, as false versions of themselves: as open fascists, but also moderate, disguised forms of the same police agents (often playing as “guerillas,” themselves). We are devils in disguises versus the state’s devils in disguise. There’s no avoiding that duality. The sooner we accept that and modify our cryptonymy’s weaponized sex accordingly during the dialectic of the alien, the better!

(artist: Homare Works)

Keep that in mind throughout this module, as I won’t overly stress it (we’ll rehash it, but won’t discuss police abuse to nearly the same extent as the Undead Module did; e.g., the “Bad Dreams” chapter). But also keep in mind that, like all monsters, the paradox of class, culture and race war through demonic poetics owes to how all demons use the same base aesthetics of power and knowledge, but also transformation hovering nakedly on the cusp of Great Destruction (the maiden/sub threading the labyrinthine castle while avoiding/seeking the demon lover); i.e., to anisotropically reverse the usual flow that power and knowledge travel in, often through transformation/the presentation of something standing transformatively in for something else, a “blinding” that sees forbidden things with; e.g., xenomorphs for Communists; re (from Volume One):

I’ve repeatedly said that function determines function. Another way to conceptualize this is flow determines function. That is, during oppositional praxis’ dialectical-material struggles, terror and counterterror become anisotropic; i.e., determined by direction of flow insofar as power is concerned. Settler colonialism, then, flows power towards the state to benefit the elite and harm workers; it weaponizes Gothic poetics to maintain the historical-material standard—to keep the elite “on top” by dehumanizing the colonized, alienating and delegitimizing their own violence, terror and monstrous bodily expression as criminal within Cartesian copaganda: […] subjugated phallic women castrating a female master rebel, once she visibly tries—through a dissident question of mastery—to reverse the status-quo binary (and flow) of terrorism and counterterrorism by showing her trauma, anger and willingness to fight back against a presumed overlord (source: ” A Deeper Look at Cartesian Trauma in Rape Culture”).

Demons—in all their shapes, sizes and colors—obey the same rudimentary principles for or against the state as straight, putting nature-as-monstrous-feminine to work. Those who shift power towards the state will be viewed as “counterterrorists” (cops or deputized forces); those who don’t will be seen as “terrorists” (re: Crawford’s “Invention of Gothic Terrorism“) or criminals for cops to punish and victimize per the Cartesian, heteronormative and settler-colonial process, mid-abjection.

The same is true for us in reverse, then, our doubles and their paradoxes’ food for thought illustrating duality mid-opposition and inviting troubling comparisons that, for us, break Capitalist Realism and reclaim our lost humanity in the eyes of state forces; e.g., David in Alien: Covenant being a terrorist in the eyes of the company but also occupying that giant shadowy space between Nazi and Communist. Pastiche can be perceptively “blind,” or just blind unto enslavement through the same darkness.

Conclusion: New Eyes, Forbidden Sight (and “Religious” Concerns)

So ends the symposium. There’s plenty in here we could only touch upon, and much of what we introduced here we’ll return to/unpack later throughout the entire module. This starts with how demons alter our perception using the forbidden knowledge they give; i.e., operating as a kind of forbidden sight—a poetic gateway or keyhole to darker realms of repressed knowledge, thus exchange:

As such, we shall further consider demons’ anisotropic flow of power and knowledge moving forwards, but also their whore-like shapeshifting abilities. Demons can change shape, often through illicit, occult forms of sex like Matilda’s clothing but also her skin; i.e., as a psychosexual, oft-violent summoning ritual invading sites of godly surveillance projected onto secular doubles: to summon, show/conceal and disseminate forbidden knowledge about violence and sex under state influence (thus abuse). This remains our poetic focus, not the eating of trauma as such. Yet demons-as-modular intersect with the undead to comment on nature-as-alien/monstrous-feminine; i.e., in oft-composite ways that feel hellish and undead (re: Skeletor), but also quasi-religious; e.g., Giger’s Gothic surrealism one of many dark churches, mise-en-abyme.

The Gothic and its psychosexual theatre thrives in the counterfeiting of religious things (re: Walpole’s Otranto) to speak in code, and I would be absolutely remiss to not mention that. For the rest of this conclusion (seven pages), I want to consider something popular about demons that we haven’t touched upon, yet, but will come up in the module ahead: the “religious” elements!

Churches were schools of the medieval world, and continue to spread dogma through shells of their former canonical greatness (re: Hogle). Per Cartesian dualism, capital divides in service to profit through emotional manipulation, gentrifying and decaying anything it requires to do so. This hauntology/canceled retro-future includes Christianity’s endless dominion/schisms and denominations ordering nature as such: to mask genocide as “charity” using the order of power-as-pecking-order instructing us-versus-them violence, mid-crisis-and-decay (the state rots, tolling its Pavlovian alarm/funeral bells; the menticided holy regress like gargoyle cops—to defend said order’s laws under attack by Satanic criminals).

Apart from canon, though, demons offer up a wild cradle for release and resentment alike, allowing for new apostatic regrowth in Gothic spheres camping the canon; i.e., to safeguard nature from state forgeries, the Madonna winking at whores in the audience waging class warfare liberating all workers through intersectional solidarity as, to some degree, out of joint. Tailored through “almost holy” prostitution, their second-coming resurrections (and gooey rapture, below) surround the nun or the Madonna as anything but immaculate; i.e., normally ransomed by capital holding everything hostage, releasing vital fluid and “fatal” knowledge about nature-as-pimped-out under state control: through the kinds of storied, performative, and panting ahegao, all-too-hungry lessons (about lust and the other deadly sins) that demons in particular are known for (e.g., naughty nuns—again, below)! Sinning gloriously to release ourselves from state influence, we flirt with “danger” to release police-like holds on our fear-addled brains! God is blind to our nightly trespasses, the evil eye a myth but the church panopticon watching us like lepers! So we demon sluts bloom like fungus inside their blind spots, making our own poetic arguments that refute theirs—through Neo-Gothic paradox, our seditious “organs” working in concert!

