This two-part essay, "Sharing the Blame," addresses F.D. Signifier and Foreign Man in a Foreign Land's mild tokenism; i.e., as paid labor (non-care/non-sex workers)—specifically their defending PhilosophyTube aka Abigail Thorn's liberal Zionism to a moderate degree: two straight black men defending a white trans woman, selling out mid-genocide, and her defending them. In doing so, both parties perform state vampirism (feeding) dressed up as "progressive," a shared betrayal harming unpaid labor while refusing to share blame. Said essay is part of a larger de facto series—one including "Raising Awareness" and "Nancy Drew Syndrome" (2025), and all of which emphasize token "progressives" selling out in various ways; re: F.D., Foreign Man, and Thorn, but also Natalie Wynn aka Contrapoints, Bad Empanada and Rebecca Watson. Lastly, it contributes to/utilizes different bodies of scholarship I—a trans sex worker, Gothic ludologist, and pornographic historian—academically specialize in, including Metroidvania, Amazons, and ludo-Gothic BDSM (relevant links throughout the essay but also at the bottom of the page).

(exhibit 1a1: Top-left and top-right, artist: F.D. Signifier and Foreign Man in a Foreign Land; middle, source: PhilosophyTube's "Rationalising Colonialism - How the US Stole Indigenous American Land," 2025 [cited: Quarantine Collective's "Why I'm Done with PhilosophyTube"; timestamp: 18:24]; bottom: source YouTube community post, 12/13/2025.)

Furthermore, "progressive" tokenism isn't unique to these creators; it extends to others defending their doing so—with Dani Doyle (a token lesbian) labeling my work "anti-black" for honestly and accurately calling both men out (and Thorn, by extension). Having minority status (a trans sex worker) but specializing in tokenism through an academic approach (e.g., TERFs but also racism; re: "Regarding Tokenism and Fighting It," 2025), I wish to respond; i.e., from one Gothic nerd to multiple non-Gothic nerds, encouraging open conversation concerning state monopolies enacted by token parties; e.g., violence, terror and morphology/monsters (re: Weber, Asprey and me; see: "The State: Its Key Tools" from "Paratextual (Gothic) Documents," 2024). Namely vampirism and selling out, mid-abjection* (see: "Essay Primer"), we'll unpack these concepts' positive and negative elements at length, in part one/"Vampire Addendums," then pointedly discuss paid actors' token state predation during liberal Zionism, in part two/"Original Essay" vis-à-vis Natalie Wynn; i.e., as someone these other creators, also paid, uncritically praise/emulate to further abjection during token vampirism; re: as harming unpaid workers, mid-genocide (e.g., trans folk often being unpaid, performing sex work to survive state abuse)! Take what is useful (to reverse abjection), and leave the rest (of which I've added much; see: "Changelog")!

*Us versus them/alienation and fetishization, per Julia Kristeva; i.e., as something to further or reverse, mid-vampirism (see: "Concerning State Vampirism," deeper in).

(artist: Alliesha Bay and Nathan)

First—and after the disclaimers, "Some Key Terms," and "Signposting My Work" outline the broadest topical elements—we'll introduce abjection (and furthering/reversing it during vampiric poetics/the cryptonymy process), in "Essay Summary"; then, we'll unpack it: through me and my friends' activism as poetically "undead," in the essay preface, "What Sweet Music They Make!" (which features Alliesha and Nathan, above). "Vampire Addendums (Outer Layers)" considers the poetic and dialectical-material character of vampirism as a critical lens; "Original Essay (the Core)" critiques token "progressives" and liberal Zionism through said lens (re: F.D., Foreign Man, and Thorn). Our focus throughout remains whores; re: unpaid workers seeking revenge, dialectically-materially reversing abjection in monstrous-feminine ways; i.e., vampire poetics achieving generational socio-material effects, the whore's revenge challenging profit over time (therefore rape; re: "Rape Reprise," 2024): as normally enacted by state pimps/proponents, paid labor historically-materially pimping unpaid labor/nature as monstrous-feminine food, mid-genocide (re: "Nature Is Food," 2024). To prevent this incredible harm, the whore must cryptonymically reverse the flow of power upon themselves; i.e., mid-abjection, through vampirism-in-duality utilizing ironically playful defense mechanisms (re: ludo-Gothic BDSM, aka rape play camping canonical norms; see: "Concerning Rape Play: a 2025 Note on My Development of Ludo-Gothic BDSM").

Before we dive in, some paratexts:

• Changelog
• Concerning State Vampirism
• Disclaimers/Concerning Censored Nudity and Its Educational Purpose
• Heaping Praise: Thanking Alliesha and Nathan for Taking Part
• Some Key Terms
• Broad Strokes; or, Signposting My Work, Post Hoc (re: Abjection/the Monstrous-Feminine, Vampirism and the Whore's Revenge)
  • Abjection/the Monstrous-Feminine
  • Vampirism/the Whore's Revenge
  • Summarizing "Sharing the Blame," parts one and two
• Table of Contents

(model and artist: Autumn Ivy and Persephone van der Waard)

Changelog

—1/3/2026: Wrote "Heaping Praise: Thanking Alliesha and Nathan for Taking Part"; added further signposts, throughout, plus small changes here-and-there. The essay is basically finished (minus proofreading it, which I'll finalize soon).

—1/1/2026: Wrote "Signposting My Work, Post Hoc" and moved "Some Key Terms" above it; moved various germane, all-purpose quotations and concepts from deeper in the essay up into "Signposting My Work"; and signposted throughout parts one and two of the essay, as well.

—12/30/2025: Tweaked the opening paragraph (and footnote) even more. Moved "Some Key Terms" closer to the top; further organized the essay in two parts, and made many small renovations, throughout (e.g., more visual aids of Alliesha and Nathan, but also other models at the end of the primer).

—12/29/2025: Tweaked the opening paragraph (and footnote) to essentially double as the essay abstract.

—12/26/2025: Proofread the entire document some more. Added paratexts before the table of contents, including a new essay summary. Frontloading further ideas, quality-of-life. Various changes throughout.

—12/25/2025: Proofread the entire document. Various changes throughout.

—12/24/2025: Added summaries to the table of contents. Expanded "What Sweet Music They Make!" into a preface, one that highlights abjection, cryptonymy and ludo-Gothic BDSM, etc; i.e., through vampirism/sexuality as things to dualistically reverse state predation with, onstage and off. Put the keywords and changelog before the preface. Various changes throughout.

—12/23/2025: Added a Key Terms section at the start (versus doling said terms out, after my thesis argument). Age-gated "Sharing the Blame," adding a disclaimer about fig-leaf nudity followed by more material featuring Alliesha and Nathan.

—12/19-22/2025: Expanded "Setting the Table" to distinguish between intersectional consciousness and solidarity. Added a variety of poetic sections therein, as food for thought.

—12/16-18/2025: Various small changes, focusing on token saviors/traitors and vampirism enabling state predation (exploitation).

—12/15/2025: Initial publication.

Concerning State Vampirism

(artist: Karen B.; cited: "The World Is a Vampire," 2024)

This piece (essay or otherwise) is part of a larger series on state vampirism. As I conceive it, state vampirism = feeding through the state mid-abjection*, be it openly capitalist or Marxist-Leninist. These are largely questions of aesthetic, whose Promethean (self-destructive) function extends to other configurations "of Omelas"; e.g., Zionism. Furthermore, there's overlap between my anti-Zionist work and my work critiquing Marxist-Leninism/state vampirism alongside capital, so consider reading both.

*Which state predation and revolutionary action both rely upon to function; i.e., "on the Aegis" as something to further or reverse, mid-vampirism, through paid/unpaid labor (re: me, vis-à-vis Julia Kristeva). To that, abjection (us versus them/alienation and fetishization) is one of four main Gothic theories my book series utilizes—the other three being hauntology (retro-future), cryptonymy (show/hide) and chronotopes (time-space) alongside smaller theories; e.g., Jerrold Hogle's ghost of the counterfeit† and Barbara Creed's monstrous-feminine (Gorgons and Amazonomachia, as I study it). As a queer sex worker and academic, I dialectically-materially prioritize abjection and vampirism through unpaid labor—chiefly sex work as exploited by Cartesian dualism and its harmful, maximalist binaries under Capitalist Realism, treating nature as monstrous-feminine (re: "Nature Is Food," 2024)—but mention the other theories, too (access "Four Main Gothic Theories (the Four Gs)" in "Paratextual Documents" for their longer definitions). In essence, capital/the state rape by design, which unpaid labor prevents by breaking Capitalist Realism mid-abjection; i.e., reversing abjection during ludo-Gothic BDSM (rape play) when having the whore's revenge (which "State Vampirism" explores at length): "to break the profit [and productivity] motive by making a world for which it (and rape) are no longer possible using these methods; i.e., by using the same demonic and slutty language capital does, but at cross purposes" (source: "Rape Reprise").

†Re: "Raising Awareness" (2025),  footnote 1.

Disclaimers/Concerning Censored Nudity and Its Educational Purpose

"Sharing the Blame" is part of my Sex Positivity book series, which continues after its June 2025 finale in small-form content; e.g., essays on and interviews with other sex workers, all of whom I credit on my Acknowledgments pages and Sex Work page. This piece doesn't focus on sex work itself (which Signifier et al don't), but widespread exploitation; i.e., in a shared predatory system, "whoring nature (and workers) out" in highly abject ways.

(artist, left: Bay Ryan; right: Persephone van der Waard)

Disclaimer Regarding Essay Contents: All opinions are my own; i.e., as part of my research, conducted alongside my book series, Gothic Communism (2023). The material within is written/speaks about public figures and popular media for purposes of (sex) education, satire, transformation and critique, hence falls under Fair Use regarding copyright and free speech regarding defamation/obscenity laws (the Miller Test; source: Justice.gov). Click here for my entire series disclaimer. Lastly many of the links on this page lead to my age-gated 18+ website where my entire work on Gothic Communism is stored and exhibited.

CW: racism, genocide and fascism; transphobia, rape* and tokenism; vampirism/the Gothic (monsters) and sex work/censored, fig-leaf-style nudity

*Meaning (from my definition) "to disempower someone or somewhere—a person, culture, or place—in order to harm them," generally through fetishizing and alienizing acts or circumstances/socio-material conditions that target the mind, body and/or spirit) […] Rape can be of the mind, spirit, body and/or culture—the land or things tied to it during genocide, etc; it can be individual and/or on a mass scale" (source: "Psychosexual Martyrdom," 2024). 

(artist: Lysippos; cited: Michael McClellan's "Professor Butter Beard and 'It's All About the Fig (Leaf)'")

Concerning This Pages' Censored Educational, Fig-Leaf-Style Nudity: This pages features censored, fig-leaf-style nudity* for purposes of sex and artistic education operating under the Miller Test/protected speech under American law (source: Justice.gov). For further info on my approach to censorship and sex education, kindly refer to exhibit -1 from "Raising Awareness" (which also discusses the hate campaign censors are currently waging against me and my friends' sex-ed work). All censored material is used elsewhere in my book series; i.e., as part of said series, and with permission from the models therein (re: my book series disclaimer). All models are over 18 and were when said material was produced. 

*Meaning no bare genitals, just bare butt cheeks, curves and sexual context (and lots and lots of pubic hair, below); i.e., within a sex-educational, art-meets-porn framework that follows the Miller Test—one performed by sex workers and their content being voluntarily part of a larger project I continuously invigilate; e.g., Cuwu and I:

(artists: Cuwu and Persephone van der Waard)

Concerning Keywords: My arguments rely on various keywords I've previously coined, which here present in bold while color-coded (usually only once, while stressing their keyword status; e.g., ludo-Gothic BDSM, Metroidvania, or the palliative Numinous, etc). While some are given here, in abridged form, "Paratextual Documents" provides all neologisms, in full.

Heaping Praise: Thanking Alliesha and Nathan for Taking Part

Capital relies on fascism to control sex through fear and force—the right for some (token or otherwise) to "rebel" for the state; i.e., armed subservience/controlled opposition (cops) saying to state victims, "boundaries for me, not for thee" (the pimp's refrain, punching down to maintain bourgeois hegemony). Except monopolies are a myth, sex something to be enjoyed—especially sex work pushing collectively towards universal liberation versus fascism (ergo the Judas/Omelas refrain liberals abuse): a terror weapon levied in our favor that breaks state monopolies, therefore Capitalist Realism "on the Aegis." Assimilation is poor stewardship; we whores must be stewards of ourselves—meaning part of nature, which the state pimps in perpetuity while dividing us. Capital sucks; so suck back, hooking up in ways they can't control!

(artist: Alliesha Bay and Nathan; source skeet: December 18th, 2025)

To that, I wrote "Sharing the Blame" with Alliesha Bay's help, posing for me alongside and her awesome boyfriend, Nathan. I wish to give thanks, heaping praise on both their names! They're both totally amazing and I feel incredibly lucky they let me represent them: as people the state normally targets, and who I can give a platform to safely voice themselves (with Alliesha being chronically disabled/someone who needs sex work to survive, her partner caring for her needs while taking part, below).

(artist: Alliesha Bay and Nathan)

Going in, you'll find their work scattered, throughout—sharing the love in ways we arbitrated, beforehand; i.e., while fighting for our equal rights, collectively asking token actors to share the blame. "If you prick us, do we not bleed? And if you wrong us, shall we not revenge?" Happiness and love are the greatest revenge the whore can have; i.e., despite betrayal, camping our own holocaust/genocide by finding and spreading joy through our work (re: "Joy Under Fascism," 2025)! Fascism fears sex, for they/the state exist only to destroy nature/pimp labor as monstrous-feminine by design! If we didn't have power to steal, they wouldn't take it from us. In other words, state proponents coerce the sex they/their masters need to survive, taking it by force/through lies to pimp sex work as "degenerate"; they know nothing else/are miserable without control to perpetuate nuclear models, mid-scapegoat (the Protestant ethic abjecting whores for profit). So use it against them, danger-disco; make sex not your last stand/final battle, but greatest adventure echoing clap-clap-clap throughout the ages! A silly-serious reminder of the lives you lived, her-tits-were-there: the "head" of the Gorgon, clapping back any-which-way!

(artist: Alliesha Bay and Nathan)

To support Alliesha and Nathan, yourselves, follow this hyperlink/the one their names contain per cited image; i.e., to their special page on my website, which houses more of their work/different ways to support them!

Some Key Terms

Below are a some key terms we'll apply to our arguments, deeper in (refer to "Paratextual Documents" for all my neologisms). And while I won't focus on particular manifestations of "vampire," going forwards, try to conceptualize these ideas through vampirism, at large; i.e., as a poetic idea—not just through violence, terror and monsters (which states monopolize), but vampirism's special grade of sex and force* sucking power in ironic directions, mid-abjection (especially through particular forms of strict, religious-coded subbiness and so-called "little death"; e.g., "twink death," the so-called "glutton for punishment" [and penetration] feeding on the attacker/viewer in notably Christ-like† ways, below): "'If you strike me down, I shall become more powerful than you could possibly imagine.' I seem to require multiple strikes, though..." To play with rape is to be cavalier about cavalier things—to be bold, not pedestrian, when facing one's doom (soldierly penetration, in Christ's case) and make, like vampires, our own penetrative queries (with an oft-historical reenactment to them; e.g., the French convulsionnaires; re: "Healing through 'Rape,'" 2024)!

*The Imperium's two ancient languages—of rule-and-be-ruled, cop and robber but also pimp/whore.

†The one-begotten son wasn't just undead/the companion of whores like Mary Magdalene, but a rebel fetishized through resurrection in queer-coded, therefore monstrous-feminine ways (also below); e.g., the communal eating of Christ's "flesh" (wafers) and drinking his "blood" (wine) tied to anti-Catholic dogma—with enterprising Protestants (and their ethic, mid-Iconoclasm and Reformation) casting transubstantiation as "cannibalism" and "blood libel," (aka vampirism, therefore sodomy and witchcraft; re: "Understanding Vampires" and "Idle Hands," 2024). 

(artist: Guido Reni; cited: "Psychosexual Martyrdom")

Note: Apart from these, I've compiled key Gothic terms—including ones I've coined based on previous scholarship—at "Paratextual Documents"; "Essential Keywords, a priori" from "Audience, Art and Reading Order" likewise provides a variety of essential non-Gothic terms my work marries to Gothic; and last but not least, my series glossary combines those and others together into one giant list. —Perse, 12/24/2025

Gothic (gay-anarcho) Communism (abridged)

Coined by me, Gothic (gay-anarcho) Communism is the deliberate, pointed critique of capital/Capitalism and the state using a unique marriage of Gothic/queer/game theory and semi-Marxist (an-Com) ideas synthesized campily by sex-positive workers during proletarian praxis: developing systemic catharsis, mid-liminal expression during praxial opposition, breaking Capitalist Realism* to reverse abjection using ludo-Gothic BDSM and palliative-Numinous dialogs (e.g., Metroidvania). Exploitation and liberation exist and occur in the same half-real† shadow zone, on and offstage.

*From my book series abstract:

Simply put, Gothic has that mood, that cool factor to do the trick; i.e., by subverting monstrous language, which normally dehumanizes workers and nature through popular stories furthering abjection (us versus them): to suitably humanize the harvest, which capital (and its Realism) can only pimp out when vengefully raping nature as monstrous-feminine whore. The whore's revenge against profit, then, is to fuck back on the same Aegis; i.e., when the Man comes around, show him your Aegis. When done correctly, its paradoxical, cryptonymic exposure will set you free (re: silence is genocide), but reversing abjection must happen together as one—per intersectional solidarity healing from rape through a shared pedagogy of the oppressed: walking away from Omelas and towards post-scarcity while becoming better stewards of nature than historically have ever existed (assimilation is poor stewardship)! Medusa demonstrates there is power in what they try to control; take it back by using it in ways they can't steal from you! Become the Gorgon! (source: "My Book: Gothic Communism").

(artist: Nyx)

†Meaning liminal; re: me, vis-à-vis Jesper Juul—not merely "between the fiction and the rules" (as Juul argues, 2007) but between stories and anything they attach to, onstage and off.

ludo-gothic BDSM (rape play)

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

For further information on ludo-Gothic BDSM and its rape play elements, refer to my new webpage cataloging the subject and its history/extended definition(s), everything coined and synthesized by me. —Perse

(artist: Harmony Corrupted; cited: "Psychosexual Martyrdom")

intersectional consciousness

A new term I coined, one meant to combat various forms of reductionism (class, culture and race); i.e., by building on Marx' notion of class consciousness: combining class with culture and race consciousness (awareness) to raise emotional/Gothic intelligence while synthesizing praxis. Generally synthesis occurs by illustrating mutual consent during informed labor exchanges; re: "At a presentation level, Gothic Communism reduces to one central goal: illustrating mutual consent as an educational device—i.e., one that makes rape of the alien impossible on a cultural level; but doing so requires humanizing the alien through iconoclastic engagement with dogma as something to break (and along with it, Capitalist Realism)" (source: "Brace for Impact: Some Prep When Hugging the Alien." I would summarize intersectional consciousness inside "Preface: Gothic (gay-anarcho) Communism; or, Synthesizing Emotional/Gothic Intelligence through a Sex-Positive Gothic Mode" (2024); re:

Synthesis is vital to good praxis. For our purposes, synthesis can be adequately summarized as "the cultivation of emotional/Gothic intelligence and class/cultural/racial awareness; i.e., the deliberate utilization of Gothic poetics during the practical application of simplified theory had between activist workers: formulating healthy social-sexual habits to deal with state trauma." But there's still plenty of theory that goes into these habits and their collective instruction/de facto education during ludo-Gothic BDSM. To that, Gothic Communism is "picky" in terms of what it incorporates (source).

I would extrapolate on this idea in "The Basics of Oppositional Synthesis." However, I wouldn't specifically call this notion "intersectional consciousness" until "Is Metal Racist? Yes, It Is; or, a Trans Woman Critiquing Heavy Metal Philosophy's Good-Faith Response to Andrew Lee" (2025)—months after my book series had concluded (re: on June 1st, 2025)!

(model and artist: Blxxd Bunny and Persephone van der Waard; source: "My Logo for Gothic (gay-anarcho) Communism!" 2023)

Gothic maturity

A new term I coined, specifically the ability to say healthy things through taboo language during ludo-Gothic BDSM; i.e., while pushing for intersectional solidarity and consciousness, developing Gothic Communism (thus universal liberation) through various creative successes that collectively overcome praxial inertia, division, dormancy and betrayal.

the dialectic of the alien

A term I coined to articulate the dialectic of the abjection process and venerate the Gothic—vis-à-vis Julia Kristeva, but also Frederic Jameson's "dialectic of shelter" and subsequent class nightmare (re: Postmodernism), as well as Summoning Salt's "The History of Mega Man 2 World Records" (2024; timestamp: 8:25); i.e., as a dialectic useful towards universal liberation, one concerning the alien as something to parse and arbitrate for or against abjection (as something to reverse): to hug or hate, police or liberate, the assignment of "alien" status using the same language/aesthetic of the alien, mid-play.

As I write in "Brace for Impact: Some Prep When Hugging the Alien" (2024):

"All in all, I live the Humanities as a ludo-Gothic means of thinking inclusively about and experiencing the Gothic first-hand (an ongoing relationship the Gothic deliberately combines—an affect); i.e., BDSM or otherwise, people work through preference and experimentation to issue public statements that are, to some degree, coded. Monsters are code for the dialectic of the alien (us versus them) as taught to us through canon, power being made to flow in one direction when faced with trauma as a historical-material effect: the ghost of the counterfeit waiting patiently for revenge (state shift). The horror of the Gothic, then, is when it truly comes alive, ceasing to be a pure fiction but a nightmare that applies to us as victims of the state cannibalizing us" (source).

Ludo-Gothic BDSM, then, is a potent means of negotiating generational trauma during the dialectic of the alien; i.e., by rarefying or otherwise going where abuse (or spectres of abuse) are—mid-dialectic—to perform and interrogate shelter and alienation for development purposes: setting nature-as-alien (re: the monstrous-feminine) free from state control/pimps (re: the whore's revenge).

(artist: Alex Ahad)

the liminal hauntology of war (danger disco)

Another term of mine, one describing a half-real poetic space to heroically move through, onstage and off, and one that concerns the hauntological presence and function of a Gothic chronotope (the castle or some other war-like alien double of the nuclear home); i.e., of the Imperial Boomerang bringing monsters (and their masters) home to roost, during fascism; e.g., Tolkien and Cameron's refrain (further academic coinage on my part, specifically that of the High Fantasy treasure map and Metroidvania/shooter), per the monomyth and Promethean Quest (for power) chasing the Numinous: for different reasons during the dialectic of the alien. In turn, these translate in and out of neoliberal stories (especially videogames) into real life; i.e., during the abjection process as something to reify and further for profit raping nature as monstrous-feminine (re: "A Note About Canonical Essentialism," 2024). Also something I call the "danger disco," or source of Numinous thrills; i.e., where the hero chases the Numinous during calculated risk: to articulate and interpret generational trauma under state confusion and duress.

Over time, oppositional synthesis becomes a parallel bloodline—one whose bloody ribbons package, canvas and issue poetic challenge; i.e., towards token husbandry through an ongoing corpus invigilating wholesome, liberatory baddies: a parade of flesh, good for each other by enriching ourselves creatively away from state cheapening (and neo-feudalism). In this respect, the vampire embodies victim and avenger but also survivor. Like a vampire, none of it gets old; we give each other strength to rival state sappers, our apostatic chapels places to worship at, in parallel: to pull their capes aside while simultaneously flashing viewers with our own magnetic bodies—i.e., cryptonymically camping criminality in Gorgon-like ways (re: "Transgressive Nudism," 2025). They mirror us and we mirror them, sharing the same femme fatale/forte monstrous-feminine aesthetic in duality—to foil state monopolies on terror and sex, "on the Aegis," but also creation/morphological expression achieved through monsters like vampires shared between us (and black knights/dark Amazons playing out the avenger/destroyer warrior-whore role, below): power as the glue to attract and hold us together, mid-abjection, but also radically tokenize/divide us "when in Rome," if we're not careful! 

(model and artist, left: Autumn Ivy and Persephone van der Waard; right: Sleep Depravity; cited: "The Nation-State," 2024)

Invasion and reaper go both ways, in Gothic. Accounting for duality and replying cryptonymically through abject chaos and confusion—and all to aid labor as a whole (not just paid workers pimping unpaid workers)—Gothic Communism camps vampirism, in a nutshell; i.e., enacting holistically in duality through ludo-Gothic BDSM—achieving intersectional conscious (and solidarity) with Gothic maturity among friends, not impostors. We'll consider both, deeper in, so keep these terms handy!

Broad Strokes; or, Signposting My Work, Post Hoc (re: Abjection/the Monstrous-Feminine, Vampirism and the Whore's Revenge)

I'm neurodivergent, saddled with hyperfocus. This means my work—which can be conversational and academic—can be (more) difficult to follow unless I signpost it. So let's do that before we proceed!

(source: "My Older Body of Work," 2025)

"Signposting My Work" conversationally outlines the broadest points "Sharing the Blame" explores, then concludes by summarizing parts one and two of the essay (and paid/unpaid labor); i.e., insofar as abjection/the monstrous-feminine, vampires and the whore's revenge (reversing abjection/profit during rape play) are all concerned. "Sharing the Blame" covers Kristeva's abjection/Creed's monstrous-feminine, two vastly important ideas I've covered plenty already and want to cover even more, here (re: as a sex educator/rape survivor* helping other survivors camp similar trauma): capital rapes nature as monstrous-feminine (commonly through paid labor exploiting unpaid labor); "[t]he whore's revenge is to break the profit motive by making a world for which it (and rape) are no longer possible" (source: "Rape Reprise"). In turn, abjection furthers or reverses mid-cryptonymy through the whore's revenge, which positive vampirism entails; i.e., versus profit, ergo pimp's revenge/negative† (state) vampirism treating nature unironically as monstrous-feminine (to pimp/rape it for profit).

*See: "I'm a Rape Survivor" from "Raising Awareness." I'm also the granddaughter of a Dutch holocaust survivor (re: "Discussing My Grandfather (a Dutch Holocaust Survivor) w/ My Work" [2025] vis-à-vis "On 'Anti-Semitism' versus 'Antisemitism," 2024) and staunch anti-fascist and anti-Zionist (e.g., "Justice for Palestine" and "Invincible Shield and Zionism," 2023 and 2024). 

†"Positive and negative" can mean different things, though my focus here is largely ethical; i.e., insofar as empowering workers is "good" and disempowering them is "bad," therefore rape = bad, mutual consent = good, etc. You might conceptualize positive/negative in terms of freedom; i.e., MLK's impactful idea of positive/negative freedom, from "Letter from Birmingham Jail" (1963): freedom for action (workers) vs freedom from consequence (owners). This bourgeois/proletariat dichotomy extends to workers vs the state, Gothic Communism stressing unpaid labor vs paid: to create whatever monsters we need to stress the former's civil rights alongside the latter's tendency to betray (re: tokenism). Intersectional problems require intersectional solutions, Gothic Communism a holistic recommendation pushing for conscious solidarity/tactical unity. Furthermore, while most binaries are harmful/things to dogmatically enforce, us-versus-them, some describe larger battles; i.e., amid gradients; e.g., mild tokenism denoting "liberal" Zionism as boiling down to genocide, but which anti-Zionism raises awareness about: by using our bodies "on the Aegis," the givers of forbidden, forgotten wisdom sucking out "the bad" in exchange for better tutelage. Of course, the state will kettle/cage us during reactive abuse; it's an uphill battle/work-in-progress, ever and always!

(artist: Blxxd Bunny; source tweet: December 13th, 2023)

That's essentially "the gist," which we'll cursorily introduce here before unpacking more at length, in parts one and two: by using our bodies and our brains (ass war* is class war, and whores/unpaid labor are commonly nerds partaking in public nudism to get paid/prevent worker exploitation alongside the natural world; re: "Paid Labor," 2024; e.g., Blxxd Bunny echoing Mary Shelley's own sluttiness† in that respect, above). Allons-y!

*Specifically class war via sex work (with intersections of culture and race), the whore's revenge raising emotional/Gothic intelligence and awareness to reduce rape on a societal level (re: intersectional consciousness).

†Okay, maybe "slut" is pushing it; then again, perhaps not (ol' Mary cuckolded Percy Shelley's first wife, who then committed suicide). Nonetheless, Mary Shelley's rebellious lifestyle, sheer precociousness, and "homewrecker" approach to life (aping British Romantics like Lord Byron) showcase poetic and biological creation, side-by-side; i.e., that sluts, nerds and Gothic activism/rebellion aren't mutually exclusive, incorporating messily through dialectical-material analysis—with Shelley's work (and empathy for workers during technological overreach) actually beating Marx to the punch by decades: her Cartesian polemic and Satanic apologia, Frankenstein (1818), releasing the year Marx was born (read "Celebrating Mary Shelley's Immortal Legacy" [2025] to see all the ways Mary Shelley inspired my work).

(artist, left: Richard Rothwell; right: Persephone van der Waard—cited: "Author's Foreword: 'On Giving Birth,' the Wisdom of the Ancients, and Afterbirth," 2023)

Abjection/the Monstrous-Feminine

First, abjection/the monstrous-feminism. It's a refrain to start small, unpacking bigger arguments as we go. Expect repetition, but also reflection on rape tied to capital: the state cannot survive without pimping someone, making the whore's testimony (thus revenge) especially iconoclastic! Camp = "rape" in quotes, whose irony disappears in canonical forms abusing the same stereotypes blaming whores; i.e., to unironically harm sex workers, cops-and-robbers, and generally while perpetuating "hooker vaudeville" that whores themselves camp, en medias res (e.g., being inside/outside profligate criminals, homewrecker terrorists, and wanton disease-spreaders either "with hearts of gold" or gold-digging femme fatales—the "vampire" harlot vengefully backstabbing the "honest" man-and-wife's nuclear home). Abjection goes both ways, fire fought with fire anywhere and everywhere. In dialectical-material terms, consent is a matter of poetic irony—one that doesn't stay "in her lane"! It plays out, seeing what holds water and what doesn't.

(artist E. Debat-Ponsan)

To that, abjection is a phenomenological, therefore slippery idea: holistically showing the state its own ass (vampirism)—meaning "on the Aegis," or Athena's mirror shield embossed with the Gorgon's severed head, through power as something to cryptonymically reify and employ in either direction (towards workers or the state): a vengeful device of predation/anti-predation. Nudity =  "weakness" and "death warrant" in state eyes but also "rape," "murder" and "invasion" (often a castle*), DARVO-and-obscurantism*, which rebel actors subvert mid-abjection; i.e., "where the rubber meets the road," the unruly whore becoming Gorgon-in-small; previously repressed and now set free, avenging nature as monstrous-feminine during ludo-Gothic BDSM, ergo Gothic Communism breaking the monopolies Capitalist Realism needs to rape nature/unpaid labor unimpeded: the sudden doomsday appearance of the victim, who must then be treated as terrorist foe/fearsome avenger* threatening white castle with black reversal (or at least messenger to shoot/fetishize, canon-vs-camp; e.g., Pandora, the Whore of Babylon, Medusa, Cassandra, Galatea, Grendel's Mother and all of their many half-real likeness, below).

(artist: Persephone van der Waard; cited: "Derelicts, Medusa and H. R. Giger's Xenomorph," 2025)

*Which Gothic commonly employs in architectural morphologies: body-like castles and castle-like bodies (re: "Castles in the Flesh," 2024); i.e., the whore as "vampire castle," which the state scapegoats for its own theft—blaming the whore "gaslight, gatekeep, girlboss" as the oldest profession, therefore oldest labor struggle/demonization as "threat" by pimps: to tokenize her/other workers in similar positions, whores policing whores to become pimps (ergo cops; re: "Policing the Whore," 2024). To that, the golem is classically a protector that—from Mary Shelley, onwards (re: "Making Demons," 2025)—speaks to the Medusa punching up to defend herself and her friends, mid-revenge: the dark mommy domme with paradoxically nurturing and "phallic" destroyer qualities, hyphenating virgin/whore as the end all, be all for women/nature. To it, capital alienates and fetishizes/sexualizes everything in ways that occupy a larger vampiric mode of exchange Gorgons speak to; i.e., "where power is" to reify-then-camp its abuse, from the start; re (from "Nancy Drew Syndrome"):

"Capital alienates everything," argues Marx, in "Economic and Philosophic Manuscripts" (1844; cited, 2011: Asher Horowitz' "Perspectives on Politics"); "capital sexualizes everything," I reply (source: "Thesis Statement")—meaning to fetishize the alien in dialectical-material ways workers can reclaim (the Base) through media (the Superstructure) extending from their bodies; i.e., "The collective, holistic idea is to break Capitalist Realism vis-à-vis the historical-material reality that capital not only alienates everything but sexualizes/fetishizes it, too. The latter idea is actually the subject of my PhD, which concerns various ways to challenge Capitalist Realism during ludo-Gothic BDSM" (source: "Raising Awareness"); e.g., queer folk as normally "pimped out": "Capital and state power historically alienate workers to pimp nature as monstrous-feminine, including queer folk" (ibid.).

To put it in Marxist terms: "Capital sucks" (source: "Limits of the Working-Day," 1867). So do we, the whore the Gorgon "in small," and Medusa a vampire who sucks back, mid-abjection. That's what ludo-Gothic BDSM is, camping the canon to liberate sex work under capital using iconoclastic art (the premise for/title of my book series, illustrating mutual consent in the process).

†DARVO = Deny Accuser Reverse Victim/Offender—a classic abuser's tactic that, alongside obscurantism (the theft of symbols and language; e.g., the crooked cross), fascists love to abuse; i.e., while infiltrating Communist circles, and any liberals/so-called "progressives" enabling them. The name of the game is infiltration, which rebellious workers apply in reverse: abjection by cryptonymically using the same vampiric devices, of feeding and concealment, to anisotropically reverse polarity/the flow of power in duality (therefore terrorist/counterterrorist function, mid-aesthetic). Flow determines function, not aesthetic, but aesthetic/Gothic poetics still play a vital role. Exchanges—however seemingly one-sided—always go both ways, some more horrifying than others; i.e., undead feeding is generally messy and violent, said "mess" (and its violence) indicating stigmatized sex alongside rape (e.g., sodomy, below):

(artist: Coil)

The Aegis is anisotropic*, able to apotropaically* reverse terror/counterterror to protect the whore, during ludo-Gothic BDSM. So "when the Man comes around, show him your Aegis!" (source: "My Book: Gothic Communism"). Whoever the audience, show them your worth; i.e., where the state seeks to harm you, only to fail once provoking your wrath to its fullest extent—to see unpaid labor paradoxically expose/armor-and-weaponize, as Gorgons classically do: the planet punching up through workers woken up, petrifying profit prey-as-liberators (2024). All occupy a larger struggle, playing intersectionality out; i.e., while meeting each other and trading this for that, aiding liberation mid-exchange (re: Cuwu being a Marxist-Leninist—one who radicalized me [an older an-Com] through their "skinny thicc" body, ravenous sexual appetite and wanton exhibitionism, but also their timely and scholarly book donations; e.g., Patel and Moore's A History of the World in Seven Cheap Things, 2017)!

*One meaning "defined by direction," the other meaning "to reduce harm/ward off evil"; i.e., sex as terror weapon, referring to Asprey's paradox of terror (which we'll unpack deeper in): "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: War in the Shadows, 1975). "Terror is the kissing cousin of force and, real or implied, is never far removed from the pages of history. To define (and condemn) terror from a peculiar social, economic, political, and emotional plane is to display a self-righteous attitude that, totally unrealistic, is doomed to be disappointed by harsh facts" (ibid.). Medusa is a terror weapon, one that reverses state power, guerilla-style, by retaking stolen goods; i.e., with said goods, the whore/monstrous-feminine working with policed materials stolen from herself/unpaid labor as a whole: "fleecing the pimp," dialectic-of-the-alien, by embodying what he/the state fear for abusing over time (the state vengefully pimping nature, endlessly justifying the same vicious cycle of state vampirism).

(model and photographer: Cuwu and Persephone van der Waard; cited: "Meeting Rebels," 2024)

Or as Carl Sagan put it, "To make an apple pie from scratch, you must first invent the universe." To that, the "inventors" of Society and Nature are in for a rude awakening (re: Descartes, Bacon and others—see Patel and Moore's section on the Cartesian Revolution, but also state shift; i.e., when Mother Nature [climate change] takes the planet back for good, the Capitalocene laid ungraciously to rest: when Medusa sits on it). To prevent that, we must learn to see women (or those treated like women) as capable not just of intelligence, but of revolutionary action; i.e., building a better world through Gothic Communism (the domain of Amazons and Gorgons); re: through a holistic and shared, intersectional consciousness (of class, culture and race); re: Cuwu (above) was a revolutionary actor (a trans man, to be specific) who thought and read, but also used their sexual labor to further radicalize me. Development is a lifelong battle, continuing long after the present generation has kicked the bucket (source: "Raising Awareness," footnote 2).

Easier said than done. Exploitation and liberation historically-materially overlap, occupying the same poetic spheres (and bodies), mid-aesthetic. White/token savior or Indian, a cop's a cop and a cop's a pimp; assimilation is poor stewardship, vampirically pimping the world by cheapening it/moving money through nature/unpaid labor under Capitalist Realism (the Capitalocene): "To ask for capitalism to pay for care [and sex work] is to call for an end to capitalism" (source: A History of the World in Seven Cheap Things).

(artist: Benvenuto Cellini; cited: "It Began with a Whisper," 2025)

Our bodies, then, become the pivotal, oft-confusing places speaking to the uncanny hyphenation of different binaries, for trauma survivors: friend/foe, pleasure/pain, fight/flight, etc. Furthermore, they're where land, labor and sex reclaim once freed, reversing abjection during the whore's revenge (re: "Our Sweet Revenge," 2025); i.e., as meat "on the market," excoriating our butchers for their greed (and that of the bourgeoisie, as a whole):

When Perseus slew the Medusa he did not – as commonly thought – put an end to her reign or destroy her terrifying powers. Afterwards, Athena embossed her shield [the mirror-like Aegis] with the Medusa's head. The writhing snakes, with their fanged gaping mouths, and the Medusa's own enormous teeth and lolling tongue were on full view [the OG ahegao]. Athena's aim was simply to strike terror into the hearts of men as well as reminding them of their symbolic debt to the imaginary castrating mother. And no doubt she knew what she was doing. After all, Athena was the great Mother-Goddess of the ancient world and according to ancient legend – the daughter of Metis, the goddess of wisdom, also known as the Medusa (source: Barbara Creed's The Monstrous-Feminine, 1993).

When state victims begin to speak, property "gives lip," and the end of capital suddenly feels very real (a headspace). Silence is genocide; terror and force walk arm-in-arm, nothing more terrifying for state actors (or policed by them through force) than sex workers roaming free: echoes of state shift defying segregation, a system that defends no one but the state (e.g., Zionism, liberal or otherwise).

So while whores more broadly can embody greed, the state and its actors litigate such things: as pimps exploiting not just unpaid labor of the human kind, mid-scapegoat, but the entire world owned by state forces a priori under Cartesian thought (re: me, vis-à-vis Patel and Moore; see: "Raising Awareness," footnote 2). The same goes for token parties having the pimp's revenge, showing you their ass after seeing yours illustrate mutual consent by fighting back; i.e., unpaid labor being seen and heard, nudity—and nude violence, terror and monsters concerning nudity—the Gorgon's monstrous-feminine weapon testifying through abuse: felt reactively throughs buffers, synthesizing praxis to cultivate useful habits that apply theory to our daily lives, mid-development (re: "The Basics of Oppositional Synthesis," 2024). The Gorgon lives through us, reclaiming our nudity dialectically-materially upon itself. Monopolies die through "back talk," the thing(s) being monopolized taken back mid-speech (e.g., regarding monopolies of violence, terror and monsters, which qualify as Cartesian, heteronormative and settler-colonial, under capital; re: "The State: "Its Key Tools" in "Paratextual Documents"). Nothing is more policed than sex through force, and nothing has more power to embody when reclaimed by us from bad actors: vampirically upon ourselves where the battle is fought, having the whore's revenge.