(artist: Bec Santus)

Simply put, demons are born-again whores; i.e., threatened with rape by state forces and relieving stress by burning their churches down, then and raising pandemonium from the euphemistic ashes’ calculated risk. Thirsty for knowledge-as-forbidden, these euphoric, promiscuous instructors grant comparably prurient lessons meant to trouble blind faith coded into workers by state copaganda; i.e., by playing with the virgin/whore binary through the world’s oldest profession as normally policed in demonic psychosexual language. By joyously scorning dogma, sluts secure special sight surrounding spoiled subjects, their policing of which Satanic atheists/Gothic Communists lampoon by example: to unspool us before installing new demonic threads in the place of older tapestries, seeing the light our Paganized darkness emanates! It’s code, the corruption a data unto itself upsetting state boundaries-for-me-not-thee! We’re not doing it to enjoy special privileges—e.g., nuns playing as ninja vigilantes (exhibit 48b)—but fight for equal rights granted unto all peoples; i.e., as brothel espionage, our impersonation a revolutionary cryptonymy for those who know! Canon is like a light switch, one we can flip on and off framed as “fake,” giving another dimension to our coded pornographic missives: hiding in plain sight, smuggling Satanic rebellion inside faux reliquaries! Espionage is a Gothic utility through the femme fatale playing as naughty nun (someone paradoxically able to infiltrate a patriarchal space because she’s a slut).

Missionary brides are victims of prescription, segregating themselves to submit to state enforcers. Classically expected to turn into demons—to spread their legs and dutifully have babies, then become the things that holy men ward off in pubic, but indulge in private (from doggystyle to sodomy of all kinds)—such women are kept, thus trapped. To be a good little Communist whore, then, is to be a good teacher/code-switcher pointing state (and token) hypocrisies out! Revolution is to get off the fence—to get ourselves off, period, motivating good praxis during oscillating positions of master and apprentice, sinner and saint, giver and receiver using Gothic language! We give and accept fresh knowledge in all its neo-medieval forms, such “data” including hot cum; i.e., using our abject open mouths (and other body parts/tissues) to poke fun of organized religion/capital’s Protestant ethic. Often through ritualized cannibalism, blood libel and other sodomy double standards normally enjoyed by the state, we turn them into a crown of thorns—a thorn in the elite’s side whose agony delights us to no end!

From hustle to gratuitous heist, any despoiling by us of virgins (and other such modesty/virtue arguments) is to emancipate them from holier-than-thou state forces; i.e., the latter raping women, children and minorities on a daily basis, instilling fear-and-dogma ignorance over the former to preserve the nuclear model’s “purity” through impunity! From Rome into “Rome” under capital, the state is morally bankrupt. Steeped in controversy and scandal, such hypocrisy becomes endless crises of faith to leverage against them; any bastions to the contrary are merely a giant lie we can turn on its head. The iconoclastic idea, then, is camping harmful norms, breaking from their police traditions to install liberatory devotion through demonic porn/sex work at large; i.e., unto sex positivity as earnest, genuine and educational towards those revelations breaking Capitalist Realism (and canon’s sex-coercive myopia) like a stained-glass window—into pieces!

Per Weber, capital is Christian “in spirit”; i.e., of a Protestant work ethic, which reliably runs aground by operating merely as it does. So whereas Christianity evokes power in language both historically grand, vivid, and vague, the state has since hollowed out churchly house and occupant alike: profit trumps true belief, blind faith becoming bad faith cashing in on demonic doubles. It’s an easy system to retailor along state deceptions; i.e., built on the past as copied into Gothic doubles (re: the ghost of the counterfeit).

(artist: Harmony Corrupted)

In response, demons of all forms generally constitute a half-real pact or offering—one that, in our hands, demolishes dogma through the reclamation of state poetries inside “found documents” (from Walpole onwards): as “castles” (above) antithetical to status-quo bodies waiting to be exposed! Concerned with churchly “donations,” and felt onstage and off, our showing of the ass (a mea culpa) promise/promote a Gothic-Communist “beyond.” Perceived according to linguo-material exchanges that cryptonymically achieve step-by-step development in the present space and time, these Holy Grails suggest a better world through corporal data, even psychosexual violence dressed up as “death” incarnate. Extracted through calculated risk (re: convulsionnaires, demon lovers and exquisite “torture,” etc), whores communicate with pain, as often as not. In turn, the state penalizes its martyrs, driving them into psychosexual rapture. Making them writhe, the elite cannot fully monopolize such agonies. Harmed, we hypnotize others by placing our “harm” in quotes! We make it gay but also demonic and undead! It becomes a pornographic, visually weaponized/vaso vagal and politically charged, inflammatory spectacle no elite can fully control.

I’m not religious (and ironically am not the biggest fan of nuns, in Gothic), but find much to subvert in religious language/canon. Furthermore, I remain entirely serious when saying that such a palliative Numinous can change us—i.e., how we see the world—by demonically playing with codified trauma; i.e, that which the state tells workers to either completely ignore, or to play with only in particular ways: “flesh and the power it holds.” The price is canonically envisioned as “steep,” exorbitant, and fatal. In truth, it’s simply transformative, vis-à-vis the shadows of a Hell reclaimed by workers seeking revenge through demonic escape; i.e., from Plato’s cave by using a massive cryptonymic ass, tight pussy or asshole, what-have-you, as priceless: there being no price the state can put on them to sell ourselves (and our fellow workers) out!