(artist: Persephone van der Waard; source: "Raising Awareness")

This involves cryptonymy, which we'll unpack in the primer. Here, we're focusing on the whore's revenge and how/where it vampirically occurs: on, between* and behind language, mid-abjection; i.e., while playing with Numinous things† we poetically recreate, and for dialectical-material aims concerning larger forces also at work. In short, play = work, ergo thought mid-poetics, wherein submission can have the power (when given/stolen) to illustrate, thus facilitate mutual consent; i.e., when paradoxically facing Numinous things "brought back," ludo-Gothic BDSM reifying stolen power—both the uncanny ability to survive rape and invest in consent as something to communicate, mid-aesthetic: going forwards, passing down part-in-parcel the Gorgon-as-Superstructure "in small," and where smaller things attach to bigger things by representing each other (the Base and the Superstructure [from Marx; see: "Holistic Expression and Ludo-Gothic BDSM" in the primer] during oppositional praxis; re: "On Twin Trees," 2023)!

*What Jodey Castricano calls cryptomimesis (2001), or the echo of trauma between pieces of dead language brought back to life.

†The "perfect domme," as I call them (re: the Gothic castle, but also fortress-like things embodying said castle—below): ludo-Gothic BDSM as quest for the Numinous, one ranging from me/my PhD's "The Quest for Power" (2023) back to Devendra Varma's Gothic Flame (1923) to Mary Shelley's Frankenstein; or, The Modern Prometheus and its Promethean Quest (re: 1818). One stealing power from the imaginary past (essentially pre-capitalist ideas rarefying to destroy Cartesian dogma), we subversive, vengeful whores undermine the nuclear model to replace it; i.e., camping trauma through awesome discovery "raping" us through its sheer mighty presence (e.g., size difference often portrayed through art, below). "To interrogate power, you must go where it is" (source: "Interrogating Power through Our Own Camp," 2023); i.e., divine things that seem abusive—what Rudolph Otto would call the mysterium tremendum fascinans or "wrath of God," divorced from Christianity while describing with Latin placeholders (re: The Idea of the Holy, 1917)—yield profound wisdom when seen: to view the Gorgon in rock, an aloof golem indifferently "raping" the viewer by inadvertently giving forbidden knowledge about rape/unequal power abuse swept up in nudity-as-weapon (a boon with curse-like potential, the fire of the gods always "stolen" to some degree). Like a vampire/vengeful whore having outlived/replaced patriarchal forces, the ensuing trade exchanges through unequal poetic feeding mechanism: enacted by an awesome Destroyer-Creator—a dark oracle to heretically witness, giving and taking at will to challenge the presumption of universal state ownership, a priori (e.g., a hauntological "Sphinx" superimposed over Bonaparte, Ozymandias, etc—also below). Play yields Miltonic feelings of theft by Satanically conveying godhood among ourselves, the Enlightenment's Great Chain of Being unthinkably "out of joint." The exchange, therein (and the worship it involves) cannot be divided, blurring allegorically the lines between theft and freely given; i.e., as historical descriptors to the monstrous-feminine experience as fundamentally weak/strong: insofar as it owns itself as pre-owned by capital pimping it, and which workers subvert on either side of power as something to conceptualize and apostatically arrange, mid-transfer (e.g., dom/sub, top/bottom, have/without, etc). To it, whores are ultimately cool, badass, and necessary on both sides. Merely by existing outside state arrangements/contradictions, however, the Gorgon subverts the fragility of such orders the state enforces: a rival power demonstrating time's circular nature/the state's untimely demise in Medusa's long shadow "rattling her cage." All the while, power performs mid-poetics, ergo paradox (re: "Notes on Power," "Darkness, Doubles and Paradox" and "Of Darkness and the Forbidden," 2023 and 2024).

(model and artist: Blxxd Bunny and Persephone van der Waard)

Vampirism/the Whore's Revenge

Vampirism and revenge go hand-in-hand; i.e., the whore's vs the pimp's, workers/nature vs the state (who commonly recruits from/tokenizes paid labor). The state—being white, straight and male (the status quo)—rapes, lies and destroys by design/out of revenge, which profit essentially is. Profit = genocide/preying on nature-as-alien by pimping it; i.e., as monstrous-feminine* to keep the state/nuclear model vampirically alive, and which affects how workers—especially care and sex workers—cryptonymically see and navigate the world/the home-as-vampire under capital: as guerilla "homewrecker" whores, their own strange appetites turning the state (and its homely secrets/tokenism†) inside-out, mid-abjection:

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 [raping] 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 (and its trifectas, monopolies, etc) using the same threatening aesthetics of power and death, decay and rape (source: "A Cruel Angel's (Modular) Thesis").

"Poison" is the cure, the whore's revenge/vampirism reversing abjection, ergo profit and all that entails. This occurs through classic push-pull (oscillation); i.e., regarding palliative-Numinous things workers invoke during ludo-Gothic BDSM: maze and monster "on the Aegis." Spectres of the Gorgon—re: what Castricano calls cryptomimesis vis-à-vis Derrida's Spectres of Marx (1993) writing with dead things, and which I extend to writing with monsters, in general (concerning the power of creation to subvert state/Cartesian varieties, from Shelley's Modern Prometheus [1818] to me; re: "Making Demons")—concerns trauma as criminogenic: echoed between pieces of dead retro-future language, appearing "far away" and "long ago" (the paradox of rape during ludo-Gothic BDSM, "violence" something to hauntologically reify [and interrogate] through calculated risk; re: "Rape Reprise").

(artist: Martian Zombie)

*Not automatically female, through the Gorgon classically is (re: "Angry Mothers; or, Learning from Our Monstrous-Feminine Past," 2024). In short, monstrous-feminine = anything treated like the Gorgon: criminal, alien, "other" or otherwise illegitimate, "degenerate," etc, and classically tied to nature; i.e., in ways "lesser" than the status-quo. Doing so results in "Cartesian abuses that treat nature not simply as female, but monstrous-feminine food that harms Indigenous peoples, racial minorities and GNC people (so-called "incorrect" or "non-men" of the white, cis-het European sort) to varying degrees of settler-colonial genocide: by cheapening their lives, their bodies, their labor to serve the profit motive" (source: "Nature Is Food"). Monstrous-feminine = whore-like, meriting violence for being classically feminine and masculine (therefore monstrous), in some shape or form; e.g., the femme forte/fatale, phallic woman, Archaic Mother [the Wandering Womb] existing hysterically alongside GNC folk, people of color and Indigenous People, etc, as out-group members; i.e., as things to pimp/dominate by in-group members—doing under a Protestant ethic bent on endless ethnocentric revenge, and one that whores (or those treated like whores/unpaid labor) must unify to successfully challenge:

The whore's revenge is to break the profit motive by making a world for which it (and rape) are no longer possible using these methods; i.e., by using the same demonic and slutty language capital does, but at cross purposes: to hug the alien—not demonize it to receive state violence—thereby (ex)changing how the world is seen to begin with. [...] Nature, then, is always a whore who punches up against state pimps to end profit as an endless structure of genocide. History more broadly could be described as whores vs pimps, hence workers vs the state; i.e., something the seemingly cannot die, but whose aforementioned whores are as imperishable as Medusa despite being beheaded (source: "Rape Reprise").

("figure 1. William Blake, Europe, Supported by Africa and America, 1796. Source: Stedman 1796, 394."; cited: A History of the World in Seven Cheap Things) 

†Different marginalities tokenize for different reasons. Those with relative privilege betray out of convenience, while those with relative oppression betray out of desperation, and often to modular degrees that overlap; e.g., women historically being property under Western models (which were founded on slavery out of Athens into Rome, followed by the medieval period, Renaissance, and Enlightenment)—only to sell out and cling to their relative privilege, given the chance; i.e., as being more privileged than non-white slaves, hence given special chance to "cash in" during the Neo-Gothic revival (c. the 1760s-1790s): a time of radical change in England, one where a rise of the middle class—the gatekeepers of capital tied to (white straight) women and Gothic literature—saw some women achieve unprecedented financial success (though really only one or two; e.g., Ann Radcliffe, later parodied by Jane Austen; re: "Radcliffe's Refrain," 2024): as the oldest example of tokenism in the West (re: Athens' second-class female citizenry [and Amazon myth, keeping women in line] predating racial slavery and its tokenism by several thousand years).

(artist: Sam Milnes; source: Elizabeth Hadley's "More than a Monster: Medusa Misunderstood," 2024; cited: "Always a Victim")

Every town has a whore, one to scapegoat for things beyond her control (natural scarcity but also a patriarchal status quo); by comparison, capital's profit motive (and state production demands) paradoxically need whores to pimp/rape—abject survivors of police violence/manufactured scarcity who know where the bodies are buried, then attacked for being what they are: darkness visible, specifically "merchandise" haunted by state abuse-by-design (re: the ghost of the counterfeit)! Partitioned to a state of falsehood, the obvious lie—of a winged woman with looks that kill and snakes for hair—speaks allegorically to hidden truths; i.e., that capital requires rape, which the Gothic whispers splendidly about, mid-fabrication, to heal from: "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" (source: "Healing from Rape," 2024). It's a ghost story (the ghost of rape and revenge) and ghost stories = calculated risk—not to scapegoat the Big Whore as exclusively "Great Destroyer" but try to understand her alien, Numinous perspective suddenly hitting close to home: a dark oracle/vanishing point that cryptonymically shows/conceals trauma, mid-abjection.

To it, the Gorgon is the oldest monster in Western canon: a rape victim who speaks out to have revenge (above). As the fearful/fascinating god—one imprisoned and pimped by state powers while sitting between life and death, daring all the while to reverse the vampiric "pull" of the nuclear home/expose its sovereignty as false—the Gorgon's revenge is deceptively simple: cryptonymically paralyzing the rapist, mid-abjection, by making our own monsters, cherchez-la-femme* (the mysterium tremendum something to chase down per Promethean Quest, only to destroy any who do). It's a resurrection—a live burial enacted Gothically through libidinal funerary tropes, revived conventions classically concerned with eating the flesh: the sarcophagus of the ancient world, the hungry "mouth" of the open grave from medieval thought. Reversing the flow = death for the state! Not in a symbolic sense, alone, but dialectically-materially while skimping on Marx' bigotry (re: "Making Marx Gay," 2024) alongside the Freudian psychobabble older Gothicists after Marx also felt prey to (re: Creed and Kristeva, but also Eve Segewick's "Imagery of the Surface" and Coherence of Gothic Conventions, 1980/1986). Monsters cryptonymically denote abjection, which workers must utilize through Gothic maturity during ludo-Gothic BDSM to raise emotional/Gothic intelligence and awareness sans reduction (of class, culture and race). Camp = rape play to reverse abjection, and "we camp canon because we must" (from Colin Broadmoor to me, 2021 and 2023). This happens by enjoying taboo things, specifically by playing with them in subversive ways that liberate sex work (therefore all work): enjoy "harm" without endorsing its unironic forms, subversive play a necessary form of critique, during ludo-Gothic BDSM, regarding things normally played without thought† (me vis-à-vis Anita Sarkeesian's famous adage).

*Camping seek-and-destroy under canonical presumptions of guilt, lampooning the pursuit of capital punishment versus nature and those "of it"; re: to dominate nature under Cartesian thought, out of the ancient world and its patriarchal forebears seeing Gorgon as weak/strong victim. During ludo-Gothic BDSM, we turn cops-and-robbers into a means of survival; re: by subverting the direction power flows, mid-abjection (topping from below).

†The Halloween paradox: poaching the whore, year-round, then celebrating her perennial subjugation by dressing as her "when the membrane is thin." It's canonically a form of slumming (such things happening in duality, mid-aesthetic; i.e., good actors share the stage with bad, using a variety of monsters commercialized since the Neo-Gothic period to either canonize/punch down or camp/punch up with; re: "So Many Monsters, So Little Time" from "Appetizers; or, Paratextual Documents for Volumes One through Three," 2025).

(model and artist: Blxxd Bunny and Persephone van der Waard; source: Volume 1: Manifesto and Instruction, 2024).

Such is Gothic Communism, Medusa—and her paradoxical, sex-as-weapon exposure, turning "weakness" into strength—our deathless poster girl to embody/emblematize, time and time again: illustrating mutual consent during the whore's revenge, educating readers about the awesome, social-sexual power public nudism entails (when interrogating trauma by playing it psychosexually out, many sex workers being "ace" in this respect; e.g., Blxxd Bunny [on Volume One's front cover, above] being my first cover model/a vital canvas for ludo-Gothic BDSM to crystalize upon; re: "The Finale; or 'Sex, Drugs and Rock 'n Roll!'" 2023)! Whatever blame to be had is shared here, bounced back upon our enemies in ways they can't control/pimp us with: a palliative Numinous to quest for/seek better lessons from. Instead of a naked threat to punish viewers with (denoting unironic rape through forced/unpaid labor), such things can embody rebellion-in-open-disguise; i.e., by standing in for negotiated labor exchanges, which mutual consent—illustrating vampirically through the Gorgon—ultimately is: revolutionary cryptonymy behind/upon Aegis-like buffers that protect us while transmitting vital data, mid-crisis (re: "Transgressive Nudism" and "Chapter Five: 'Rebellious Subterfuge,'" 2025).

(model and artist: Blxxd Bunny and Persephone van der Waard)

Summarizing "Sharing the Blame," parts one and two

Our focus here, while concerning abjection/the monstrous-feminine, stresses feeding and vampirism—unpaid labor (whores) tackling abjection on different dialectical-material registers through different aesthetic qualities in turmoil (arguments): positive vampirism (of workers) reversing abjection, cryptonymically among friends and in general, the whore's revenge engendering intersectional consciousness and monstrous-feminine solidarity (above). All confront and challenge negative vampirism (of the state), "on the Aegis," therefore token paid actors employing liberal Zionism furthering abjection against unpaid labor, virgin/whore in duality (sharing language and its spaces and bodies; e.g., the vampire castle and its owner). Part one, unpaid labor and positive vampirism reversing abjection; part two, paid (token) labor and negative (state) vampirism furthering abjection.

In short (and keeping with this essay's conversational approach + thesis material lifted from my past work, books and essays), we'll talk about abjection/the monstrous-feminine, then talk about it some more (mostly through vampires). "Sharing the Blame" parts one and two provide a series of smaller steps covering a larger topic—a marathon with many laps, not a single sprint racing to the finish, leaps-and-bounds. There's a primer and preface (re: part one), followed by vampire thesis and essay body/conclusion (re: part two). Treat the signposts before now and those further ahead like Ariadne's thread, but with a twist: leading you into the labyrinth, confronting the Gorgon (and her entourage) waiting inside. Where there's smoke, there's fire—of the gods, we whores taking ours back mid-revenge while clapping back! So the mirror shield provides/describes an ongoing relationship to the past; i.e., one had between workers alive or dead, cryptonymically illustrating mutual consent upon and between ourselves: for others to respond to, "on the Aegis." It's a battleground of worship, the Amazon's mythical armor also the Gorgon's lethal weapon. One to knock 'em stone dead, she's an undead terrorist come back to life—a fatal homecoming as empire decays (and fascism returns), one embodied by individual workers inside a larger movement: suitably entangled, reversing state vampirism/predation, mid-harvest, into ourselves (and our forbidden fruit, peaches or otherwise)!

(artist: Harmony Corrupted; cited: "With Harmony's Help: Addressing Volume Three's Grand Emptiness and Ambitions through a Good Friend," 2025)

Concerning Abjection as Too Big to Fully Explore, Here: "Reversing abjection*," as I conceive it, appears in "Sharing the Blame" as something I routinely explore; i.e., mid-synthesis; re: most recently in "A Note About Abjection and Reversing It during Rape Play" (which features Harmony's butt, above, but also Angel Witch and her curves/giant boobies, below)! Whatever disguise state actors use, we can, too—meaning to advertise our own goals reversing abjection, mid-cryptonymy* as naked lie: abjuring state monopolies and built-in contradictions by outing token impostors "in borrowed robes." To that, I've since frontloaded a variety of salient ideas alongside abjection's poetic reversal; i.e., as things to bear in mind, not focus on: ludo-Gothic BDSM (rape play), hugging the alien (radical empathy), healing from rape (common ground among survivors), the palliative Numinous/Gothic quest for power (the Promethean Quest), and so on. Gorgon = Aegis = power of the past/the gods to Numinously rediscover and use vampirically for ourselves, not the state carving such "produce" up like fruit, meat, what-have-you (always through vampirism/theft)! Per abjection, they'll frame such couplings as "bumping uglies," but also walking doomsdays under Capitalist Realism: there must always be a whore, one to rape with greater and great intensity lest profits fall (ending civilization). In turn, the whore-as-scapegoat embodies fears of a black planet set loose, one rebellious actors can suitably turn against capital's usual gaslights: by shocking state decrees, mid-abjection—short-circuiting demands for vampire "enemy" to punish, classically the whore; re: as the oldest profession, therefore labor struggle and demonization had by state forces, dualistically pimping us as alien. This dialectic (of alien revenge) cuts both ways. State actors (and their negative vampirism) cryptonymically pass themselves off as "mere play"; we do as well, our positive vampirism reversing abjection in dialectical-material ways (through ludo-Gothic BDSM, which Gothic Communism requires to operate). 

(artist: Angel Witch)

*Re: Kristeva's abjection process and Hogle's double operation/vanishing point, the latter showing and hiding things to abject in monstrous-feminine duality (as I argue; i.e., through pro-state and pro-worker forms, in Gothic language); e.g., a Gothic castle (or whorish, castle-like body) that is both labyrinthine "space of concealment," mise-en-abyme†, and too big/fascinating to hide its secret feeding entirely (what Hogle calls "restless," the monster hidden inside/upon the maze-in-question). This goes for the state being slick, and us. The following essay is merely a taste on cryptonymy and vampires. Refer to Volume One's "Introducing Revolutionary Cryptonymy" (2024) and Volume Three's "Chapter Five: 'Rebellious Subterfuge'" for a good introduction/exploration of cryptonymy at length. Also refer to "Understanding Vampires" and "The World Is a Vampire"; i.e., to see these ideas explored by me through Marx' work (re: on vampires). For a good summary of many different ideas tied to Gothic theory and dialectical-material critique, refer to "Paratextual Documents." For the poetic side, please consider my Poetry Module; i.e., there's a lot of the poetically medieval, here, that we're just gonna "roll with," which said module explores at length alongside Medusa; re: "Castles in the Flesh" and "Angry Mothers."

†The concentric space/occupant, aka the Russian doll or "belly of the beast" approach (which Gothic, again, commonly employs in architectural morphologies: body-like castles and castle-like bodies with memento mori flavors, below).

(artist: Missuscrim; cited: "'Men of Reason Suck'; or, Ghosts of Freud in Forbidden Planet, and the Gendered Components of Gothic Space (and Its History of Scholarship) as Tied to Capitalism in Disguise," 2024).

Table of Contents

Note: I've expanded "Sharing the Blame" greatly since first publishing, table of contents included; and while I've made numerous changes throughout (especially citations and visual aids focusing on tokenism, abjection and vampires), the clear-and-obvious addendums are color-coded. —Perse, 12/29/2025

P.S., "Sharing the Blame" is essentially as one larger essay divided in two; i.e., two sides of the same coin, vampirism, enacted in positive versus negative ways. If you want to read the original essay on its own (the negative side to vampirism), skip part one/"Vampire Addendums" entirely and go straight for part two/"Original Essay." Bear in mind, I explain things in "Addendums" that I reference, deeper in; i.e., with some degree of intuition I expect you to pick up, "along the way." I also discuss positive aspects to vampirism in part one that part two largely doesn't. Two things can be true at once, often paradoxically. Vampires aren't just pimp/whore vice characters played in good faith or bad; they're educators who can help people of all ages become more intelligent/aware of state harm, whores-in-disguise reversing the abjection process mid-cryptonymy while appearing playful: as to some degree true (e.g., "the Count Counts" skit from Sesame Street [1969] specifically targeting children while acclimating them [and their parents] to monsters; i.e., as friends to learn from, mid-abjection—below)!

Part one: Vampire Addendums (Outer Layers): The primer and preface. Covers vampirism and abjection, or the state's predation dodging criticism, more broadly—one that unpaid labor challenges through a Gothic aesthetic sharing the blame; i.e., positive vampirism.

• "Essay Primer; or, Déjà Vu: Concerning Abjection and Vampires while Holistically Playing with Rape, Again": Unpacks holistic expression, abjection, vampires and cryptonymy between token and non-token actors (workers).
  • "Holistic Expression and Ludo-Gothic BDSM": Considers the holistic nature of Gothic Communism, enacted recursively during ludo-Gothic BDSM; i.e., to recombine old things I've studied before in new ways (vampires + abjection, in this case).
  • "Abjection (reprise)": Unpacks Kristeva's abjection process; i.e., to reverse it, "on the Aegis," in monstrous-feminine language (re: Gorgons, followed by vampires).
  • "Vampires and Cryptonymy": Frontloads reversing abjection as vampires do (mid-cryptonymy as disguise and costume/uniform).
  • "Primer Conclusion (and Footnotes); re: Abjection and Vampires": Wraps up, supplying some afterthoughts to carry forwards; i.e., stressing abjection and vampires being the two core themes in "Sharing the Blame," thus which require teamwork to employ in unpaid labor's favor.
• "'What Sweet Music They Make!': Sucking Back to Reverse Abjection; or, a Preface to Honor Alliesha and Nathan's Vampiric Additions": The essay preface, post-primer. Appreciates the holistic, intersectional teamwork different allies, past and present, have supplied to Gothic Communism; e.g., from Alliesha and Nathan, preceded by Harmony Corrupted, Angel Witch, and Cuwu as unpaid (sex) workers; i.e., into the current de facto series that "Sharing the Blame" belongs to; re: reversing abjection in notably undead ways—meaning for being undead* (versus a demonic* and/or animalistic* emphasis, despite vampires being sex demons with stigma-animal characteristics; e.g., bats, rats or wolves).

*Refer to my Undead Module for the poetic history of zombies, vampires and ghosts; and my Demons Module concerning demons but also animal monsters (e.g., werewolves and chimeras): the former focusing on feeding and trauma, the latter on unequal exchange, radical transformation, and dark desire (and whose modular "strange appetites" bequeathed under capital "A Cruel Angel's (Modular) Thesis" encapsulates; e.g., blood, vaso vagal and colliding fight-or-flight defense mechanisms, below). For general medieval poetics and their application (of any monster class, not just vampires), refer to my Poetry Module. We'll touch on poetry in "What Sweet Music They Make!" but the Poetry Module (especially "The Medieval" chapter) goes much more in-depth!

• • "Athena's Aegis; or, Sex Is Abject: Concerning Abjection (as Something to Poetically Further or Reverse with Vampirism, Mid-Cryptonymy)": A quick display of abjection/cryptonymy as poetically enacted; i.e., through vampirism/sex-as-abject with my friends' help (state's rights vs worker rights, mid-aesthetic).

(artist: Alliesha Bay and Nathan)

• • "Alliesha and Nathan: Newcomers to a Larger Dialectical-Material Process": Highlights Alliesha and Nathan; i.e., as the newest members to a larger dialectical-material process (whose theoretical elements we'll unpack here, side-by-side).

Part two: Original Essay (the Core): Essay thesis, body and conclusion. Takes vampires, abjection, et al, and critiques token "progressives" refusing to share the blame regarding state predation; re: F.D., Foreign Man, and Thorn's liberal Zionism; i.e., negative vampirism, conducted through paid labor furthering abjection.

• "A Vampire Thesis; or, Vampires in Summary (and cited materials)": Gives a vampire thesis to keep in mind when considering token "progressives" like F.D., Foreign Man, and Thorn (whose vampirism ties to increasingly predatory forms affecting unpaid labor/marginalized workers; re: Wynn's endorsement of genocidal state actors harmful to GNC folk, sex workers and disabled people, among others; e.g., Joe Biden, Barack Obama and Hillary Clinton).
• "Setting the Table; or, Giving Extra Context Before We Start": The original opening to my essay on F.D. and company before I wrote part one.
  • "Intersectional Consciousness; or, Unpaid Labor and Sharing Blame (to expose parasites during ludo-Gothic BDSM)": An extended, conversational portion devoted to intersectional consciousness (and unpacking it to reverse abjection, mid-vampirism).
  • "Intersectional Solidarity; or, the Value of Teamwork, Mise-en-Abyme": An extended, conversational portion devoted to intersectional solidarity (and unpacking it to also reverse abjection, mid-vampirism; re: "What Sweet Music They Make!" taken beyond my friends and I, applying to labor struggles more broadly).
• "Brass Tacks, and Getting Down to Them": The start of the original essay body. Examines the "progressive" tokenism of F.D., Foreign Man, and Thorn, but also Dani Doyle's defending of them (and their liberal Zionism) by accusing me, DARVO-style, of "anti-blackness."
• "Intersectional Betrayal; or, Token Actors Enacting Liberal Zionism by Covering Each Other's Asses": Outlines the ways in which token "progressives" enact liberal Zionism by refusing to share the blame, thus hold each other accountable.

(artist: Natalie Wynn; cited: "Preface: Inside the Hall of Mirrors (feat. Jordan Peele's Us and Natalie Wynn)," 2024)

• "Concerning Vampirism (of the liberal-Zionist sort)": Specifically unpacks liberal Zionism's vampiric side (as F.D. and company employ among themselves, emulating Natalie Wynn).
• "'Et tu, Brutae?' The Value of Intersectional Criticism/Sharing Blame": Conclusion of the original essay body. Stresses the value of intersectional criticism/sharing the blame when reversing abjection, ergo state vampirism (which furthers abjection).

Part one: Vampire Addendums (the Outer Layers)

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

This outer layer encloses the original essay body. It considers the positive poetic/dialectical-material utility to vampire aesthetics; i.e., as enacted by my friends and I, reversing abjection through cryptonymy during ludo-Gothic BDSM (re: rape play—often through artwork with pornographic elements, above): sharing blame (and various other things) to help each other become more intelligent/aware and less cruel and predatory.

Essay Primer; or, Déjà Vu: Concerning Abjection, Cryptonymy and Vampires while Holistically Playing with Rape, Again

This essay primer, though in part one, considers how parts one and two—though far more poetic and conversational in their dialectical-material scrutiny (not psychoanalysis, despite the Freudian baggage)—both continue my book series' intersectional approach to holistic study; i.e., by tackling abjection through cryptonymy and vampires during ludo-Gothic BDSM: "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" (source: "Shining a Light on Things," 2023). We're been here before, then—using language that people both know (the poetry of vampires) and don't know/actively dislike (abjection and cryptonymy as academic jargon) to come back/return to "the scene of the crime" (the Gothic love for invasion/fatal homecomings; i.e., the return of the barbarian, bastard, or pirate queen, her call—the Gorgon's beacon—coming from "inside the house," below). Having written so many books, essays and interviews on these topics—and doing so to Gothically merge poetry and dialectic-material analysis—what might I compare this time, side-by-side (the metaphor comparing two [or more] unlike things, "blood" or otherwise)? These ideas aren't discrete, pretty-as-you-please; they battle, onstage and off, across space and time!

(source: Materia Collective; cited: "Policing the Whore; or, Topping from Below to Rise from the Ashes")

Holistic Expression and Ludo-Gothic BDSM

Gothic Communism is holistic. If the name is any clue, we're deliberately combining different things during ludo-Gothic BDSM. Namely abjection and vampires (as well as power-in-decay and its transference), we do so while describing workers as undead, demonic, and/or animalistic in alien-fetish ways; i.e., holistically through collective examination/participation across time, and regarding topics we've examined multiple times before—previously in book format, but now in small-form (essays or otherwise); e.g., Creed's monstrous-feminine, as well as whores and their revenge; re: as vampiric, "class war is ass war" playing with "rape" in quotes, broaching taboo topics pimped habitually under capital/canonical Gothic:

Revolution demands sacrifice, curing poison with "poison," rape with "rape" on a historical-material scale using dialectical-material arguments: the dualistic, half-real poetry of monstrous theatre for "ass war" (class war via sex work—with cultural and racial considerations raising intelligence and awareness to prevent rape, thus genocide on a systemic level; re: ludo-Gothic BDSM [rape play] targeting a bourgeois Superstructure for proletarian purposes) (source: "Joy Under Fascism").

(source: Rana Indrajit Singh's "Base and Superstructure Theory," 2013)

There's always a double, language—including Gothic language—entirely dualistic in this respect (vampires or otherwise). Furthermore, study joins with expression, mid-recursion. By holistically playing with rape during ludo-Gothic BDSM, so can new combinations thereof poetically emerge that reduce harm; i.e., "on the Aegis," dialectically-materially embodying Athena's mirror shield as the Gorgon does; re: anisotropically and apotropaically for the whore, camping rape mid-abjection.

Often, this means visibly appearing in ways that invite violence, but also reflections on violence being invited (vampires or otherwise; i.e., the language of persecution assigning violence, overall; e.g., blood libel, sodomy and witchcraft framing nature as "degenerate," and which those "of nature" [whores and those treated as whores, below] must vampirically reclaim, reversing terrorist/counterterrorist* anisotropically "on the Aegis"; re: "Idle Hands"): not as culprits to unmask and expose for punishment—meaning detective-style, tugging on Radcliffean Black Veils to mollify state fears among the middle class (re: "Radcliffe's Refrain")—but holistically reveal through said language the real abusers kettling us, mid-Gothic, DARVO-and-obscurantism! Take it back upon yourselves; re: like Blxxd Bunny does, breaking the mold she and originally negotiated and would repeat among many other workers, besides:

(artist: Blxxd Bunny)

*Referring to Asprey's paradox of terror, which, again, we'll unpack as we go; re: "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); i.e., as the ultimate terror weapon when standing in for negotiated labor exchanges (above).

In turn, these poetic, dialectical-material, and ultimately holistic mergers, under Gothic Communism, grant new chances; i.e., to study rape "played out," thus something to reflect on/with, have fun, and gain fresh perspective between interwoven rape fantasies and fears: concerning shared goals—especially the conscious, inclusive liberation of sex work, therefore all work sexualized under capital/state models haunted by rape (re: "Thesis Statement," 2023). By using iconoclastic art in highly ironic ways (e.g., as Coil does, above), workers can have the whore's revenge (re: "Rape Reprise"); i.e., by reversing Kristeva's abjection process (and flow of power) in duality when subverting monstrous-feminine language (female or otherwise): to camp canon with, the world's oldest profession (thus labor struggle) "making it gay" (therefore Marx, 2024) during ludo-Gothic BDSM (therefore rape/genocide, which profit = under state models; re: eating nature as monstrous-feminine; see: "Nature Is Food"): "Medusa is the oldest monster in Western canon: a whore/rape victim. In turn, whores—meaning sex workers/unpaid labor (delegitimate, criminalized workers commonly paid under the table)—are the oldest kinds of workers, therefore carry the oldest labor struggles, 'in small' (echoes of the Gorgon...)" (source: "A Note About Abjection and Reversing it during Rape Play (re: Ludo-Gothic BDSM)" from "Nancy Drew Syndrome"). 

Abjection (reprise)

(source: "With a Little Help from My Friends," 2024)

Per Julia Kristeva's The Powers of Horror (1980), abjection means "to throw off," bouncing something back or away from oneself using some kind of mirror (and one that also sucks, I might add; e.g., Athena's Aegis or the vampire's hypnotic stare having similar fatal/salubrious effects, mid-oscillation)—rape (and evidence of it) to either deny or embrace abject things made alien/fetish under capital. Under puritanical circles, sex becomes synonymous with rape (coercion/force) as something to assign/enjoy by the abusers, mid-DARVO; i.e., during blame-the-whore denial and misdirection* concerning state abuse, and which whores suffering said abuse bounce protectively back at attackers, get-away-from-me-and-my-friends† (reversing abjection at its most basic, above): fire with Promethean fire, rape a potent terror weapon relaid in trending forms (a grenade thereof, waiting to explode). Silence is death, abjection a way of getting people's attention while simultaneously cutting to/confronting the beating heart of things; re: the state rapes by design, leading criminogenically to strange appetites Gothic poetry points to: "Trauma, then, cultivates strange appetites, which vary from group to group per the usual privileges and oppression as intersecting differently per case" (source: "A Cruel Angel's (Modular) Thesis").

*Through DARVO and obscurantism (the classic weapons of witch hunters and token witches hunting themselves, vampires or otherwise).

(ibid.)

†Deet from The Dark Crystal: Age of Resistance (above and below, 2019) is a fascinating character study: a Medusa-esque rebel who actually kills her friends' performative enemies (the Skesis), requiring they exile her afterwards, Casandra-style but also like a vampire (re: "Demons and Dealing with Them; or Abandonment, Dark Worship and Vengeful Sacrifice When Dissecting Radcliffe," 2025). Silence is genocide; the paradox of exposure—while vital, mid-rebellion—only sees token parties tokenizing harder. Such is the nature of reversing abjection, which must happen: to show token parties their own hypocritical betrayals, giving them a chance to darkly reflect and ultimately repent. Assimilation is poor stewardship, divide-and-conquer the elite's greatest weapon, mid-abjection. For us, the alien is something to relate to, mid-relationship and confusion; i.e., by cryptonymically finding common ground (struggle) on either side of a given exchange, state abuse/vampirism endured differently for workers with variable privilege/oppression (re: "Healing from Rape"). Per Paulo Freire's Pedagogy of the Oppressed (1970), intersectional solidarity/tactical unity require not just struggle (re: Douglass, 1857) but radical empathy: seeing the world through the eyes of others oppressed differently than we are, finding similarity (as rape victims) amid difference (re: "Healing from Rape").

The Neo-Gothic period arose alongside the British middle class—one tied, as Crawford argues, to Victorian reactionary morals ushered in by the invention of terrorism-as-commodity (re: Gothic Fiction and the Invention of Terrorism, 2013). In Gothic, then, violence = sex, vampires combining violence and sex in psychosexual ways, "on the Aegis"; i.e., violence is paradoxically a form of viewed censorship, one standing cryptonymically in for sex, mid-abjection, that—while admittedly viewed/treated as garbage (which "terrorist literature" effectively means)—was still tolerated and, more to the point, lucrative (controlled opposition). It was also a voice for otherwise unspeakable things, allegory smuggled in through bread and circus to see the world through (above); re: "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" (source: "Healing from Rape"). In Gothic, rape is everywhere, including ghosts of rape speaking through "harm" in quotes; i.e., things that become spectres to wave aside; re: what Castricano calls cryptomimesis and workers revive to bring our testimony back from the grave, mountain-to-Muhammad:

(cited: "Healing from Rape")

Whatever the form, we're left with something to embody and endlessly return to, "darkness visible"; e.g., like a haunted house (and ghost inside it, above): concentric, oxymoronic commentaries orbiting state gaslights, the Gorgon banished to home-as labyrinth, post-rape (the fuel to the furnace, in the basement). Something to canonize or camp, it's a high-stakes game of ping-pong—one had between state and rebel attackers (cryptonymically issuing or subverting dogma, in spaces of concealment). Tossing around Medusa's head while tugging on her snakes, both sides anisotropically and apotropaically repel harm/throw it like dynamite "across the fence" (state's rights vs worker rights). Flow determines function, not aesthetic, but aesthetic codifies the exchange; i.e., as something to witness the confounding testimony through, and whose ensuing entropy revives in highly recognizable forms that either use, mid-struggle (the infernal concentric pattern; re: Aguirre's "Geometries of Terror," 2008;  see: "Geometries in Terror," 2024). This includes vampires of any shape and size—ranging from smaller parasitoid offshoots to verminize by state powers, all the way up to the queenly Archaic Mother and her murderous haunt (re: Creed, vis-à-vis Freud's essay, "Medusa's Head," 1922). Any and all reach backwards into a semi-imaginary past, its wisdom* describing the actual world "under attack," mid-scapegoat (ergo harvest): of nature/the ancient world's fatal nostalgia as fundamentally rapacious, Numinous, and cannibalistic under present-day circumstances—an abject, "ancient" mother goddess to hauntologically worship and fear for different vengeful aims†! For the state or workers, cryptonymy and abjection walk arm-in-arm.

*Re: the Wisdom of the Ancients, or cultural understanding of the imaginary past (Gorgon or otherwise)—one which Gothic Communism recultivates Marx' Superstructure with; i.e., in ways gayer than Marx (and his love for vampires) historically did; re: "making Marx gay" over time: a pedagogy of the oppressed, its assembly (synthesis) achieved collectively through a shared reversal, established by-and-among friends (e.g., me vis-à-vis Alliesha and Nathan; see: "Newcomers to a Larger Process").

†During the Promethean Quest, wherein Cartesian thought (re: dualism) steals power from the past for the state: nature as "ancient" site of terrorism to police, one carried out murderously on repeat, mid-revenge. So the nuclear model decays by design, exponentially requiring more and more theft merely to stay alive; i.e., through infinite growth under military conquest—state "counterterrorism" conquering a weak/strong half-real whore, DARVO-style, to scapegoat optimistically across all territories, written or actual (re: "Military Optimism" and "A Note About Canonical Essentialism," 2021 and 2024): "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" (source: "Scouting the Field," 2023). Refer to "'She Fucks Back'; or, Revisiting The Modern Prometheus through Astronoetics" to see this concept explored in Metroidvania (said section part of my larger Metroidvania scholarship, its corpus building on my PhD work regarding Metroidvania and ludo-Gothic BDSM/the palliative Numinous; re: "The Quest for Power"). For a good summary of the basic idea—of the Promethean Quest and ludo-Gothic BDSM, at large—consider "Showing Off during Playtime; or, Giving Various Examples of Abjection that Occur under Capitalist Realism (castles and vampires/the nuclear home)" from "Nancy Drew Syndrome": "Power in Gothic: Pimping Nature under Cartesian Thought," "Vampires and Castles," "A Numinous Racket (towards unpaid labor)" and "the Promethean Quest and Cartesian Thought." To play is to learn, and to learn is to play not once, but over and over again.

Vampires and Cryptonymy

In "Broad Strokes," we discussed vampires and the whore's revenge. This brings us to cryptonymy: as something to unpack more than we did, previously.

Capital/the bourgeoisie historically alienate from nature/creation in ways they fetishize, exchanging power in diametrically transformative ways—meaning power forever changes the recipient in ways they cryptonymically give back, mid-exchange; i.e., as vampires famously do, made undead by capital abjecting whatever it needs to umbilically profit off nature as alien, insect, vermin; re, Marx: "Capital sucks." In turn, so do we; re: "we camp canon because we must," "tilting at windmills" cryptonymically during ludo-Gothic BDSM, chasing intersectional consciousness by reifying the palliative Numinous (above), thereby reversing abjection onstage and off: "making Marx gay" as a matter of teamwork, therefore solidarity making workers more intelligent/aware about sex/the Gothic without reducing to class, culture or race. Even so, cryptonymy keeps things masked and populist; i.e., anyone can be a vampire, and vampirism/abjection effect all aspects of matter and consciousness, through cryptonymy's proletarian* function; re (from Volume Zero): 

*Again, of the revolutionary kind (re: "Transgressive Nudism" and "Chapter Five: 'Rebellious Subterfuge'").

"Cops and victims," for example, often becomes hauntologized, presenting in fantastical forms that mirror real-life examples. A "girl boss" witch or "medusa" can angrily serve the state by being the heroine or the villain in ways that uphold the status quo, making her role functionally bourgeois; a real-life cop serves the state, often LARPing as a death knight while they brutalize their state-assigned, hauntologically abject victims during witch hunts. The same conversion applies to proletarian representations and representatives. To that, egregores personify oppositional praxis, making them fundamentally liminal. This means they'll invoke power at different registers according to various titles, rankings and positions of status and privilege: e.g., a witch queen, princess, courtier or peasant as a status symbol often expressed in BDSM language or demonic-undead, animalized/animate-inanimate simulacra. Despite her label, a witch queen isn't automatically bourgeois, any more than making her a zombie and/or demon would. Function (not aesthetics) determines one's role in oppositional praxis, which must be ascertained through dialectical-material analysis of any aspect of the natural-material world. [...]

(exhibit 1a1a1c3: [...]

To this, oppositional praxis during Gothic Communism is less like the discrete, nine-squared D&D Alignment Chart (above) and more like a Venn Diagram of the same components doubled and super-imposed over each other. Hence, why revolutionary acronyms like ACAB ("All Cops Are Bad") are handy but also why you still have to distinguish between who's genuine/good-faith and who isn't/bad-faith during oppositional praxis; i.e., through dialectical-material scrutiny as performed by gay space wizards through whatever "poison" you pick and serve up:

(artist: Ecchi Oni)

For example, an ironic, "strict" mommy dom (and her "dark sodomy castle of gloom and doom")—when executed in good faith—is not a class traitor even if she's wearing a police uniform or (some other) fetish outfit; aesthetics do not determine function, function does, but obviously first impressions are important. [...] Code-switching intuition, then, becomes something to develop, like a sixth sense. Is someone a cop/undercover for the state? Are they "for real" or do they mean you harm working for their true boss, the Man (as Deckard the blade runner did when he "retired" Zora in the streets)? [...] Oppositional praxis materializes in regular people consuming and absorbing these stories in ways that might be bourgeois, thus rapacious, or not bourgeois, thus safe for workers; it happens in our relationships, whatever form they might take (source: "Pieces of the Camp Map," 2023).