Instead—and per liminal expression’s surfaces and thresholds (of forbidden exchange)—revolutionary whores unchain themselves “on the cross.” Gaining paradoxical access to capital’s usual voyeurs spectating sacrifice (always unto others), we point out various double standards that apply uncomfortably to them; i.e., those that—once exposed by us, smiling through the happy pain (and rough, worker-dictated sex)—strip the state bare and lay them naked on the altar! Guilty pleasure becomes liberatory unto realizations the state wants to vault: that their usual fixtures of power are not so holy or fixed! Faced with that, one grows defenseless against temptation and seditious reeducation!

Indeed, the heretical, naughty sense of conjuring mischief expresses through the whorish Mephistophelean; i.e., the so-called “nun” as bent, being up to no good during ludo-Gothic BDSM—that one is breaking state rules/canonical laws to free one’s mind from bourgeois dogma and illusions, thus interrogate state trauma. This happens through similarity amid difference, strung vicariously together by willing allies playing games of a restorative, debriding sort: the pedagogy of the oppressed as a shared, oft-naked activity—gettin’ down with the devil in us as abjected by state forces! We reverse this ghastly procedure on our Aegis, gorging and gouging this with that. “Stare and tremble!” becomes an invitation: to play with power yourselves, following the white rabbit as demonic whore.

Regardless of whom, subverting state conventions—reclaiming and humanizing their fetishes and clichés—should feel “dangerous,” hence intimate, intimidating and fun; i.e., hooking up free of judgement, mid-disco, delivering the goods for two (or more) people indulging in deep, bottomless appetites; i.e., of all shapes and sizes to share with those looking in (often ourselves, watching the footage in private)! To see how the other side lives, “destruction” means giving ourselves to each other entirely—to hold heaven in a wildflower!

(artist: Mugiwara Art)

Through poetic license, we Gothic Communists aggregate and solidarize, exchanging holistic tit for tat through ludo-Gothic BDSM as churchly pun, live burial; e.g., burying the bishop (the church and its dimorphic expressions of power are full of sex puns)! Like demons, Hell and true rebellion are what you make of them: through biomechanical trigger responses; e.g., piercings, tattoos, sex toys, knife play and so on as body-horror “new flesh”; i.e., relating to people as animate-inanimate objects, recipients of closeted rage whose diaphanous permanence expresses across bodies the only way it can, short of just filming it “as is.” Demons express autonomy amid damage and healing sharing the same spaces. These become a confusion of this with that; i.e., as language exists naturally and soupily in the brain and across history’s space-time: to tightrope lightning and be full of it as PTSD, which can trigger in martyred, dualistic, accessibly gargoyle shorthand ways we can dialectically-materially channel to thwart capital’s dire historical materialism.

So often, the palliative Numinous communicates through ludo-Gothic BDSM, in this respect; i.e., mixing erogenous pleasure and non-harmful pain haunted by harm living inside-outside us: dogma on churchly walls. It, in turn, expresses during various relationships to sex and force through others; i.e., clawing power back any way we can, taking control of out-of-control situations per the human condition as such: to feel social again through anti-social/alienating tendencies we can socio-materially rewire through safely chaotic outlets (the collocating of power that translates so readily and accessibly in religious forgeries; re: “Gothic”). The code-switcher’s idea/preference is to appreciate and understand psychosexual dysfunction as a spectrum; e.g., the Tin Man versus Ryan Gosling in Drive (2010); i.e., doing so in coded spectral ways that divorce from actual psychosexual harm, but manifest through demonic echoes during liminal expression! Love is a package deal, but not a ball and chain; i.e., that, once triggered, our trauma lets us transform our past (and the “past” of churchly spheres essentially the present as “stuck”), learning from and facing it without shame to lead to new exciting destinies (rewriting the church and our place in its theatrical in-betweens)!

So keep everything we’ve discussed in mind, up to this point; i.e., staying vigilant and perceptive as we forge ahead into the Demon Module’s object lessons: weighing our linguo-material extensions that we embody in turn, during ludo-Gothic BDSM. Exchange all the essence that you can, use all the toys you can; i.e., the larger ones giving you an element of control that often has an enormous size/alien element to its design, for calculated-risk purposes; e.g., less “murder dick” (what my ex and I would call period sex) and more freaky toys for cuties of all walks seeking to regain agency through infernal, demonic play! Both loose and tight, erogenous and painful, closeness to power can be incredibly medicinal, but also revolutionary! “Oh god, it’s growing bigger!” Our sleeves hunger for God’s rod and Satan’s shaft (“I can be your angel or your devil!”)!

(artist: Ashley Yelhsa)

Ludo-Gothic BDSM has a reclamatory function, in this respect; e.g., words like “invalid” or “alien” have as much a legal, medicalized usage that dehumanizes sex workers (with Ashley reclaiming her disabled status to fight back against people unironically using those terms to pity or prey on her). Through ourselves writhing restlessly and rapturously during ludo-Gothic BDSM, they become a kind of forbidden sight we can weaponize to mobilize and activate pastiche as paradoxically perceptive: to see with darkness (eyes and ears on the walls) as only demons can echo it! Switching code, we whores reclaim the church; i.e., as a conspicuous site of forbidden knowledge that, far from being empty of whores (and other demons) is positively full of them. All to speak to the faithful’s fragility (thus tendency to turn coat) in eye-catching sites of powerful orders! Power is perception, something for the desperate and eager-to-believe do so out of convenience (the promise of sex) that we can expose, thus manipulate inside its own panics. If you kill us, you will have to face the reality that we are human; i.e., as you try to pimp, police and persecute us (denial being the final stage of genocide).

In a world that canonically watches for sin and suppresses it—whose criteria for care is unrealistic—we become ready the moment we gain a voice, a valve, and ultimately a value that can discuss things by reifying them as demonic sight: a reversing of virtue and vice similar to terrorist and counterterrorist, legitimate and illegitimate or possible and impossible (or any other binary you possibly could imagine). This linguo-material reversal takes effort to synthesize, but it remains, as we shall see, playful, vital and fun. To it, building such churches of “rape” should be fun; i.e., to offend those institutions that unironically rape us. To spite any who isolate and harm us in dualistic blindness, nothing can be more holy than intimating world’s without them; i.e., where we are free of their malign influence!

Of such “secret sin,” Walpole’s Mysterious Mother (1768) described an untold tale “that art cannot extract, nor penance cleanse.” For us psycho sluts from outer spaces, it’s time to sin in public; i.e., through art in ways that expand on Walpole’s genderqueer echoing of “religious” (from Lewis’ Matilda into present-day varieties of the same spoofs, above)! A popular façade to forge anew, we aren’t slaves to quasi-medieval/religious symbols and erotic puns if we don’t fancy them (they are a bit done-to-death), but they nevertheless remain popular and productive; i.e., in overt forms to include among our holistic, Evil Cupid’s imposturous GNC quiver (we’ll consider “subtler” seemingly secular varieties when we look at Giger’s xenomorphic disguises)! Whatever the whore’s outwardly form, the state will call her exposure and witness testimony “violent,” then automatically compel/advocate for heteronormative violence against anyone humanizing the whore-as-harvest; so we, existing already as violence incarnate, must refuse to be quiet about what the state does to us every waking moment!

“Hogle argues that modern Gothic is grounded in fakery” and fake works (re: Dave West). From Walpole onwards, the Gothic predicates on encryption in ways we whores can hijack, mid-oscillation; i.e., the camping of Catholic orthodoxy through twilight “historical” documents: a paradoxically faithful ornamental approach/churchly embellishments to celebrate modern life by sarcastically aping the past. The joy of the Neo-Gothic author is being entombed in holy places to defile them, badly imitating them to deliberately rewrite history as-living-document (re: the historical Gothic tradition). Such reinvention speaks to organized religion historically organizing itself around lies, which our black mirrors can utilize to upend state monopolies/dogma; indeed, there’s never been more of it, thus a need for workers to get creative in this respect! An equal and opposite reaction, we push back; i.e., making cops recoil and scamper away from the thing the state has alienated them from, making them fetishize/fear the most: nature and sex!

When normies make, they fit in; we stand out, enacting and embodying activism through iconoclasm reinventing language where power is stored and controlled (doing so while appearing as cool things, ourselves—like spies, assassins and whores/demons hiding in plain sight: as “maidens”). Indeed, it’s our God-given right to double and camp the canon through this ghost of the counterfeit, our “secret” found documents’ gloomth-y archaeology of the future sarcastically defending Medusa from the state by reversing abjection amid public excoriation; i.e., as whorish guerillas, ironic masters of disguise covertly concealing camp as “canon” to liberate sex work (thus all workers and nature) while relieving stress. We can change the past, thus the future (commonly expressed in hauntological media as retro-future); i.e., by using our bodies as church-like mise-en-abyme (the graveyard sex of demon whores, hauntologically embellishing in medieval miracles). This is our land, something to infiltrate and reclaim from unironic missionaries passing themselves off as “locals.” When cracks start to show, we push it to the limit, using darkness visible holy hell (sex and force; violence, terror and morphological expression) to blow the lid off state power as hollow!

In doing so, our reclaimed Wisdom of the Ancients/proletarian Superstructure happens through iconoclastic art to paradoxically build trust in/with: as concentrically cryptonymic/framed, code-in-code, pornographic camouflage, and trashy (thus cheap), toe-curling mise-en-abyme (no spies, here, just whores pretending to be nuns)! Furthermore, doing so becomes something to organize and fund between workers illustrating mutual consent through rebellion as silly-serious, like Zorro; i.e., a Communist Numinous both difficult to prove but easy to spot: hiding a sword in her bosom/up her “sheath,” or her bosom as “sword-like” on its dark surface carrying its own demonic power (up the bungus)! Espionage is the romantic language of the past brought forwards to serve us, here and now! If the church is a brothel, our best revenge is fitting in to transform the church while spying inside it. Profaning Madonna to take Medusa back, we use every toy at our disposal (natural or manmade): to pass off and pervert in equal measure!

(artist: Blxxd Bunny)

Medusa’s not without fans. Everyone loves sluts, especially monster mommies with knock-out assets; we want to free them (thus workers and nature) from state bondage/Original Sin (and other persecution networks, such as Orientalism). To double dogma as bad-on-purpose is to invite troubling comparison, our doing so to change power as workers utilize and perceive it, hence how it linguo—materially emerges on all registers and in all poetic forms; i.e., to alter the course of history through ourselves as things to ironically watch and learn with/thick differently about than ever before: having control over our bodies, labor, sexualities and gender identities/performances despite state insistence to the contrary! What is rigid, “pure” and dogmatic can darken, becoming loose enough to change not just shape but polarity—demonstrating those at the top as not being exempt from such poetic realities. As above, so below! In any hole! Sell your soul (and your bodies)! Sex, drugs and rock ‘n roll! It’s forever a game of constant underestimation and embellishment, hiding our power on artifacts thereof: as known for both their (un)reliability and cloak-and-dagger potential, but also coded, uncanny ability to have fun with it all! Rebellion is life-or-death, playing on dogma as undead, demonic and animalistic.

The line they walk is, at times, razor-thin. Just as nuns haunt churches, whores haunt castles and the nuclear model’s imperial shadow at large—doing so in hilarious, horny showboating ways that work to our advantage, mid-prison-break; i.e., sex and force, per Gothic invention/imagination, as limitless energies that can drive any rebellion through hauntology and cryptonymy (such euphemisms combining the language of sex, danger and war, food and death, etc): churches are brothels ordained by a false fallible god, reaping paradise and caging its almighty power for greedy men (and token sell-outs loyal to profit, thus policing and raping nature-as-demonic). Keeping with venal paradox, Gothic maturity is mature when rebellion encourages universal sex positivity on a cultural level through such processes swapping state fakeries out with ours. But this, as Walpole and Lewis gleefully showed us, is often immature/campy on its face!