(artist: Persephone van der Waard)

Useful abstractions gleaned through preferential code, the vampire's cloak-and-dagger style of cryptonymy offers up special thrills: of the hunt, smaller prey tied to bigger spaces of predation and concealment; i.e., home as already dead before the "homewrecker" blew the whistle. Vampires—with their shadowy home-invasion MO, exit-the-closet sodomy vibes, walking vaso vagal, and fatal attraction—dovetail danger and sex (shared with other monster types, above), but also fight or flight during routine, rest-and-digest feeding habits; these, in turn, make them out as imperfect scapegoats and traitors, but also detectives and educators ("gay ninjas," as I call them, but translating just as well to any femme forte/fatale monstrous-feminine, from the Neo-Gothic onwards): how to survive under capital—the latter whose routine boom-or-bust makes queer people and whores outwardly criminal, and which workers must interrogate, mid-concealment; re: "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)" (source: "Shining a Light on Things").

Cryptonymy = open deception. However open, all war predicates on deception, especially ass war and its bantering derelicts' ludo-Gothic BDSM; i.e., communing with Numinous whores, "on the Aegis" (which, "flossing with dynamite," we consume to better embody different scenarios of distress/paradoxical empowerment—above): sex = abject, one where vampires, fucking and murder constitute a form of cryptonymic exchange—merely one of many types the Gothic uses to lie usefully (re: me, vis-à-vis Mark Madoff's "The Useful Myth of Gothic Ancestry," 1979; see: "Concerning Rings, BDSM and Vampires," 2024). Vampire = pimp/whore feeding through theft, specifically the virgin/whore aesthetic of charming theft amid warrior seduction, criminal love, fatal attraction, addictive sex, animal lust, neo-medieval revivals, live burial/restless funerary tropes (resurrection), and churchly satire mired in scandal; e.g., pedophilia, incest, cannibalism, bestiality/sodomy and other tired clichés (done to death). To it, vampire = whore, bastard or mercenary/soldier-of-fortune, and whore = sexual terrorist that periodically "invades" home out of a feared barbaric past (the white castle, nay planet, "back in black" through sins of the father/the state [and its open-secret crimes] presented as "alien," from-another-place). Whores are radioactive; the Gothic canonically plays with radioactive things, conducting state theft behind signs of false radioactivity concealing the theft taking place (the "Scooby Doo" trick, dating back to Radcliffe). It does this by scapegoating itself and its victims, turning them cryptonymically into punching bags that hauntologize the theft, mid-abjection (often as castle; re: the chronotope, below).

(source: "Persephone's Silksong Symposium," 2025)

To it, who better than vampires to cryptonymically reveal hidden things, mid-scapegoat? Vampires are scapegoats and scapegoat = rape, under state models, mid-abjection; concerning abject sex and force, abjection = displacement to reunite with, revealing the danger to be a sham. Except the state and its theft is no lie, a given scapegoat ruthlessly preying on whores who desperately hide among the relics, and whose copies of ourselves warn cryptonymically of a nearby "wickedness" (the queers and criminal sluts among you)—all while conveniently providing unintended camouflage, mid-theatre (from Shakespeare to drag queens; e.g., Team Cherry's fabulously vampy Trobbio, above); re: "mere play" extending the masquerade in all directions, year-round (not just Halloween): data exchange, "corruption" the data Gothic cryptonymically advertises; i.e., in and upon the flesh, fetishizing the whore as alien, but also close to home/the state's grim harvest "turning" us, anywhere and everywhere undead! During ludo-Gothic BDSM, we share the same playground and bodies our jailors do, but subvert (camp) rape to a liminal degree: while moving through spaces of concealment, occupying a given role that cryptonymically reverses abjection through beautiful lies. 

There, exploitation and liberation remain part-in-parcel, exploring stigma and bias made manifest; i.e., of the same abjection process, one cryptonymy vampirically embodies, show/conceal: sex and force as capable and cool—both sizeable and alien* but also cloaked through "neutral" consumption fixated, push-pull, on forbidden things presented as "distant," almost quaint. Sitting between fantasy and fear played out, the Protestant ethic clutches stolen pearls; i.e., fleeced from the natural world it preys upon, virgin/whore—all while blaming the whore, cryptonymically accusing her of stealing her own shit: the pirate hooker/genderswap Captain Hook, flirting with disaster. As Neo-Gothic's DARVO-style alter-ego, she's something for the middle class to first invent, then police/scapegoat as "banditti"; i.e., while fearing vampirism-as-piracy given female forms, after Radcliffe†! A lie is a lie, but contains truth, too: real bodies, real people, real desires and socio-material effects—all consolidating and maneuvering power through the language of fantasy and fear intertwined, both with themselves, the flesh and the home as partially alien.

(artist, right: Nya Blu; cited [exhibit 11b1b]: "Challenging the State's Manufactured Consent and Stupidity (with Vampires; feat Cuwu)," 2024)

*The Medusa's fat thighs, dumper, pussy and tits pulling in different prey (e.g., Nya having "the means" to imprison convert and convict, alike—all while covered, prison-like, in various Gothic tattoos, above).

†With different counterfeits acting cops-and-robbers out, state abuse in small: each whore afforded fearsome domains (and bodies) to be unmasked and carved up, generally by the heroine's well-armed friends killing the bandit-in-question (re: "Radcliffe's Refrain"). By comparison, the classic heroine largely sticks her noses where she shouldn't (mainly in the whore's place of business, post-kidnap, but I digress—usually evil Italian counts, early on, though Charlotte Dacre's  Zofloya [1806] would see a woman kidnapped by another woman, and during a specific kind of rape scene: the captor/captive fantasy where rape is possible but not certain, and often conflated with traumatic, unnatural penetration; re: Radcliffe's closed space, "demon lover" and mutilative desire, per "Cynthia Wolff's "The Radcliffean Model" [1979] and which I interrogate in various ways: derelict, non-magical, and magical [all torturous] while giving Radcliffe aka the Great Enchantress measured praise).

(artist: Valentina Kryp; cited: "Radcliffe's Refrain")

In Gothic, home = alien, vengeful, hungry as the whore is; i.e., "There's some whores in this house!" Pirates, ninjas, knights and Amazons, etc—such modules operate as dead metaphors, amid constant fabrication and friction* concerning home-as-alien (which virgin/whore detectives classically investigate during the whore's paradox; i.e., that virgins and whores aren't discrete during ludo-Gothic BDSM; e.g., Velma and her clones, above; re: "Rape Reprise"). Vampire or not, a given monster type is just a means of reifying, ergo arranging and expressing thought; i.e., thinking about things differently through Gothic poetics, mid-aesthetic: an argument, and a deeply creative one disguised as "trash" (though often reviled, the original Gothicists were holistically educated, essentially polymaths to a Renaissance degree). Same goes for vampires, which many people enjoy if not outright, then at least for their sheer undeniable recognition as undead beings: dualistic markers of state predation, in some shape or form—skeletons-in-the-closet, "given flesh" and dancing magically among the ruins and carnage/carnal elements; i.e., of empire-as-pimp, decaying while preying on whores with whores, sitting in the monstrous-feminine middle: charged with power and accusation, a lever to move the Earth towards the orchard, mid-harvest, or away from it.

*The ghost of the counterfeit, specifically during the middle class' inheritance anxiety of potentially illegitimate things, mid-invention; or as Hogle writes, commenting on Punter's The Literature of Terror: the Modern Gothic (1980):

In the Gothic from the later eighteenth century on, as David Punter has shown, "the middle class" often does what we have just seen Leroux do in Le Fantôme: it "displaces the hidden violence of present social structures, conjures them up again as past, and falls promptly under their spell" with feelings of both fear and attraction towards the phantasms of what is displaced (Punter, 418). The Gothic, well before Leroux adopts it, enables a growing bourgeois hegemony to be both haunted by and distanced from the "hidden barbarities" that have helped make it possible (Punter, 419)—and hence the repressed uncertainties it feels about its own legitimacy (as in Abraham's "phantom")—by projecting such anomalies into the horrors of apparently old and alien specters, buildings, and crypts (source: "The Ghost of the Counterfeit: Leroux's Fantôme and the Cultural Work of the Gothic," 2002).

(artist: Mercedes the Muse)

To that, the Gothic imagination (and its chain of fakeries) remain entirely obsessed with terror but especially an almost-quaint, all-consuming fear of total loss/control under barbarian regression (re: invasion fears, the home fallen from the inside-out, the return of the undead pirate disguising state-vs-worker vampirism during ludo-Gothic BDSM; e.g., Mercedes, above). The usual language games play out, mid-Gothic; e.g., the nurturing-yet-alien warrior of the Amazon, but also "booty" = plunder/piracy on home soil, indicating buried, die-hard secrets hidden on, inside and between dead language as outwardly doomed; i.e., Castricano's cryptomimesis centered on stolen wealth: the pirate's love for gold, but also deserted island when the bodies that can't eat gold are buried (and which Radcliffe revived after Walpole, inventing terror as a poetic device tied to profit; re: Crawford). Such pirates (and their skulls-and-cross-bones) "always come back," the vampire impossible to kill but also resurfacing cryptonymically to fulfill dark, Numinously unequal desires, mid-abduction: the lady and the tramp or pauper and the prince relegated to theatrical zones of unholy play (re: "I'll See You In Hell," 2025). Such "slumming" is commonly retro-future—displaced between past and present, but also vast gulfs of space: the vampire often a faerie-like pirate with a traveling castle/abjection; i.e., one seemingly from outer space, Hell, "the Wild/Jungle" mad-science spheres of sodomy and sin/abject reproduction, or deep beneath the sea, but "actually" come home to rob the middle class blind/conquer Earth as already-occupied by the colonizer-as-Indigenous (as they would tell it; re: "Toxic Schlock Syndrome," 2025)! During the liminal hauntology of war (danger disco), they'll summon us cops-and-robbers to "spank" us as usual, whitewashing empire-in-decay by monopolizing violence, terror, sex and monsters on Radcliffe's Black Veil (Capitalist Realism saturated with predation). Even so, we whores (of the rebellious sort) remain vice characters steeped in terror/can actually embody such things and their lunacy to joyfully overwhelm our pimps/paradoxically transport ourselves to better, lusher worlds, mid-kidnap (which we'll briefly discuss in "Concerning Abjection"). Canon or camp (exploitation or liberation), we nonetheless share the same trouble-in-Paradise kayfabe, gladiatorial stages and out-of-this-world bodies, "on the Aegis." Battle sex—ass war transcending time and space (and anything else) but with monsters during the Imperial Boomerang (which the whore very much is, above and below)!

(artist: Persephone van der Waard)

†Fascism when imperialism comes home to empire, but also Communism as the state decays, suddenly undead through shared, world-ending vaudeville: a steep, nightmarish decay of mastery/dismantling of various safeguards during Capitalist Realism, followed immediately by a cancerous attack, invasion or return by a seemingly rival fleet, army or horde, etc, of formerly living/earthly state cops/victims (whose hellish, cryptonymic homecoming—token or not—further colors according to a class, cultural and racial mixture, as undead, demonic, and/or animalistic; e.g., the buried gay, hysterical woman and/or Indigenous victim of Cartesian, heteronormative, and settler-colonial orders; i.e., a reversal of genocide, mid-abjection, the state seemingly "vomiting up old food" mid-revelation while eating/defending itself from scavengers (re: "Police States, Foreign Atrocities and the Imperial Boomerang," 2024).

From a property standpoint, vampires = home's ownership in dispute, ergo undead coming home; i.e., the return of the living dead when pimp/whore = house (often castle or castle-like bodies, above) as "vampire house" through poetic, dialectical-material inversions of a "proper order": the sudden, Numinous, frightening appearance of things normally relegated to the margins—the state goon or "the help" rising to positions of ownership normally denied to them, and whose phallic, knife-life cryptonymy can mean a plethora of outcomes, mid-abjection (e.g., the "stacked" whore with a non-white physique, but also the exotic foreigner, disease-spreader, drug lord, serial killer and/or sexual deviant assassin, under canonical norms—above). Culprit, evidence frequently overlap, the detective a whore insofar as vampires are constantly on the outlook, too: assigned outsiders chased by pimps-in-disguise, the former whores to stalk, expose and exorcise by the latter as the real impostors (cops rob); re: capital rapes by design, vampirism a DARVO refrain abused, mid-kayfabe, by bad actors aping good sharing the same vampiric black and red (to build on Parenti's "fascism is a false rebellion" idea, from Blackshirts and Reds, 1997). Aesthetic only gets you so far, flow of power the actual imprimatur!

(artists [clockwise, starting top-left]: Romantic Rose, Sinead, Harmony Corrupted, Nyx, Victoria, Annabel Morningstar, Mugiwara, Crow, and Angel Witch; cited [exhibit 44a1a1b1]: "I'll See You in Hell")

Whore = monstrous-feminine, and everyone loves the whore—for her power and being fun to play with. This includes those exploiting her terrorist ass, "spanking the Gorgon" by demanding endless punishment/fetishization under a Protestant ethic (and whose orderly "centrist" contradictions, addicted to decadent violence* and its dogma, criminalize unpaid labor, mid-abjection). Appearing normal but disguising feeding in different secret directions, vampires are fetishized creatures of open disguise/partial stealth craving connection, mid-alienation; i.e., the imperfect cop, victim and/or survivor gettin' some, during state predation/piracy dressed up, year-round; e.g., the false maiden (or bachelor) feigning affection towards harmful suitors but also looking for a good time under state censors, the devilish debutante driven cryptonymically to coded nymphomania through trauma and neurodivergence above ground (as comorbid/congenital factors, which state forces prey upon and which non-token whores prey back with).

*Cops and other state proponents/givers of state force unable to love others, exchanging their humanity for dominance: able to feel only while raping or otherwise causing harm versus a perceived inferior/stated-assigned foe, replacing them mid-genocide.

(artist: artists: Cuwu and Persephone van der Waard; cited: "Challenging the State's Manufactured Consent and Stupidity")

Instead, It becomes a game on and offstage, well-versed in the liminal staging of "rape" that vampires holistically enact: controlling the room through prurient, gallows-humor sex (or simply bad puns; e.g., "boners"). Each reenactment, however glib, returns imperfectly to a live-burial embodiment of abuse/recreation of survival; i.e., one disordered survivors can safely control but also "doll up," mid-breach (e.g., Cuwu being borderline, using sex and sex appeal [especially red clothes, below] to control their surroundings but also enjoy themselves while "feasting" cutely on others while partially or fully naked—above and below): "Oh, no! I'm totally in danger right now..." For the survivor calling the shots, it's not strictly torment, but rapturous delight disordered by past trauma playing vampirism out during ludo-Gothic BDSM: the endless carnival, enacted everywhere as "walking speakeasies," "cruising" mid-crisis (unpaid labor/disabled workers [which includes mentally ill/neurodivergent/disordered people] operating under soft-vs-hard prohibition*).

*I.e., pornographic censorship, corruption/purity arguments (concerning "degeneracy") and moral panic; e.g., codeswitching under Reagan's America (soft) vs Weimar into Nazi Germany (hard; re: Joy Under Fascism," 2025): semi-public venues where consent is understood upon entry and afterwards, often through code, puns, what-have-you.

(artist: Alliesha Bay and Nathan)

However altered whores are by capital and its open concealment, though, we still wanna come and play "when in Rome" (to have our revenge, however rough that is, against Rome); i.e., to teach ways to survive "as is" and have fun, "on the Aegis," reclaiming the Base by recultivating the Superstructure (re: "On Twin Trees," 2023)! Weird attracts weird, mid-abjection, which vampires exemplify nicely when speaking to/as survivors: appearing mostly normal (mostly), yet operating cryptonymically through mysterious (trade-secret) code for those who dare and gang-alang with us (repulsing and sucking through the abject power of sight, all exchanges anisotropically two-way to some degree). We have our fun, then leave it among the midden for you to find (above); i.e., such poetic reminders typically survive the originals, counterfeit "castles" to outlive us all (a virus to pass on, infecting new hosts): through the language of sex and force, which vampires gleefully hyphenate for cryptonymic aims in neo-medieval forms (whose mouth/teeth/eye, mise-en-abyme, morphological-architectural poetics we'll unpack alongside my friends, during "Concerning Abjection"; re: Cuwu  but others, besides; e.g., Alliesha and Nathan and their own "vampiric" penetration, above).

Of course, sex (especially illicit, extramarital, queer sex) is commonly the currency to trade, but whose public nudism is equally "ace": the vampire seeking companionship, mid-verminization, trading this or that during calculated risk (which ludo-Gothic BDSM is, raising awareness and intelligence as things to synthesize; re: "The Basics of Oppositional Synthesis"). Our "blood" is rich with data, a pedagogy of the oppressed/devil's courtship to drink and learn cryptonymically from together (the destroyer with a "kawaii" bent, below)! Trauma is generational; may as well learn to play with it in relatively safe ways, the ostensibly "unlovable" attracting fresh blood to seize the means (the paradox of "rape" being no harm is possible despite the Numinously magnetic, danger-disco sensations; re: "Rape Reprise")! Damage—however ever extreme or all-encompassing it feels, for survivors—isn't a weakness when it becomes a defense mechanism (often alter-egos fighting crime-in-disguise, below): the killer fossil, unable to die, turns the tables to take power back from abusers (classically men but really any pimp under the sun). Raping the rapist—often by castrating and eating them alive, butchered-to-butcher (sex, especially evoking the natural world's lack of consent, and absolutely be violent)—becomes its own perverse delight, mid-chronotope: "That all you got?"

(artist: oxsidiancastle; cited: "Vampires and Claymation," 2024)

Memento mori, vampires are roles to play that marry sex to force in psychosexually erotic and "strict," oft-literal ways; e.g., the "killer sub" riddled with injuries (above) embodying a dominant, phallic role with undead flavors; i.e., "grossing someone out" being a classic anti-predation device, one paradoxically utilizing the language of predator/prey (re: "Prey as Liberators"): "fuck me like an animal" effectively meaning "rape me" as something to play out in notably "rough" ways. Intentionally repulsive and taboo, such performances demand aftercare during mutual consent; as a weapon to warn/ward off abusers, they cryptonymically reverse abjection to make the usual benefactors of state power notably uncomfortable (starting with white straight men), but also aroused to an uncanny (off-balance) degree: to make them squirm through the control of play that ludo-Gothic BDSM historically affords—said play changing the context of carnage, mid-abjection, to subvert it away from its normal, pimp-like function; re (from Volume Zero):

"To critique power, you must go where it is." Or more to the point, you must go, during ludo-Gothic BDSM, where power is summoned and stored; i.e., like the Gothic castle as manifestations of capital as a neo-medieval abstraction of itself: a rarefaction (of greed and other virtues/vices) writ in stone and/or flesh (among other things). In turn, the same basic principle works for all manner of morphologies—ranging from castle-like bodies and body-like castles; re: "castles in the flesh" (source: "Interrogating Power through Your Own Camp."

Such things are hypnotic, swept up in abject violence as something to cryptonymically act out, in different ways. Context matters, including the context of poetics and play leveraging abjection through the cryptonymy of vampires to dialectically-materially change how society perceives rape (the whore's revenge altering said perception away from pimp-like realities).

Primer Conclusion (and Footnotes); re: Abjection and Vampires

Note: The footnotes, below, tackle/rehash a variety of things that will come up conversationally moving forwards. —Perse

In and out of the bedroom-as-prison (for sex; re: Foucault's A History of Sexuality, Volume 1, 1980), vampires are known for their lasting power/uncanny longevity taking sex-as-abjection beyond state boundaries: born dead, thrust tragically into worlds where we feel alone; i.e., until we suddenly recognize someone else, "touched by darkness. Weird attracts weird; trauma begets trauma as something to camp. This time—and while poetically and dialectically-materially investigating token betrayals among would-be friends past this primer conclusion—the central themes in "Sharing the Blame" going forwards, are abjection and vampires* (similar to witches, which whores basically are; i.e., insofar as capital, under a Protestant ethic, pimps nature as monstrous-feminine, ergo criminal, alien, abject, "degenerate," etc, and in ways that monopolize sex and force, violence and monsters, etc: to expect revenge from cops [which pimps are] while maintaining the profit motive, mid-persecution)! Abjection = flow of this or that, but often blood, pleasure and pain—the vampire a kind of Gorgon that freezes and feeds, radically altered by rape to seek "rape" in quotes, during ludo-Gothic BDSM; i.e., through undead, psychosexual aesthetics, the sum of calculated risk haunted hysterically by fascism and Communism bouncing things back and forth (the red and the black tied to unpaid labor of any gender or sex, but often outwardly female/feminine workers expressing profound survival between cop, victim and avenger—a black mirror disguised cryptonymically as "mere play" [re: Gloggins] in so many ways, below).