Power isn’t absolute; it’s an illusion that maintains its legitimacy through performative appeals, not objective reality (re: canonical essentialism). The state polices power as a language it wants to monopolize and arrange as it sees fit; i.e., of power diegetically policing itself through Capitalism Realism finger-wagging iconoclasm as “childish” and “vain,” criminal and illegitimate; e.g., American exceptionalism. So do we whores have hearts of gold (what the Ancient Egyptians called “the breath of god”); i.e., worn deliciously on our “orthodox” (unorthodox) sleeves, echoing across the centuries: to help you have a last-ditch change of heart, yourselves! Not to smite us as enemies, but embrace (and “smite”) us as human, like you! In doing so, demon power is notoriously unequal. Perhaps you’ve gotten perhaps more than you bargained for, then but will have still received a far better deal than the state would ever give you (they don’t negotiate with terrorists, which is precisely what Satan is). Such games, then, belong to our natural unalienable right to defend ourselves from the state; i.e., with it (and the bourgeoisie) as incompatible with life, with mutual consent as defined by us. There is no god; we are legion!

So no rest for the wicked! Dynamite coochie, let’s weaponize demon sex, “raw dogging” its liminalities for workers! Reclaim Catholic excess and Protestant reformation (“Methinks the lady doth protest too much!”). Raid the church for ammunition, then give ’em hell (and other puns)! Misbehave! “Rape” ironically and jizz on dogma, danger disco—doing so to take the edge off and inject the holy prim-and-proper with the wilderness of the not-so-holy! Camp the canon, then watch state anuses implode (sending their own bad-faith doubles to mingle and imitate ours)!

(artist: Mimsy)

This concludes the “religious” portion, and by extension, the demon symposium. We’ll continue unpacking this idea of “forbidden sight” more vis-à-vis the Promethean Quest (the quest for the Numinous; re: transformative, ostensibly self-destructive power), unraveling each in the next chapter!

Onto “Forbidden Sight and the Promethean Quest: Knowledge and Power Exchange (opening and part zero: a Rape Reprise)“!


About the Author

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). Any money Persephone earns through commissions or donations goes towards helping sex workers through the Sex Positivity project; i.e., by paying costs and funding shoots, therefore raising awareness. She takes payment on PayPal, Patreon, and CashApp, etc; all links are available on her Linktr.ee. Every bit helps!

Footnotes

[1] Nature is demonized by Cartesian forces; i.e., becoming something to fear to the point of ridicule. This includes the ultimate weapon of counterterror against occupying armies: their own fear of nature, which the elite expect them to police out of fear. They see nature as wild, hence must be raped to serve profit. Think of a twig snapping in a Vietnam jungle, one that sends the “brave” occupiers into a shooting spree with their surroundings. They think themselves invincible, but also spook easy. This also happens at home, during military urbanism; e.g., acorns, as this Florida deputy discovered (The Guardian’s “US Officer Fired at Handcuffed Man in SUV After Mistaking Acorn for Gunshot,” 2024).

Demons generally aren’t tied to the land, undead are. Except demons are tied to a Cartesian othering which demonizes nature and conjures it up; i.e., as a curse of “the past” to attack the inhabitants of a settler colony from within; e.g., animals, Pagans, and ritual sacrifice being of “somewhere else”: as within an unheimlich according to a forged division of sovereignty whose “historical” counterfeits remain haunted by the ghosts of actual atrocities (re: Hogle’s ghost of the counterfeit and process of abjection). Viewed as “past,” state forces abject systemic abuse, then and now, to an imaginary place dug back up: demonic dead.

To that, Sam Raimi’s titular Evil Dead (1981, onwards) possess self-styled “civilized” persons on home turf with a spirit of childlike black revenge; i.e., one that mortifies the flesh (a melding of torture and rot) according to a demon of nature-as-undead, of Cartesian enemies ferried into the present through Gothic reinvention. It’s Capitalist Realism suspended through Gothic animations—of various stolen myths, language, and monsters. The pact is the colonizer’s; i.e., with a world they are born into as inherited according to a system that distracts, overwhelms and confuses them. Like Evil Dead, it’s paradoxical: silly and serious, inside-outside, secular and superstitious, fearful and fascinating (re: Conrad’s Heart of Darkness [1899] and racist fascination with the abomination).

Moreover, such power cannot be killed, only used for specific aims; re: “Bushnell’s Requiem“; e.g., Victor Frankenstein, the Cartesian man of science, is hunted by the ghosts of the dead he stitches together from clay/things he disinterred from the dark earth of Germany and calls “demon” (something to fear and enslave). Except, he made what he feared to maintain his own sense of power according to the land around him. We can reverse all of that to serve our own aims; i.e., dismantling the state versus it conjuring us up, Radcliffe-style, before ripping us apart to serve profit.

[2] Gentrifying war in D&D cartographic refrains, but also demons and evil nature canonized by him: orcs, Balrogs, Dark Lords, previous Rings of Power (the pure Three standing in for the Holy Trinity versus the others as less as less pure, good, and correct) and giving of gifts. We’ll revisit Tolkien some more, moving forwards. To those interested, though, my PhD explores his refrains at length, and Volume One his BDSM expressed pointedly through vampire and the giving of rings.

[3] I.e., graveyard sex in “ancient” mighty ways; e.g., Capcom’s Menat, below, as a catgirl and mummy (with cats being holy guardians of the Ancient Egyptian underworld, and mummies generally being important figures wealthy enough to have tombs, thus leave their legacy behind, preserved into the afterlife). Such antiquated abjections’ imaginary forms work similar to European progressions; i.e., merging sex, rapture, sacrifice and death into comparable spaces/bodies “from elsewhere”: as, to some extent, dating back to Biblical times and Ancient Egypt, but generally reimagined to a hauntological degree. In short, it’s a gimmick, and a lucrative one; i.e., calculated risk to uphold the status quo during Capitalism in decay, middle-class predation and tokenism! Our liberation reverses these pimp-like devices, giving “ancient” power back to whores! No gods, no masters! Just sluts of darkness owning the means of shadowy production. Dark Pharaoh mommy pussy a kind of “mil spec,” power and darkness assume many forms!

(artist Reiq)

[4] L.A. Beast’s “Best of The Worst (Failed Video Ideas),” (2024); timestamp: 11:48.

[5] For more work on predator and prey per Amazons and knights, refer to my chapter from Volume One, “An Uphill Battle, part one: ‘Predators and Prey,’ or Introducing Revolutionary Cryptonymy and the State’s Medieval Monopolies on Violence and Terror through Animalized Morphological Expression.”

[6] An effect shared with other videogames we’ve examined, like Metroid and Castlevania as giving the hero, per Cartesian thought, quantifiable means of mapping and destroying a built world; i.e., with a numbered, arcade-style element per what can be taken from the world and absorbed into the hero, or thrust by the hero into the world—a health bar and ammo counter as they kill the state’s demonic enemies in vampiric fashion.

[7] There’s a mix-and-match, conglomerate quality to Gothic that’s nearly as old as monsters, kayfabe, theatre, dolls, and combat itself (we won’t have time to do more that flirt with the idea, but my PhD discusses it at length; for a fun, shorter example, consider Napoleon Blownapart’s “A Brief History of Freakshow Fighting,” 2023).

[8] I.e., Bill Gates syndrome, such privilege having fascist components when the punk elements, if ever they even existed, decay into pro-state forms playing the rebel/victim; e.g., Tool’s Maynard James Keenan (from Volume Two, part one):

capitalizing on being a cynic, as Maynard from Tool does in “Ænema” (1996) should be wholly discouraged:

Some say the end is near

Some say we’ll see Armageddon soon

I certainly hope we will

I sure could use a vacation from this (source: Genius)

This is fascist rhetoric delivered by white priviliged men, seeing the “end times” as a “vacation” that is anything but a natural disaster (though Capitalism profits off manmade interference assisting in so-called “natural disasters”); it’s an apocalypse to shoot “zombies” with until things “go back to normal.” Except they won’t during state shift, and the fascists and moderates will eat each other (unable to farm or tend the land around them, much like the original American colonists/so-called “Pioneers” were unable to). The only imbeciles who would say this is a self-centered cunt who paradoxically thinks it doesn’t apply to them; i.e., a white boy’s charmed life posturing as doomsayer and preacher cashing in on their own Kool-Aid to sell to the kiddies (source).

It’s white people disease, specifically that of violent, disingenuous white boys who never quite grow up, save to kill state enemies in their own victimized hero complexes. It’s not just dumb for its own sake (re: “Army of Darkness: Valorizing the Idiot Hero,” 2020), but complicit in the face of genocide; i.e., as something to turn your back on and blind eyes towards while raking in money through the usual mechanisms geared towards weird canonical nerds to begin with (a concept we’ll unpack in Volume Three when we critique said nerds). There is no win condition, just necrometrics and lies committed by whitey playing the victim time and time again. Until then, it’s business-as-usual, shutting anyone out who doesn’t conform/toe the line.

I’m speaking from experience here; i.e., I used to work with white cis-het male streamers in my different interview series about Doom and FPS in general; e.g., the “Hell-Blazers” series (2020) with Byte Me, Under the Mayo, Your Mate Devo and others. However, the moment I began to research the games these men played in ways that critiqued them in a genderqueer/postcolonial manner (as I slowly left the closet and challenged Capitalism in the process), they ghosted me. It was as though a cone of silence, an omerta, had been enacted upon me when I said the quiet part out loud (from a now-defunct 2020 piece, “Postcolonialism in Doom,” featured on Marilyn Roxie’s also-defunct blog, Video Hookups):

Like Ripley, the Slayer unwillingly serves a powerful, corporate employer—in his case the slippery Dr. Hayden, head of the UAC corporation. Faced with an energy crisis “the world had no answer for,” Hayden has colonized Hell to harvest its energy. Who inhabits this unlucky 4th world? Demons, of course—monsters, whose only purpose is to be slain. Of course, it’s entirely possible to see the demons of 2016/2020 as an extension of their 1993 forebears: heavy metal piñatas. Smash them; have fun. However, it’s hardly the sole interpretation, even if the makers intended otherwise. It’s even possible for the player to see his enemies in-game as piñatas, but for this to reflect a parallel viewpoint held by him outside of the game.

In this video at AGDQ for example, the livestreamer Byte Me pauses Doom 2016 to thank United States military members for their service. When I heard this, I found myself unable to view his words as neutral praise; an army has orders, after all. This remains true despite AGDQ being a charity fund-raiser where Doom is just another game being played to generate cash. Soldiers, or people who support them, still play Doom to revel in its slaughter and jingoistic camaraderie. It might pale against the reality of military service, but it still reflects said service through a videogame made for a larger audience. Not all members of this audience are soldiers, but those who are can revel in the game for their own reasons.