(artist: Karen B.; cited: "The World Is a Vampire")

*Re: vampirism = abjection† as something to further or reverse, mid-cryptonymy† and in monstrous-feminine† language. While there is a positive, "give and take" quality to vampirism tied to BDSM and sex work (the bloodsucking whore reversing abjection, above), our focus here remains on state varieties chattelizing labor at large: widespread exploitation (namely theft) through token lies and predation, specifically token men of color and white trans women lying for each other to further abjection/state theft (on Nebula and elsewhere). Furthermore, my investigating their refusals (to investigate each other) actually stems from F.D. et al refusing to investigate Bad Empanada when evidence was brought to them; re: "Raising Awareness." 

†Re: Per Kristeva's process of abjection, but also Jerrold Hogle's double operation of cryptonymy ("The Restless Labyrinth: Cryptonymy in the Gothic Novel," 1980) and Barbara Creed's eponymous book—the latter synonymizing abjection with the Gorgon and her "terrifying powers," seen on the shield as something to embody and pass down; re: "When Perseus slew the Medusa he did not – as commonly thought – put an end to her reign or destroy her terrifying powers. Afterwards, Athena embossed her shield with the Medusa's head. The writhing snakes, with their fanged gaping mouths, and the Medusa's own enormous teeth and lolling tongue were on full view. Athena's aim was simply to strike terror into the hearts of men" (source: The Monstrous-Feminine).

To reiterate, abjection is the business of cops, victims and survivors, and means "to throw off," in Gothic theory. Generally this happens into a state of abnormality (the out-group)—all to reinforce "normal" (the in-group) as the status quo acting dogmatically "superior" to arbitrarily alien things; e.g., said status quo pimping nature as monstrous-feminine/alien, meaning the Gorgon and things comparable to/of it; i.e., nature as alien, criminal, or otherwise "other" tied to workers, often sex workers: the Medusa and its spectral proxies common recipients of the abjection process being furthered, generally through various counterfeits endemic to Gothic's inherited confusion—Hogle's ghost of the counterfeit haunting state power (and the harm it causes, furthering abjection by ignoring consent)! The state is straight, white and male, but tokenizes just as well (which we'll unpack, deeper in). 

(artist: Doc Zenith)

Under canon, the state frames Medusa as victim/avenger to police "once bitten" (re: "Always a Victim," 2025), but one having her revenge (re: "Our Sweet Revenge"): by reversing abjection in equally fake language (re: the ghost of the counterfeit); e.g., vampires, demons, zombies, what-have-you, being fabricated; re: "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" (source). The testimony is the revenge, witnessed in ways where the original survivor-as-victim turns her would-be killers to stone (the Gorgon classically being female but allowing for GNC/male varieties treated like woman classically are under Western models: as things to own, rape and destroy with impunity by patriarchal agents; re: "Angry Mothers"). Consent is sexy insofar as consent = thwarting rape during paradoxical exposure: the whore sharing the blame, meaning with the pimp historically blaming her for her own rape (which we'll also unpack, deeper in).

To it, my perspective (and that of my friends), is often from/of sex workers—meaning criminalized, unpaid labor leery of token paid labor turning a blind eye towards our rights, in particular. There are cops and victims, but also survivors who avenge their abuse, "on the Aegis." The whore is forever caught between a rock and a hard place, one requiring paradoxical exposure to fight back, sex-as-weapon; i.e., nudity classically armor for the Amazon but weapon for the Gorgon: as putting themselves in harm's way but from behind buffers, mid-cryptonymy. To show is simultaneously a death sentence and means of attack, then—both to "ask for it" and "scratch" our attackers in disguise, paralyzing them for looking at something that draws the eye: a trap (re: the "scratching method," from "Raising Awareness"). Embodied by Gorgons-in-small (sex workers), her bearers and dwellings thereof raise the mirror shield: not to discard, but hide behind/communicate with code upon itself while questing for power (severed heads or otherwise). Two heads are better than one, the Gothic nerd generally a whore taking us by the hand (or something else) while investigating power into unknown realms/radical change (e.g., Percy and Mary Shelley's Numinous/Promethean Quest [robbing the once-great past]—embodied "in small" by Alliesha and Nathan being sluts, below)! 

(artist: Alliesha Bay and Nathan)

"What Sweet Music They Make!": Sucking Back to Reverse Abjection; or, a Preface to Honor Alliesha and Nathan's Vampiric Additions

The primer explained how reversing abjection, vampires or no, requires a means of play during ludo-Gothic BDSM; i.e., as holistic, in its inclusion of different workers taking part, specifically unpaid workers versus paid tokenism. The preface, "What Sweet Music They Make" considers the teamwork involved, first-hand: my having worked with a variety of "undead" (vampiric) cuties in the past; e.g., Harmony Corrupted, Angel Witch and Cuwu, the likes of which future sex workers like Alliesha and Nathan join the fray (whose entirety can, again, be viewed on my Acknowledgements pages). A savory sugarcoat, all of the above serve a shared undead role that raises consciousness (versus lowering it by tokenized workers, paid or not); i.e., whose collective solidarity I now wish to highlight (and which "Setting the Table" will touch on, further): nerds fuck as much as girls fart, these monstrous-feminine vampirically reversing abjection "on the Aegis" (while I focus on the sex, not the farts). From Sappho to Shelley to us—and Athena the goddess of wisdom, no less—so does Athena's Aegis enact a vampire-like role, when embodied and viewed; re: Gothic Communism a holistic refrain, booties-all-the-way-down but also side-by-side, unpaid labors surviving paid tokenism (my preference obviously being asses, but in which any body part[s] can reverse abjection with, mid-fetish)!

(artists, left to right: Harmony Corrupted, Alliesha and Nathan, Angel Witch, and Cuwu and Persephone van der Waard)

We'll consider the poetic elements first, followed by the dialectical-material theory my friends and I contribute towards, icing-on-the-cake. It's meant to be fun, if only because fascism requires us to have fun to combat their toxic worldview/ongoing bias as paid labor abjecting unpaid, mid-vampirism. The genocide continues, and so must we; i.e., exploitation and liberation sharing the same spaces, onstage and off. Here, we're giving you a taste of things to come, giving us a chance to play these ideas out before getting down to business, in part two. Poetry = play and play = in ways vampires emblematize concerning capital's feeding mechanism, therefore abjection: to play with larger dialectical-material forces paradoxically in small (re: the Numinous/castles in the flesh), recognizing them elsewhere in disguise when used against us (wearing our own disguises).

Athena's Aegis; or, Sex Is Abject: Concerning Abjection (as Something to Poetically Further or Reverse with Vampirism, Mid-Cryptonymy)

Everyone loves the whore, nothing more policed/exploited than sex' ancient currency under a Protestant ethic (through force, especially segregation); nudity is abject in ways vampirism can poetically further or reverse in duality (with the same language): abjection = flow, sex and vampires, concerning power as something to reverse, in whore-like ways. Except abjection's a huge topic, one I've already written about many times (and will cite some material here, to save time). As a process to further or reverse during ludo-Gothic BDSM (rape play and playing with things concerning rape, in Gothic language), abjection goes two ways: furthering through capital, punching down at nature as monstrous-feminine (re: "Nature Is Food"), and reversing whenever workers punch up to poetically have their revenge (female or not; re: "Rape Reprise"). Both occur through playful exchange, trading power (and blows) through unequal arrangement (e.g., the vampire avenger destroying her abusers, assassin-style, but not before talking their best shots, below): something to observe and be observed, relishing the audience (the vampire's forbidden love, knowledge, or access, the badass-in-question suddenly granted an audience: watch the bloodhound work, demon and detective underneath a dark veneer).

(source: Takena's "Midnight Vampire," 2024; cited: "Vampires and Claymation")

Like a vampire, such things cloak in diaphanous ways; i.e., on a show/reveal poetic scheme, one whose corporal espionage portrays a larger feeding mechanism to show off; re: in cryptonymic forms, as nerdy sex workers do (up to snuff, code-wise)—on their Aegis-like bodies' darkness visible, celebrating the profane (to humanize one's alien status under state power)! "Slain" voyeur/exhibit to smuggle with, these flesh-and-blood weapons in naked disguise trade this-or-that upon ourselves (e.g., in clay or cum, above and below). In turn, we gatekeep forbidden knowledge as commonly carnal—homewrecker whores letting off stream/releasing stress, valve-to-valve, while guiding people hypnotically into our castles, "red light, green light!" Pillager's aesthetic/architectural morphology aside (a Gothic staple; re: "Castles in the Flesh," 2024), it's a statement of ownership from the "ravished": choosing who gets to come inside one's castle, mastering* them from perceived disadvantage while playing in castles/with dolls while embodying them (the usual vampiric hyphenations therapeutically including whore and home haunted by actual abuse/predation to alienating and fetishizing extremes; re: "Back to Jadis' Dollhouse," 2024).

*Not total, one-sided domination, but a steady give-and-take that playfully instructs mutual consent through the Gothic's "tricky" language; i.e., of mastery and vampires, during ludo-Gothic BDSM (e.g., as Cuwu and I did, camping "rape" in highly Gothic ways borrowed from Radcliffe's original, pre-vampire "demon lovers"; re: "The Roots of Camp: Reclaiming Demon BDSM and Radcliffe's Tricky Tools," 2023). Such things embody person/place in palliative-Numinous forms the Gorgon rarefies (e.g., Metroidvania, but also ludo-Gothic BDSM outside videogames; re: "The Quest for Power").

†Dating back to Horace Walpole, a 1700s queer man whose famous castles inspired future spaces of nerdy "Gothic" rape play (the OG danger discos; re: "Prey as Liberators").

(artists: Cuwu and Persephone van der Waard)

"O happy dagger!" Life and death, sex and force, sickness and food—out from the medieval (and Shakespeare's smutty oral tradition), these and other modules frequently elide in campy ways; i.e., for which vampirism excels, hyphenating mouth and fang but also eyes, insofar as feeding goes: hungry eyes administer little deaths denoting a loss of control nonetheless couched with certain poetic rules (the paradox of "rape" being it can't harm the actors, though might require aftercare). Oxymoron isn't unique to vampires, then, but inhabits similar forms of rabies, hysteria, blood libel and feral sexuality (sodomy) merged hauntologically under the Neo-Gothic umbrella we currently find ourselves (re: "A Crash-Course Introduction to Vampires (and Witches)," 2024). Zombie, ghost, werewolf, vampire—they're all cut from the same poetic cloth, ergo paradox "living in Gothic times." I digress. It's a robbery in disguise, taken by force as something to give, and given both ways. Topping from below to pay it forward, all exchanges go both ways: giving, taking and receiving for desired results (a negotiation). The undead characteristically feed in ways that blend the senses; zombies eat solid food, vampires suck a penetrative liquid diet, nourishing hungry meat—either monster addicted, per the undead model, to violence/vaso vagal as something to camp/confuse during calculated risk: arbitrating the whore's revenge through descriptive sexuality being poetical "undead," feeding the exhibit to invigilate and voyeurize (often during live burial as a bad pun, below).

(artists: Cuwu and Persephone van der Waard)

Our focus, here, remains sex work; re: the world's oldest struggle, which the living poetically engage in, mid-Gothic: through a pointedly vampiric lens, playing with dead things/playing dead, period. One to behold and wield in plain sight, it conceals our goals "just enough"; i.e., akin to Athena's Aegis hiding/revealing the Gorgon: "infinite power, infinite forms." Traveling across bodies, we curse state forces, mid-flow (of power); re: flow determines function, not aesthetic, mid-abjection—meaning to suck through sight in different directions, anisotropic and apotropaic as the Aegis classically does. A sight for sore eyes, it grants particular boons; i.e., those "with weight" (value of any kind but relaid as abject flesh) a powerful means to facilitate transfer once more. Furthered, abjection divides; reverse, it reunites. Thus whores can lead the starving (of social-sexual connection) towards better worlds that capital allows: the allure of the imaginary past (and its erotic Wisdom of the Ancients) as whorishly free, the nerd a whore in disguise exploring their animal side (e.g., Cuwu, with those sexy glasses, above and below)!

Bare in mind, the Gorgon was a nudist, her reincarnation playing with rape laid bare when camping it; i.e., in-small during land back, labor back and sex back placing "rape" in quotes, sex itself terrifying to state actors they can't control (re: "Our Sweet Revenge"): our terrifying powers issuing a big "fuck you" to the usual sanctioning bodies, reclaiming the very value/fuel we hold within/upon ourselves when giving testimony "among the storms" (re: me vis-à-vis Porpentine's "Hot Allostatic Load" [2015] and Silvia Federici, in "Policing the Whore," 2024)! Rebellious women (or trans-men, in Cuwu's case) are far smarter/more capable than the state/straight men (and token parties) give us credit! Athena was the Gorgon and the Gorgon was a slut turning sex into weapon and wisdom, ass and war through vampirism (so-called "brothel espionage")! Such poetic reminders typically survive the originals, counterfeit "castles" to outlive us all (a virus to pass on, infecting new hosts).

(artists: Cuwu and Persephone van der Waard)

What a novel idea! To play with sex is to play with fire, then, "rape" being the shadow of state force hovering over any who dare illustrate consent, once-upon-a time; e.g., from Pandora to Galatea to the Gorgon (on and on, out of antiquity into the present); i.e., nerdy whores scholastically reversing abjection repeatedly (and often in the same position/general location, above): by placing consent into spaces where such things feel mythical, nature as monstrous-feminine speaking to state predation devaluing what it rapes as "inferior" (the whore's refrain, man versus nature/sex as female or at least feminine; re: "Nature Is Food"). The princess is generally surrounded by power as something she exudes, pursued by the ravisher who—having his way with her—is suitably destroyed: by the vampiric prey topping from below as much as from on high (a killer doll, the sub "playing dead" to cryptonymically act out medieval rape fantasies [of storming the castle] in reverse, meaning versus the dom's death-from-the-skies approach, below)!

(artists: Cuwu)

To it, sex and force aren't separate, as far class war goes, nor are hunter and hunted discrete categories (re: "Prey as Liberators"). Class war is ass war intersecting with culture and race, privilege/oppression while healing from rape (during ludo-Gothic BDSM as Cuwu and I devised it, 2024). Sex, therein, remains the ultimate thing to control that, when used without state permission, invites punishment; i.e., as already owned, "fire of the gods" (above). Sex and force, then, walk arm-in-arm under state history and application. The state rapes by design, covering up their crimes mid-abjection, but calling them up to sell such dogma (and humiliation) back to us. By comparison, nudity of our own accord remains is unthinkable to our patriarchal jailors, which rebellious whores paralyze pimps with/call allies to our banner while cryptonymically shouting "still alive" to the world: "Can't kill the Gorgon, motherfuckers! Medusa lives/is free despite your efforts to kettle her!" To speak out is to have fun, ergo our revenge; i.e., the rebellious whore's monstrous-feminine revenge versus the pimp's (re: "Rape Reprise"). There's room for both, class to ass, so why settle for second place? All's fair in love and war, and all war predicates on deception (which vampires do by design, controlling a room through sex)! Top from below!

(artists: Cuwu and Persephone van der Waard)

The Gothic heroine is classically a virginal detective (re: "Radcliffe's Refrain"); I've turned her into a whore, specifically a Black Veil/the Gorgon to pull aside and spill state secrets/our guts (re: "In Measured Praise of the Great Enchantress," 2025). To prevent rape, the Gorgon reverses abjection, poetry-in-motion: by using nudity that, when viewed, turns people to stone (or parts of them, above). Consensual nudity = consent, and to celebrate consent celebrates life by reversing abjection. The state has no use for any of this but tries to reclaim, nonetheless; i.e., when fed-up workers reveal nudity as weapon, the Gorgon's paradoxical exposure something the state will rape/call rape for showing itself in public: nudity = rape as something to administer for daring to pull the veil aside, mid-revelation (the usual targets of unequal treatment, ergo harm). As usual, the state pimps the whore as zombie to shoot, vampire to stake, Gorgon to behead, etc. Cops as state servants (ergo vampires) rape, pimp/whore, by abusing the usual contradictions/double standards the elite afford them (during reactive abuse/preferential mistreatment). To challenge those with nudity is to illustrate mutual consent, mid-abjection: bouncing the violence back as something that cannot be ignored, a last will and testament fertilizing revenge.

This includes things slated for violence-as-nude, exposed mid-rape to highlight abjection; re: Cuwu and I, conducting ludo-Gothic BDSM (specifically choking, above), also but other workers, mid-fetish, who aren't obviously sexualized; e.g., Nex Benedict

Capitalism has no use for people who see each other as human; it wants us dehumanizing ourselves so capital can function as normal, moving money through nature at the cost of human life. Capitalism needs us to die, so we need to remember and honor Nex' humanity (source: "Remember the Fallen," 2024).

and Aaron Bushell

But you can't kill Medusa because her life-after-death persona represents things that aren't people, alone; they're structures and the genocide they cause seen in the final moments of the damned. Theirs isn't a question of blind faith towards a self-righteous cause, but conscious conviction towards a cause that is just (source: "Bushnell's Requiem," 2024)

These were ordinary women and soldiers. No matter. Capital pimps everything to suck labor dry. To that, warriors and whores share the same common ground, thus struggle, mid-rememory (re: Toni Morrison; see: "The Roots of Trauma, part two: Healing through 'Rape,' or the Origins of Ludo-Gothic BDSM as a Matter of Rememory (feat. Harmony Corrupted and Cuwu)." In other words, liberation is a conduit across a polity of peoples, ergo property policed by state power over space and time (the Gorgon is vast). Success demands paradoxical exposure, ergo speech (often through sight): the nudity of sex and force (the latter policing the former). Through public nudism, sex education demands a similar respect: to not look away from, but gaze vampirically at, learning the lessons required to prevent rape. Segregation is no defense; reversing abjection takes courage but also fuel (the vampire's "blood" to suck through the eyes, mouth, or genitals).

As fuel, sex and violence go hand-in-hand. Mid-abjection, sex isn't a weakness to feel guilty about and consume shamefully behind closed doors (of the bedroom and nowhere else; re: Foucault); it becomes our greatest weapon, mid-abjection (with asexual components I'll touch on, in just a moment)! A Numinous means of savoring the creation of new education, worshipping such things for that homewrecker potential, speaking out! Under capital, "home" = "rape," thus becomes something to expose through worker hypocrisy attacking the whistleblower. This can be militant forms, but also sex more broadly under which militaries control their territories on all registers. To make the land alien is to make its people and their bodies/sexualities alien, too, which they reclaim upon themselves: flesh and the power it holds. Fuel. Class war is ass war expanding to culture and race, but also land and labor as "wed": with violent, psychosexual elements, combining a variety of targets, disciplines and topics to reverse abjection: "Come and see." Harm haunts play—past ghosts, but also future reprisals for daring to say the quiet part out loud (that reality is plastic, below).

(artist: Mercedes the Muse)

Gentle or strict, poetic or literal, sex and force overlap to terror/counterterror degrees—are "kissing cousins" through Asprey's paradox, which workers cryptonymically reverse, mid-abjection: "Terror is the kissing cousin of force and, real or implied, is never far removed from the pages of history. To define (and condemn) terror from a peculiar social, economic, political, and emotional plane is to display a self-righteous attitude that, totally unrealistic, is doomed to be disappointed by harsh facts" (source: War in the Shadows). This includes sex as a terror weapon that speaks to police violence abjecting it, past-present-future. Harm haunts play while chasing the dragon (the classic vampire archetype, Vlad onwards): to look one someone who is raped to some degree, and whose viewing lets their voice be heard. Martyrs aren't always harming themselves, but opening themselves to harm in rapturous forms (the "death face" of Christ on the cross, martyred by the Romans; re: "Psychosexual Martyrdom"): the bastard or the whore as illegitimate, ergo criminal in some shape or form; i.e., for daring to speak out and be ourselves, showing the home as rotten to the core whenever it cries to gobble our testimony back up! The eye is a mouth—a fatal passage that, when taken, digests painful truths while healing from continuous abuse: a fragile sense of self, the whore couched in state illusion as something to break.