Perhaps it’s better for those who benefit from Doom Eternal’s gregarious qualities to avoid having it stamped as a military recruiting tool, a la America’s Army: Proving Grounds (2015). Even if Doom Eternal wasn’t built strictly as a recruiting tool, its imagery can, at the very least, be adopted laterally for this purpose. People with similar views can arguably flock to the same banner and say it belongs to them, not unlike a national flag. Already there’s a sense of division, wherein someone like myself who enjoys Doom feels divided from its more warlike customers. I’m against war, so politically we’re already of two opposing camps going in. Doom is still being marketed to a larger, heterogenous group: the old-school shooter crowd. Not all shooters shoot things in real life, but when gamers openly support the military “slaying demons” around the globe, the door for postcolonialism gets thrown wider than the gates of hell (source [repost]: “Those Who Walk Away from Speedrunning”).

This cold shoulder extended to anyone in the industry—from John Romero to Nick Newhard (the former whose wife answered my emails but never followed up, the latter who acted interested until I mentioned my left-leaning political lens).

A similar thing happened with British Brat, who expressed an interest in being interviewed… until I mentioned my genderqueer politics. Like Byte Me, Brat is a military man and acted friendly to my face (as white moderates generally will do), but ceased all contact the moment he released I was who I was: queer and against war in videogames—in short, an encapsulation of Gamergate attacking anyone who isn’t “neutral/apolitical” by icing them out; i.e., segregating dissidents to enforce said neutrality in service to profit. It becomes all about them—their music, their toys, their guns, their land—taking it all for granted as Man Box thinking enslaves them to the same-old cruel grind; i.e., violence always being the solution, graduating from kiddie violence to grown-up forms per soldier, per generation.

[9] E.g., Clerks 2 (2006): “There’s only one “Return” and it’s not of the King, it’s of the Jedi!” A cop’s a cop, Kevin Smith (also, you’re a giant homophobe and Mark Hamill’s a Zionist cunt, regardless of how he plays out in your stupid He-man reboot).

[10] The show is highly regimented/militarized—so much so that it’s hardly a surprise to see the ways its “gargoyle mil spec” plays out; i.e., through bodies that can assume any material, color and shape, but also the power-as-performance that comes with them. Always to some degree, essentialized, this happens in ways that can be played with, thus entertained and/or challenged in-text and out (so-called “head canon”): through different roles/positions of power and status borrowed from older forms; i.e., from play without shifting shape, or shifting shape merged with said play as a half-real game that juggles power and positions of power between multiple parties and stages, or even across several cartoons in and out of real life; re (from the Undead Module’s “Playing with Dolls to Express One’s Feeling Undead,” 2024):

(exhibit 38c1b: Artist: Boner Bob [amazing]. Heteronormativity frames anything beyond PIV sex as alien, thus worthy of attack. Meanwhile, the idea of the hero’s reward after emerging from the Abyss during the monomyth is both conversion therapy and compelled love that promises them PIV sex after killing the monstrous-feminine [e.g., Jung’s female chaos dragon] as part of a normalized cycle of queer, thus Gothic-Communist repression.

In truth, the descriptive sexuality and cultural appreciation of gender-nonconforming relationships presents the group as a negotiated affair that isn’t divorced from sexual desire as doll-like; it merely conducts it ironically in relation to the status quo’s harmful standards. In other words, the monomyth—as we have discussed a fair bit already—is a highly prescriptive and harmful device and needs to be challenged; i.e., by going into the abyss of gender-non-conforming lovemaking and modes of relation that allow for all parties to exist through reclaimed implements of shame, hatred and domination; e.g., Scott Pilgrim [above] as “made queer” through camp: in ways that highlight its queer potential, which also applies to Steven Universe [next page] as more overtly doll-like, thanks to a steady reliance on the golem myth.

Beyond children’s stories or cartoons, though, the same basic idea applies to more overtly “goth” poetics; e.g., like Rob Halford’s “Isle of Domination” or some similar genderqueer zone; i.e., occupied not by “the Ripper” as a queer-coded gay man in xenophobic canon but a sex-positive example of the gay party animal/favor as a twink-style sex doll: the usual object of total annihilation that isn’t taken literally as a matter of psychosexual performance. Such irony reclaims the harmful imagery of the death fetish and its associate, doll-like tortures and sodomy—doing so for the better of society at large by progressing away from their historically unironic usage. Often, this sits on the cusp of actual exploitation, the harm it presents as always adjacent to a given performance as made to heal from feelings of inadequacy that seek out domination as a matter of interpersonal bonding through BDSM:

[artist: Doxy Doo. Their 2015 “Gem Dom” comic of Steven Universe elides the “futanari” hentai genre (the feminine body with a penis) within the broader Amazonomachia of the militarized BDSM scenario. The liminality of the scene evokes the “prison sex” culture of dominance and Spartan-esque culture of war (which has a pedophilic history to it) as overshadowing a means of doll-like catharsis: the golem. Its legitimacy of violence, terror and sexuality is of the state versus workers seeking sex-positive subversions of the former operating through various BDSM/theatrical tropes: the phallic woman (of color, in this case; i.e., the Medusa) and the non-white goblin taming our white “shrew” (note the long nose) through stereotypical discipline-and-punish exercises: overpowering through brawn, verbal commands, degradation, hyperbolic/painful sex and/or double-penetration, bukkake, collars and bondage, open mouths eagerly and obediently awaiting their reward.

Within a military culture and centrist framework, the idea isn’t far removed from its historical counterpart as unironically abusive, being a forbidden sexual outlet/guilty pleasure whose predatory interplay between superior officers and subordinates would have been a historical reality (and one whose inversion within tokenized, girl boss bureaucracies would emulate their male counterparts under Capitalism).]

Catharsis, post-rape, always walks a borderline [the victim is always afraid of future abuse, thus relies on calculated risk to release tension by emulating rape up to a point]. There’s clearly room to perform this irony further than the centrist, post-fascist overtures in Steven Universe. But doing so requires actively using ludo-Gothic BDSM; i.e., to make an earnest interrogation of the dialectical-material role—the context—of everyone beyond mere wish fulfillment/the novelty of golems ambiguously bullying one another for the Maze Gaze [which under centrist circles extends to tokenized queer people “acting like men”]. The danger of the sadist is always the advertised lack of compunction making them a frankly good dom, but also someone who can just as easily take advantage in ways that reduce the individual they control to putty in their hands [source].

Capital and its systemic abuses create strange appetites, requiring workers wanting to field said appetites to work within power as a language; i.e., to critique its harmful generational effects on us by playing with it ourselves. To critique power-as-demonic, you must go where it is, generally by making fetishes of it that you can play with; i.e., doubles standing in for us as demons do, expressed as dolls but also through doll-like games played with people as dollish, thus demonic.

First, even without changing anyone’s bodies, the likes of Scott Pilgrim have near-endless ludic potential; i.e., in terms of who is on top/the bottom, the dom/sub, and the activities and duties portrayed that everyone arbitrates/agrees to. Second, the corporal uniforms of demons like Pearl or Garnet take on a variety of physical shapes, sizes and sex organs, but also BDSM roleplay tied to said morphologies and associate ludo-Gothic freedoms. This arbitrates according to preference, allowing for endless morphological/poetic expression tied to ludic expression in classic demonic forms: actual or figurative golems doing BDSM for the purposes of expressing and playing with power to heal from power abuse; i.e., “What we get to do within the rules and roles we reify outside of state forms!” Demons are clay and can be as strong or shapely as you like:

(artist: Persephone van der Waard)

The only limits that exist are those our imaginations already have, which can be imposed on us through Capitalist Realism (and its notions of false power), or rejected and challenged by iconoclastic forms playing with toys/toy-like things for liberatory and ironically cathartic means.

[11] Faustian bargains are one-way and express in game theory as “zero-sum.” Implements of trickery aside, they harm one person to benefit another as receiving all of that person’s power. Faust, by the end of the bargain, is completely disempowered and—in Marlowe’s version, at least—pulled limb from limb (a gruesome fate that would play out through Clive Barker tearing the villain from Hellraiser to pieces with hooks and chains).

[12] E.g., Uriah Heep’s “Rainbow Demon” (1972).

[13] “This gal suggested… maybe I should have some attentions paid to my butt’s hole!” (Letterkenny’s “It’s Impolite to Kiss and Tell,” 2016).

So often, cis-het men are afraid of non-normative sex, but want it anyways; re: virgin/whore syndrome; i.e., getting it from those who are more used to being treated as sex objects/advertisement props: women (or those forced to identify as/act like women). Framed as “closer” to nature all its forms, and routinely sold under capital as such, women both a) live on the fetishized and cliché, “wild side” of things, and b) appear as chaste maidens or ordinary people (the “angel in the streets, freak in the sheets” paradox). Cryptonymy is something to enact all of these things with; i.e., it becomes a game of show-and-conceal, repressed agents speaking to what they normally mark as swallowed by Gothic’s usual vanishing points: castles, whores and other such event horizons. “On the ashes of something not quite present,” we demon sluts become ghosts in spectral castles that come and go like dreams, the latter dictated by socio-material turbulence!

For example, I once worked with someone from Norway who was making a graphic novel: about a redhead named Madikken (reillustrated by me, below). The story concerned the original author’s closeted sex fantasies, which they wanted to celebrate and bury in the same breath. As such, the “vanishing point” was in full effect, here; i.e., the closer the author got to the sex scene, the less detailed it became! The color all but vanished from the pages’ pastoral scenes, and the quality of the art disappeared as well. I could see their shame unfold in this respect; i.e., clearly embarrassed by their own desires, the author closeted them mid-novel on account that they were basically MAGA in that part of the world (they loved Trump and Gamergate was in vogue)!

Out-of-text, this had a censoring effect on the actual book, as well. We originally published the novel in 2016, only to have them scrap it/the main character entirely. Except, entropy needn’t be a censoring force. Picking up the pieces, I took Madikken and won her in a legal dispute, putting her squarely out of the closet! For me, Madikken’s strong and out there—having an ass and body that don’t quit. She puts in work and is proud of it!

(artist: Persephone van der Waard)

[14] Such erasure is impossible. For one, language is always haunted by echoes of trauma; re: palimpsests and cryptomimesis. Furthermore, the state cannot afford to completely erase monsters, because profit requires them to move money through nature. God needs Satan to justify his empire.

[15] As Nick Groom writes (from the Oxford World’s Classics of The Italian, 2017):

Ann Radcliffe may have not been a revolutionary, but her work is far from being conservative—she repeatedly tested the boundaries of orthodoxy at a time of revolutionary foment. This may explain why everything is under scrutiny in The Italian. It is a novel suffused with secrets and mysteries, and pervaded by scrutiny, examination, and interrogation. […] It looks forward to a society in which order is enforced by institutions keeping individuals under perpetual surveillance. As such, The Italian [is] very much a novel for the twenty-first century.

So often, play is couched within abuse (or vice versa), concealing itself as “just games.” We’ll return to Radcliffe and Groom deeper in the module; suffice to say, she wrote her stories in the wake of the French Revolution and before women could legally own property. In doing so, she helped provide unique perspective through Gothic fiction, speaking to state abuse and control felt then and now in and out of such stories.

[16] We’ve already discussed the chimeric, “ancient” qualities of the xenomorph in the Undead Module (e.g., the tokophobic, queerphobic, and racist elements to the monster); but will return to examine it even more moving forwards (especially tokenism/witch cops attacking nature, in “Derelicts, Medusa and Giger’s Xenomorph“).

[17] Arguably a Protestant ethic pun as much as insectoid life-cycle metaphor.