Whatever the form, such entities give something to see that cannot be ignored, and upon which carry a broader history of state violence: tactical unity staving said violence off. The state cannot tolerate this; nor can it fully hide any secrets it has, placing the violence thereof on counterfeits the elite control as best they can (scapegoats). Exposing state harm (ergo secrets) on what they can't control, liberators guide the larger abjection process: through intersectional consciousness/solidarity reared among workers already fetishized to death by state mandates. To look on the Gorgon, then, is to see things that can't be unseen, a shared struggle that takes many forms; to see a shared struggle is to let the vampire "in," sealing one's fate by smashing the nuclear home/Capitalist Realism between our legs: replacing spectres of Caesar with those of Shelley and Marx—a fighting of illusions with illusions, ghosts with ghosts, vampires with vampires, we clown-like troublemakers "storming castles" to dualistically "ravish" the inhabitants, mid-roleplay (re: "Camping the Canon," 2023). "Darkness visible," to camp harm is to play and to play is to give power to the players: the usual quests for power (the Numinous) reifying power "where power is" (re: "Interrogating Power through Your Own Camp"). "What a wonderful day for an exorcism," indeed!

Note: The above links all cite Volume Zero/my PhD, which concerns canon; i.e., as something to camp/"make gay" during ludo-Gothic BDSM in palliative-Numinous forms. —Perse

(artist: Alliesha Bay and Nathan)

However "blind" or one-way they seem, exchanges (vampire or otherwise) cut both ways, look both ways; i.e., with bedroom eyes—but also things hyphenating various body parts with the function of eyes and mouths—to send data (therefore power) to and fro: out of the bedroom and into the world, giving and taking through the miracle of pre-capitalist language to chase post-scarcity with! To that, abjection's furtherance denotes an intersectional problem (tokenism), one whose generational, virgin/whore trauma requires intersectional solutions to reverse when liberating sex work as "past" brought forwards (therefore the Gorgon); i.e., to universal, intersectional degrees (of consciousness and teamwork): worker vampirism's ludo-Gothic BDSM (rape play) challenging state vampirism/abjection and its routine tokenization abusing unpaid labor (sex work or otherwise). With a buffer of seemingly bare, powerless booties standing in for the Gorgon original (nudity as terror weapon, above and below), the whore's revenge against profit/pimp (therefore unchecked rape and exploitation) can manifest to calculate risk, paradoxically reducing harm (rape or otherwise); re (from "A Note About Abjection and Reversing It during Rape Play (re: ludo-Gothic BDSM)" from "Nancy Drew Syndrome*"):

*Which critiques Rebecca Watson, another "progressive" with liberal (therefore Zionist) tendencies.

Here and elsewhere, such baddies holistically explore the poetic history and application concerning Julia Kristeva's abjection process (The Powers of Horror, 1980)—one whose furthering boils down to "us versus them," and often in vengefully Freudian, monstrous-feminine language like the Gorgon, Amazon or witch; i.e., as "femme forte/fatale" tied to rape, pointedly their refusal to be victims by terrifying the usual suspects into inaction:

When Perseus slew the Medusa he did not – as commonly thought – put an end to her reign or destroy her terrifying powers. [...] (source: Barbara Creed's The Monstrous-Feminine, 1993).

(artist: Caravaggio)

This involves reversing abjection as a process (re: "Reversing Abjection," written in 2022 but published in 2025 alongside my extensive scholarship on Amazons/the monstrous-feminine); i.e., by utilizing such poetry ourselves, "on the Aegis": "on" meaning rape play aka ludo-Gothic BDSM as I coined it and "Aegis" meaning the paralytic, apotropaic function that Athena's mirror shield classically gives: always anisotropically in duality during paradoxical exposure under dialectical-material scrutiny (not psychoanalysis, which I absolutely hate; re: Freud, but also Creed, to some extent).

Furthermore, such defensive and offensive nudity operates classically per Amazons and Gorgons incorporating abjection during public nudism (and whose asexual performative elements we'll touch on, deeper in); i.e., mid-Amazonomachia as half-real (on and offstage); e.g., Samus and her bikini (above) and Angel Witch's colossal curves (and boobs, below) "wounding" sexist (wo)men similar to Medusa's severed head, thereby turning would-be abusers to stone (conditioned to freeze, vaso-vagal-style, when seeing something tied to rape*)! Nothing is more policed than sex (through force), so that is where our conversations "drop anchor": rehumanizing the "fruit" of the harvest; i.e., by using the same dehumanizing (monstrous-feminine) language in reverse (re: "Nature Is Food"). Capital and the Protestant ethic historically demonize whores to Promethean extremes; so do states under Cartesian thought (e.g., the USSR and Mao's China; re: "Raising Awareness"). Far from weaken us, though, the state turns us into objects of power they want; i.e., by highlighting what the state historically needs to "cheat Death": a Great Whore who happily says, "I can live without you, not the other way around!" It's not just a shield, then, but black-mirror memento mori to scare the elite with (on Promethean Quests/with the Numinous, which we'll unpack deeper in)!

Doing so happens over time among the Gorgon's avatars, sex workers those for whom the state routinely demands sacrifice from. When reversing abjection as whore's do (our aforementioned team), Medusa-in-small—the oldest profession tied to the oldest monster and struggles under state bondage—has the whore's revenge versus the pimp (re: "Rape Reprise"); i.e., state proponents pimping nature as monstrous-feminine "given flesh," eating nature and those "of it" as food (re: "Nature Is Food"): any and all slated for cannibalization under state trifectas, monopolies and qualities (e.g., monopolies of violence, terror and monsters, which qualify as Cartesian, heteronormative and settler-colonial, under capital; re: "The State: "Its Key Tools" in "Paratextual Documents")!

The state (and its traitors among the working class) eat their victims through dualistic poetics they cannot monopolize, demanding a fearsome world they paradoxically worship to rape it (out of revenge); we eat the state by exposing its predation in ways that reverse abjection, including public nudism mid-cryptonymy—in revolutionary forms sharing the same stage/aesthetic as our enemies (re: "Transgressive Nudism"): exposing the unthinkable "on the Aegis." There, we manifest abjection's reversal, ergo the state's loss of control/profit (thus ability to exploit us)—a moon less in actually size and more through implications of unchaperoned lunacy breaking Capitalist Realism. "When the Man comes around, show him your Aegis!" Camp the canon to "make it gay"; i.e., in ways that liberate sex work (therefore all work) through iconoclastic art (re: the title of my book series, which my friends embody over time: the time-space of these cathedral-esque books, themselves, and the "stacked" bodies featured inside them): the fruit that sees, plays music, or screams this or that (the Gorgon, siren, banshee) to convey the Numinous energies required to liberate ourselves from state illusions (fire with fire, shadows with shadows).

(artist: Angel Witch)

Doing so is easy enough; i.e., given the state perpetually demands whores to rape (thus scapegoat)—seeking more and more power in ways that empower workers through the very terror Capitalist Realism demands—the "moon" of the Gorgon becomes free to seek her revenge, mid-abjection: through power the state has given us to justify our own destruction, "fighting fire with fire." There's no end to it; the paradox of rape means there must always be somewhere, something or someone to overpower by state models—one that struggles under unequal arrangements, power something to give and take in ways that no agency can monopolize: nudity as terror weapon, one tied to the whore as the original monstrous-feminine "homewrecker"; re: "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). If we didn't have power to start with, the state wouldn't police us; in policing us, they've given us the means to be terrifying in ways they cannot stop: a black mirror, on which our consensual nudity reflects poetically their addiction—to our dogmatic suffering made sweet again!

An orchard in revolt, the monstrous-feminine fruit-in-question (e.g., Angel Witch's aforementioned "peach" and melon-sized knockers, above) refuses state dissection (re: "Nature Is Food"): through the fantasy of sex and reaping it, camped through ludo-Gothic BDSM to reverse abjection; re: the Gorgon's revenge avoiding harm by placing "rape" in quotes, mid-testimony through paradoxical exposure (the site of rape turned into a weapon of sex education, the survivor refusing to be a victim reducing risk of rape, reclaiming and healing land, labor and sex, but also monsters with monsters, hugging them in palliative-Numinous ways; re: "Policing the Whore," "Our Sweet Revenge," "Hugging the Alien," "The Quest for Power" and "Healing from Rape," etc): "Look but don't touch," mid-cryptonymy (the Gorgon classically a body part to pummel at/with, during mirror syndrome, virgin/whore)! "Come to mommy! Give her what she wants! Your submission, kneeling at her dark throne!" The bigger the "threat," the bigger the lesson (the Numinous designed to overwhelm when quested for, breaking powerful spells upon itself; re: Capitalist Realism).

(artist: Angel Witch)

To it, that same paradox brings consent into sharper focus by playing with endemic confusion; i.e., like those in the wild, but presented as code to play with/poeticize, including vampires; re: an aesthetic to intuit, long since codified: in ways that shape consciousness, maintaining the aesthetic as useful to liberation while "in chains." A cop's a pimp and pimps police property of all sorts, sex the oldest known to man. To that, abjection requires steady teamwork raising consciousness; i.e., to intersectional, dialectical-material degrees avoiding tokenism, which brings us to Alliesha and Nathan as my undead team's newest members! Gorgons-in-small, joining the club!

Alliesha and Nathan: Newcomers to a Larger Dialectical-Material Process

(artist: Alliesha Bay and Nathan)

Abjection, as we have shown, is a larger poetic process: one to have the whore's revenge upon. Of said process, Alliesha and Nathan recently took part, reversing abjection in ways I wish to acknowledge; i.e., as Athena/the Gorgon's shield and transmitter of data—as part of a larger dialectical-material movement, and which I can only prolong in short-form* media with continued assistance: "So when the Man comes around, show him your Aegis! Chase the Numinous and use the Medusa's hellish power—your hellish power—to humanize the harvest! Anisotropically expose the state as inhumane! Reverse terrorist and counterterrorist during class war as guerrilla war!" (source: "Kicks After Six: Always Another Castle"). Sex and war aren't separate, but neither historically avoid tokenism, either. "Gaslight, gatekeep, girlboss," nature is a monstrous-feminine whore to exploit as unpaid labor under Cartesian thought†; re: there must always be a whore to pimp under state models fearing tactical unity among the undead, demonic, wild, et al (re: "Rape Reprise"). Through the whore's paradox of exposure (the Amazon's nudity as armor, the Gorgon's as weapon)—and in suitably vampiric refrains the Gorgon entails—such devices aren't a weakness/means of unironic torture, but a playfully ironic (subversive) defense mechanism to convey liberation with by subversive parties: mid-consumption as "mere play" during ludo-Gothic BDSM/rape play (re: me vis-à-vis Gloggins, but also Plato and Milton; i.e., "darkness visible" of this-or-that exploitable stuff to indulge in, for educational aims; e.g., sex as "forbidden fruit," above and below).

*The series ending—at least in book form—in June 2025 (re: "It Began with a Whisper"), but surviving through future collaboration/public nudism's social-sexual critiques: sex workers having fun, but speaking asexually mid-apostacy to sexual violence (and rebellion) as vampires do; i.e., by bringing matters "of the night" to light: "Long is the way and hard, that out of darkness leads up to light!" Ace or not, give the prudes something to panic about!

†Something we've explored previously in "Raising Awareness" and "Nancy Drew Syndrome"; re: "To ask for capitalism to pay for care [and sex work] is to call for an end to capitalism" (source). Patel and Moore wrote this, in A History of the World in Seven Cheap Things. In turn, Cuwu gave me said book, stressing its powerful ideas through their own Aegis-like body: something to savor and worship for its awesome, transformative power! There's always another "castle" to explore and learn from, including echoes of itself, mise-en-abyme.

(model and photographer: Cuwu and Persephone van der Waard; source: "A Song Written in Decay," 2024)

Speech, whatever the form, matters because silence is genocide, upon which our bodies carry the code to break Capitalist Realism, mid-abjection. To silence workers, then, will always criminalize them to genocidal degrees—with paid labor silencing unpaid, time-out-of-mind; i.e., treating them like cataclysmic "homewreckers" should they speak (re: under Cartesian thought, heteronormativity/the nuclear model, and settler-colonialism; see: "Nancy Drew Syndrome" concerning the state's aforementioned qualities of capital monopolizing this or that). So does liberal Zionism blame the whore, therefore the victim who doesn't betray their fellows, mid-apocalypse (revelation); re: the Aegis as something for them to exploit, and for us to free ourselves with: on itself, onstage and off. The Gorgon echoes across all of us, therefore a shared consciousness and teamwork embodied by me, Harmony and Cuwu, but also Alliesha and Nathan, too: "doing a vampirism."

The Gorgon (and her fat sassy ass, above) is something to embody, mid-commodifying (the state eating us and we, the food, eating back through self-expression tied to larger socio-material goals; i.e., the Base and the Superstructure, which with our bodies represent/connect to). Out of controlled opposition into uncontrolled, fight fire with fire as policed workers; i.e., by using what states normally police to punch pruriently up with, instead: with sex seen as "violent," "terrifying" and so on, from pearl-clutchers lamenting Pandora "on the loose" under a Protestant ethic: the Gorgon being the (monstrous-feminine) whore to cage by the pimp, cops-and-robbers-style, since Ancient Athens into the Enlightenment/the Victorian period under Cartesian dualism, surviving into neoliberal Capitalism; e.g., Amazons, but really any kind of worker chattelized under patriarchal norms into capital; re: as the oldest profession, therefore labor struggle and demonization by state forces. We're "mere matter" in ways that shape consciousness, and which consciousness maintains matter through steady exchange, on and on: in and out, puncturing all manner of membranes (of the flesh but also Plato's cave, arm-in-arm).

(artist: Alliesha Bay and Nathan)

Again, our focus here is sex work and vampires—namely the Aegis as something to embody (and again, which I symbolize preferentially as the ass, below): our Aegis meting out a petrifying (anti-predation) call-and-response, reducing risk of rape any-which-way by turning our foes to stone. "Magic is magic." From a token standpoint, then, subjugated whores police subversive whores* like "gargoyles" (re: "The Nation-State," 2024); i.e., caging and kettling any who dare reverse the direction things normally flow power towards (thus abjection). We need a solution, generally by using what we already have: our bodies embodying the naked power the Gorgon excels at, hunter/prey in reverse (and vampirically embodies the mouth and its teeth—meaning to admittedly surreal, morphological-architectural degrees, anisotropically hyphenating different things to apotropaically ward off state harm/monopolies with; i.e., through highly poetic mergers of sickness, food, sex, force, etc; e.g., Giger's xenomorph both a lightning rod and a verminized "bug zapper" exterminating the exterminator, which our bodies can convey similar data/effects with).

*Re: "Policing the Whore": unpaid labor/the whore and its endless symbols something to blame and police rather than state defenders; i.e., pimping nature as monstrous-feminine in vampire-like ways, mid-DARVO: "Pimping nature and those 'of it' as monstrous-feminine (re: "Nature Is Food"), the state rapes by design using Gothic poetics, which workers can poetically reclaim through ludo-Gothic BDSM" (source: "Raising Awareness"). I, again, have numerous entries on Gothic's poetic nature (e.g., "Notes on Power," "Darkness, Doubles and Paradox" and "Of Darkness and the Forbidden"). Beyond those, I strongly recommend reading my entire Poetry Module, as well. 

(artist: Alliesha Bay)

Hence cryptonymy as Hogle presents it, and which I argue vis-à-vis Barbara Creed can reverse abjection with, "on the Aegis"; i.e., in classically monstrous-feminine ways (minus the Freudian psychoanalysis in favor of dialectical-material analysis): the body as a half-real* shield/site of exploitation, liberation and rape "sharing the stage" wherever power is stored/policed, mid-fetish (an object of power†, below). The ass is a mirror shield of sorts—one to hide behind but also attack terrifyingly from/upon; i.e., by using what Creed calls "her terrifying powers": the Medusa predating but also surviving mankind, suddenly (and always) on the prowl! Something to "back it up" with (an attack disguised cryptonymically as "distress," above), such things convey as much through humor (often bad puns, below) as raw courage (those these aren't mutually exclusive): a clever, vampirically dualistic means of scratching those who might lash out at us and our bare exposed bodies, exposing themselves when dropping the mask to pimp us as ostensibly unarmored/exposed (re: the "scratching method").

*Re: me, vis-à-vis Juul—not merely "between the fiction and the rules" (as Juul argues, 2007) but between stories and anything they attach to, onstage and off. Being a ludologist, Gothicist and pornographer with a holistic bent, I/Gothic (gay-anarcho) Communism happily marry this-to-that, mid-praxis: ass war is class war with cultural and racial elements; i.e., raising awareness and intelligence to universally intersectional degrees (see: intersectional consciousness under "Key Terms"). Embodying the Gorgon across space and time but also workers therein, solidarity (teamwork) and conscious go hand-in-hand (which we'll unpack, deeper in).

†Embodying the Gorgon as Numinous to palliative degrees (re: "The Quest for Power"): that Gothically abject, fear-fascination of/with Great Destroyers, nuclear perfidy/destruction, and false-home-in-decay during fatal homecomings—a revelation, exposing capital's genocide façade; i.e., during the liminal hauntology of war (danger disco) (re: "Paratextual Documents") or Gothic space/source of play whose poetic shorthand comments dialectically-materially on capital terrifying workers; i.e., in ways they can reverse during ludo-Gothic BDSM, putting "rape" in quotes:

When such a castle [or castle-like being appears, it is time to be afraid; the colonial harvest is at hand. Yet, precisely because the state does not hold a monopoly over violence, terror and morphological expression, a demon or castle needn't spell our end; it can represent our sole means of attack, reclaiming said poetics' endless inventiveness to turn colonizer fears back into their hopelessly scared brains (source: "Prey as Liberators by Camping Prey-like BDSM").

(artist: Persephone van der Waard; source: "It Began with a Whisper")

As Hogle also argues, sovereignty is a counterfeit furthering itself through abject lies; i.e., power is a lie to move socio and material advantage this way or that. In other words, the cake is a lie, so lay it on thick: "Gothic" replicas of the ancient original reversing nuclear home (and its counterfeits/their ghosts), mid-abjection, in an ironically post-scarcity direction. Anisotropic and apotropaic, such things start/end "with a bang"; i.e., from the Gorgon to Medusa-in-small having the whore's revenge versus the pimp; re: the state pimping nature as monstrous feminine "given flesh" (re: "Rape Reprise")! This cake belongs to us—is land, labor and sex back, in the flesh (re: "Our Sweet Revenge").

(artist: Alliesha Bay and Nathan)

In recently working with Alliesha and Nathan, I suddenly found myself flush with new teaching examples embodying the Gorgon-as-undead: hugging the alien, sex being alien in highly fetishized ways that workers fuck with to humanize themselves as already alien, fetish, criminal, abject. "Capital sucks," Marx once wrote (source: "Limits of the Working-Day"). When labor becomes not just dead (as Marx puts it) but consciously undead, we can suck back what was stolen; i.e., monopolies are a myth, including vampirism's "graveyard sex," mid-Gothic—the ensuing carnival of sex, drugs and rock 'n roll potentially liberatory when commenting on home as alien/vampiric (canon commodifying exploitation and liberation, side-by-side, which workers camp guerilla-style through sex work) Rebellion's not for prudes, the exchange of tit for tat generally more prurient than most revolutionaries care to admit (read: the paid sort pimping the unpaid sort, virgin/whore)!

To it, capital alienates and fetishizes/sexualizes everything in ways that occupy a larger vampiric mode of exchange; re: "where power is" to reify-then-camp. In turn, "we camp canon because we must," doing so vampirically among friends sharing accountability (of which many have recently taken part in the last month alongside Alliesha and Nathan, below)! Keep that in mind as we give our vampire thesis, then move into the original essay critiquing token "progressives" who won't share the blame.

(exhibit 1a2: Artists, top-left to bottom-right: Vera Dominus, Alicia Axiom, Who Is Eren, Naughty Nar, Iris Day Dreams, Pupstar Darina, Roelle the Rabbit, Puppy Bat, Scylla Blair, Clockwork Rhxbynn)

Original Essay (the Core)

The original essay did not have a thesis argument, nor did it "set the table." I added those afterwards, followed by the vampire addendums. While those articulate vampirism as not monopolized by state powers, their forebear focuses on little else; re: vampire function abused by token "progressives" conducting liberal Zionism when refusing to hold each other accountable. Said "core" references many things I would mention in the aforementioned addendums, though the context of vampirism is inverted in either case.

A Vampire Thesis; or, Vampires in Summary (and cited materials)

(artist: pagong1; cited: "Eat Me Alive; or Undead Feeding Vectors, part one: a Crash-Course Introduction to Vampires (and Witches)")

This piece, though dialectical-material, remains more conversational and poetic, but less thesis-driven; i.e., concerning Gothic's generational fascination with, and fear of, alienation, attraction, invasion, false inheritance, and compelled/voluntary bondage, but also: the supernatural and superstition, all things nocturnal, stealth and sin (with vampires basically being gay ninjas), predator/prey, parasitoidism, rabies and venereal disease (stemming from medieval psychology and physiological models, chiefly bloodletting and the humors), women's work and unpaid labor (from the ancient world, medieval period, Renaissance, Enlightenment, and Victorian era, onwards), female/monstrous-feminine avenger fears; accusations of sodomy, blood libel and witchcraft through persecution rhetoric*; feeding and trauma, power and death, resurrection, monster and myth, master and slave, transformation and exchange, and terror/horror lifted to royal, even Numinous extremes (raised and sunken, above and below). Radcliffean opera, these fetishized alien dialogs interrogate dynasty and collapse versus a refusal to die (recursion), social and material factors expressed symbolically as "cannibalism" and "blood," etc—vampirism, in a word.

*Canonically framing nature as "degenerate" (re: "Idle Hands"); e.g., goblins and interracial sex conflated with cannibalism, kidnap, defilement, bestiality and rape, etc (re: "Concerning Big Black Dicks" from "Goblins, Anti-Semitism and Monster-Fucking," 2025).

(artist: Alliesha Bay and Nathan)

Vampirism isn't strictly negative or even one monster type. From an undead standpoint, vampirism concerns feeding and trauma within demonic elements of radical transformation, unequal exchange and dark (animalistic) desire; re: "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 [raping] nature" (source: "A Cruel Angel's (Modular) Thesis").

Our focus here is theft through state vampirism, which worker vampirism—our focus being sex work—can challenge during intersectional consciousness and solidarity* sharing blame (and other things; e.g., knowledge, wealth, body fluids, etc); token vampirism, however, shifts blame away from state feeding: by blaming or otherwise targeting state victims for state abuse, cops raping the elite's victims DARVO-and-obscurantism. Cops send power towards the state, mid-vampirism; i.e., often targeting minorities/unpaid labor as relegated to the bedroom (re: Foucault), the latter fighting back, mid-relegating using the very things the state normally feeds on/with: as things to embody and seek out; e.g., metroids and those treated like metroids (the givers/recipients of state force) by those who embody such things in different directions, mid-apocalypse. Sex is abject (re: Alliesha and Nathan, below).

(artist: Alliesha Bay and Nathan)

*Mid-exchange, specifically labor exchanges illustrating mutual consent to synthesize good praxis; e.g., Alliesha Bay and Nathan (more on this, in "Setting the Table"; see: definition to "intersectional consciousness," given there).

In essence, and to give a thesis on vampirism and tokenism (indented for emphasis):

Liberal Zionism relies on intersectional betrayal to disguise state vampirism (exploitation, namely the cheapening of worker life by weakening their rights/siphoning their resources [re: "blood"] to enrich the elite), and whose collective betrayals—ranging across class, cultural and racial lines, therefore identity politics—recruit from marginalized communities: to tokenistically punch down at/with while avoiding blame and denying their crimes together. A cop's a cop, such clownish, bread-and-circus betrayals under liberal Zionism permitting vampirism through the "good cop" variety (for our purposes, cop = traitor = vampire in terms of function; i.e., bourgeois/petit-bourgeois). Black and/or queer saviors acting beyond reproach (or protected by those who treat them as such), these persons decry Zionism (thus genocide) when paying lip service, but do nothing to meaningfully challenge its aforementioned vampirism eating itself (often from the inside-out, below):

We expose not just the cancerous eater, but their desire to hide in homely spaces of feeding built to/for disguise. So does Gothic Communism share blame through intersectional consciousness and solidarity—the awareness and teamwork that result historically engendering dialectical-material critiques, outing token behavior and its habitual denial of self-predation (a form of silence, therefore genocide through vampirism; e.g., black/queer tokenism during American fascism/trans genocide achieved alongside Palestinian genocide, overseas). By throwing this exploitation back on itself and into relief, we reify and expose the performers thereof (often uncannily, below); re (from the Undead Module):

anything that serves profit gentrifies and decays, thus rapes itself and everything around it as a matter of police violence [...] American liberals and good-cop centrists elsewhere will ignore these realities until they can't, then condemn them with meaningless lip service that "both sides" everything and sheds tears at the funerals of those presented as "undead," hence doomed to die during state witch hunts: blaming black knights but calling their victims "terrorists," too. / To that, witches and fags [but also people of color] likewise decay into fascists! (source: "the Universal Feeding Mechanism of the Undead," 2024).

We show and reverse abjection in tell-tale ways; i.e., through the same undead language and infamous "white + black-and-red" aesthetic. Symbolizing life, death and power (and the many moral panics/value judgements that come with them), unpaid workers reclaim their own stolen essence: to aid nature and labor as monstrous-feminine by malnourishing state power to holistic, universal degrees—not a drop but veritable flood comparable to the Red Sea/raining blood umbilically back into ourselves: what the state crushes to death when trying to cheat death in vain (a taste of their own medicine). It's a memento mori, the human reaper (and harvest) meeting its terrible match when power flows the opposite way.

(source: Sam McHugh's "Kairo - Ghost Woman Scene - Sound Redesign," 2022)

These are topics I've already discussed in my book series Gothic Communism, and at great length/with far more theory than I do, here (e.g., Gorgons, Amazons, Wandering Womb [hysteria] and dark mommy dommes/Creed's monstrous-feminine during ludo-Gothic BDSM aka rape play, above, and Jordan Peele films/skits, below). So kindly refer to my cited material if you want to go even deeper/"put the pussy on the chainwax," yourselves (re: "reversing abjection")! Whatever disguise state actors use, we can, too; i.e., to advertise our own goals, mid-cryptonymy† (abjuring monopolies by outing token impostors "in borrowed robes").

(source: Key and Peele's "Pussy on the Chainwax," 2013; cited: "Shining a Light on Things, or How to Make Monsters: Reclaiming Our Lost Power by Putting the Pussy on the Chainwax")

Setting the Table; or, Giving Extra Context Before We Start

For context, I recently wrote "slurs aren't activism" (2025); i.e., regarding liberal Zionism: as something to critique dialectically-materially without punching down at someone's minority character. I concluded said article by stating how it's perfectly valid—therefore possible and necessary—to critique liberal Zionism (and settler colonialism/racism as a whole) without being bigoted; e.g., "Invincible Shield and Zionism" and "Is Metal Racist? Yes, It Is" (2025). Conversely, it's not anti-marginality to critique a given minority group (or its members) for demonstrably tokenized behavior regarding liberal Zionism; i.e., it's not a slur to hold minorities accountable, through dialectical-material context: to critique them versus ignore their token actions, however "moderate" those appear and to whatever quality, combination and degree; e.g., white moderates, but also black moderates with a "progressive" veneer, any and all laundering a given co-conspirator's liberal-Zionist pinkwash: pink eye from having their noses up each other's butts, but also rubbing such "Goldilocks vaudeville" in our faces—all to apologize for Israel and its crimes under Pax Americana (Spooky Scary Socialist's "yassifying a genocide," 2025)! It's Rainbow Capitalism serving Imperialism through liberal Zionism, token state buffers that scapegoat things they throw, grenade-like, away from the state/themselves (and their vampirism).

(exhibit 1b: Top-left: Abigail Thorn; top-right: Natalie Wynn; bottom-left: J.K. Rowling; bottom-right: Bad Empanada—source: "The Chickens Come Home to Roost: Transphobe Bad Empanada Goes Mask-Off," 2025.)

The fact remains, both good and bad (authentic/token) actors persist under canonical norms—so-called "bad" examples in canonical parlance effectively any who don't kiss up to capital and its vampirism (therefore cops); e.g., as Bill Browning describes, regarding queer folk:

(ibid.)

i.e., selling out as "good" (token) queers do, the latter playing as rebels but functioning as cops/false saviors (seeking academic respect while desiring the appearance of entertainment, dodging accountability). Per F.D. and Foreign Man, the same goes for straight token POCs betraying labor alongside token queers: through respectability as something to recognize but also creep into; i.e., while slowly giving up, "if you can't beat 'em, join 'em," to re-infiltrate one's home-as-vampire; re: dodging blame versus sharing it. As we proceed, we'll see this happen with F.D. and Foreign Man's muted commentary on Palestine, specifically their failure to critique Thorn for her liberal Zionism.

So does betrayal execute, and deny accountability/avoid blame intersectionally through in-group/out-group, paid/unpaid assimilation fantasies; i.e., in highly tokenized ways that don't preclude a good deal of performative activism, and operating within class, culture and race as things to betray while pacifying labor through assigned leadership (e.g., queer bosses* like Wynn and Thorn, but also black community leaders: any who sell out by uncritically aiding these traitorous, unironic vampire women). Accordingly, our "human centipede" embodies a wide panoply of token representation/vampirism: Thorn attaches to Wynn through imitation and status, specifically their being white, middle-class and trans; on Nebula, both women connect to F.D. and Foreign Man as black straight men; and all of the above link to Zionism as something to speak about through gender identity and race, thus indemnify Pax Americana, billionaires, Marxist-Leninism/fascism (exhibit 1b); and so on. None of this is controversial to state, though my critics apparently disagree—all while defending bullshit like this (and, by extension, the entire vampiric chain); i.e., this is who, ergo what, they're defending when they dismiss my work:

*From "Trans TERFs, NERFs, and Queer Bosses (feat. Natalie Wynn)" (written 2022, published 2025).

(re: Philosophy Tube's "Rationalising Colonialism - How the US Stole Indigenous American Land," 2025; cited: Quarantine Collective's "Why I'm done with PhilosophyTube"; timestamp: 18:24)

I understand lashing out; i.e., it's easier to scapegoat whistleblowers under Capitalist Realism, not systems and those who represent them, I-want-a-hero (re: saviors). Through DARVO, though, Doyle falsely accuses me of "harassment" and anti-blackness, effectively alienating my work (and that of my non-white friends); i.e., for incredibly tame criticism of people I consider peers worthy of critique, not enemies to entirely devalue and dismiss; re: F.D. and Foreign Man's mild tokenism while defending Thorn's manicured reputation (and vampiric career):

(source YouTube community post, 12/13/2025)

Doyle's denial turns both men into pedestaled victims/representations of tokenized order that I, the unruly queer iconoclast, "harassed unprompted" alongside Thorn. Denial is denial, DARVO a betrayal Doyle uses to completely ignore the systemic issues I address through these creators (who all work together): a conspiracy to hand-waive, selectively blind through token blind spots. Regarding universal victimhood for some (monopolizing oppression*), said spots view, treat and mistrust valid criticism; i.e., by reducing it to "ambush," in bad-faith—a diversion tactic similar to Bad Empanada, wrongly accusing me of "stalking" and "sexual harassment/assault" for writing "Raising Awareness," but instead focusing on other creators I'm allegedly "attacking." Instead of "Help, help! I'm being repressed!" it's "Help, help! They're repressing other minorities!"; i.e., in ways that downplay those groups' accountability alongside our own, concerning state vampirism. To that, black/queer people can sell out as much as anyone, doing so as part of a larger polity regardless of the isolation they impose/endure (with vampirism = queerness to marry the two):

*Often centered around a single group, one whose members mistrust minorities outside their communities. To that, and concerning POC, normative Afrocentrism and pan-Africanism-in-decay historically lead to reactionary but also moderate elements within these sectors (e.g., Sinners and black token vampires [above, 2025] but also black Nazis and centrism, in Castlevania: Nocturne [2023]; re: "Back to the Necropolis," 2024). Assimilation is poor stewardship, regardless; i.e., it's a profound disservice to their victims, including themselves, to suggest that minorities can't betray/abuse others and each other from behind minority status (e.g., Indigenous Peoples; re: "The Roots of Trauma," 2024). Regardless, state powers thrive on division, exploiting workers by compelling in-fighting and isolation, year-round; re: the only way to avoid this cops-and-robbers cycle (ergo exceptions per an Omelas refrain) is intersectional solidarity pushing towards universal liberation by holding each other [and our vampirism] accountable; i.e., by finding common ground despite our differences: sharing the blame as multicultural allies achieving intersectional consciousness/solidarity, not harmful gatekeeping and forced isolationism (the vampire in their castle†, redlined or not).

†Re: from an undead standpoint, vampirism concerns feeding and trauma within demonic elements of radical transformation, unequal exchange and dark desire; state vampirism stresses theft by taking from someone, but does involve giving back (usually the curse of undeath). Moreover, the space a vampire inhabits bears out the same anisotropic qualities; i.e., a vampire's castle is a morphological-architectural statement/extension of the owner and the owner is a feudalized extension of the castle to a similar-but-inverted degree. The owner sucks/speaks to vitality as something to suck; the castle drains its visitor's sanity and lifeforce in exchange for residence, each reflecting the other as part of a larger generational process. The castle seems human and the vampire fortress-like, built to withstand (and deliver) punishment to a BDSM, neo-medieval degree.

Rude and dumb, yes; odd, no. For one, many audience members view "criticism" as "attack," but especially when dealing with criticism of an academic caliber towards "heroic" people they want to emulate; i.e., by reducing activism to bourgeois defense, generally desirous towards a "self-made" quality actually propped up/divorced from accountability outside performative intersectionality. Anything else is abject, meaning reprobate: ripe for punishment, they're-killing-each-other (vampirism and cannibalism with a punitive function, below).

(artist: William-Adolphe Bouguereau, cited: in Broadmoor's "Camping the Canon" and my "Scouting the Field")

That's the gist. To continue setting the table before we get to F.D., Foreign Man and Thorn, I want to discuss two topics: intersectional consciousness, and the value of equally intersectional solidarity (teamwork) when trying to raise it.

Intersectional Consciousness; or, Unpaid Labor and Sharing Blame (to expose parasites during ludo-Gothic BDSM)

First, intersectional consciousness. Unpaid labor and sharing blame blow the whistle during ludo-Gothic BDSM as a team effort; i.e., reversing abjection during the whore's revenge versus profit (re: "Rape Reprise"), a whore the oldest victim of state power turned into a monster to continue raping labor/nature under capital: in ways rebellious workers reclaim, stressing home's alien but also false, vampiric status by killing one's darlings (the Gothic refrain). ACAB, including token actors and those who ride their vampiric coattails (from Wynn riding Hillary Clinton's, to F.D. and others riding Wynn's, to Doyle riding theirs, and so on).

(source tweet: Puppygirl Mao: July 3rd, 2024; cited: "Trans TERFs, NERFs, and Queer Bosses (feat. Natalie Wynn)")

Concerning abjection, whistleblowers are abject, the whore someone to blame in pimp-like, TERF/SWERF ways; re: DARVO and obscurantism; i.e., Doyle (and similar parties) adopting an aggressively parasitic stance to punish me for my slut's temerity (throwing stones in glass houses, allegedly). So do audiences hear "mild tokenism" + "F.D. Signifier" and conclude (from inside Plato's cave), "She called F.D. a race traitor!" or "She thinks Abigail Thorn is a Zionist!" It sucks when your token hero's a cop, even if only to a matter of degree; better to shoot the messenger pimp/whore, especially if they belong to unpaid/criminalized labor* (which sex work classically is, below). It's a witch hunt, generally one waged among minorities by minorities: for daring to speak out on ourselves, trouble-in-Paradise. Cops are parasites, official or not; calling them out prevents state predation, but requires intersectional consciousness (especially trust) to work, and which, in turn, requires ludo-Gothic BDSM: the playing with power as unequal (which rape, ever-present in Gothic, denotes), but also decaying as "mastery" out of/within "past" as highly plastic (Gothic Communism breaking capital's liberal/fascist monopoly on alienation and fetish, conducive to anti-predation through vampire aesthetics).

†With pimps/whores being the oldest labor struggle (and oppression), one vampires specifically and aptly represent through feeding and undeath: the evil aristocrat, the Gorgon incognito. Flow determines function, not aesthetic.

(artist: Kalinka Fox; cited: "Raising Awareness")

"Better to rule in Hell than serve in Heaven," but Western Liberalism (and liberal Zionism) police/purge Paradise of hellish "outsiders" who won't play ball (the foreign plot); i.e., by framing the minority whistleblower as "terrorist," "trouble-maker" and so on; re: as Doyle has done with me for criticizing F.D., Foreign Man and Thorn. Regardless of the truth/falsehoods those statements impart (re: "race traitor" and "Zionist," on vampires and state-corporate parasitoidism), betrayal is betrayal as a ratio, not a binary. Challenging said ratio (and its historical-material gradient) requires intersectional consciousness; re: under Gothic (gay-anarcho) Communism, dialectically-materially having the whore's revenge versus profit; i.e., by recultivating the Superstructure, and generally with Gothic's sex, drugs and rock 'n roll embodied (re: "On Twin Trees"). A whore without a pimp is a bastard, in canonical Gothic—a penetrator seeking revenge of all different kinds, vampires by wrecking the home for different aims. This includes blowing the whistle to set labor free through paradoxical exposure, the iconoclast fucking minds to fertilize them with rebellion: by planting seeds (re: the revolutionary cryptonymy process).

Whores can be whistleblowers of a vampire sort—using land, body and labor as married to Gothic poetics (nudity as armor and weaponry during ass war). Skillfully embodying the Gorgon as poster-girl educator and rebel (Blxxd Bunny and Loretta Vampz, above and below), they do so in highly flexible ways; i.e., that engender intersectional consciousness, seizing the means (our power) "on the Aegis" from alien cops-in-disguise (which black/queer saviors essentially are): the middle-class fear of pirates out from a barbaric "past," one come home to rob "us" blind (from Radcliffe's 1790s banditti revived from a false "15th century" onto Scooby Doo's [1969] Old Man What's-His-Name onto ever saucier, tongue-in-cheek variants, below). Exploitation and liberation share the same space, dormancy and consciousness imposed dualistically through the vampire's BDSM-style, cops-and-robbers threats—of "violence," "terror" and "monsters," ergo "rape" (of whatever), in quotes or not! "Badges? We don't need no stinkin' badges [to consciously intersect]!" So do whores have their revenge: seemingly through "mere play" while passing vital data along, everyone-loves-the-whore. The corruption is the data, a vampirism shared alongside bad actors.

(artist: Loretta Vampz; cited: "Gothic Ambivalence: Canonical Torture in the Internet Age; or the Wish Fulfillment of Guilty Pleasure, Bad Play and Sex-Coercive Demon BDSM"; written 2022, published 2025)

In short, it's a trade, one plied cryptonymically through performative code to roleplay and make (or break the) bank: system shock—a weapon to behold that anisotropically reverses terrorist/counterterrorist during rebellion played out, in highly magnetic ways (the vampire's animal magnetism); i.e., as true/false in dialectical-material ways, any aesthetic (and its argument) telling truth with lies for worker/state aims. Singular interpretation (and use) disappear in Gothic, whose approach towards intersectional consciousness ultimately remains a goal, not a given; i.e., when paradoxically abjuring canonical binaries/norms, Gothically expressing a shared, linguo-material reality as suitably "fuzzy" between two distinct functions (re: workers/state): friend/foe, cop/robber, nature/civilization, pious/profligate, ordinary/alien (abject), familiar/foreign (uncanny), retro-future (hauntology), show/hide (cryptonymy), denial/indulgence (temptation), modest/immodest, pure/impure, sovereign/subject, saint/sinner, virtue/vice, big/small (size difference), life/death, heaven/hell, dogma/degenerate, pleasure/pain, subject/object, man/woman, order/chaos, safety/danger, paid/unpaid, naughty/nice, kowai/kawaii, cowboy/Indian, Amazon (Spartan)/Athenian, virgin/whore, home/homewrecker, pimp/prostitute, ninja/nun, witch/waif, hunter/hunted, holy/unholy, etc (the bank teller or robber, above and below, also a sex worker to some degree). It's not just a blur but a battlefield—one to consciously intersect upon while synthesizing this-or-that, kayfabe-style bread-and-circus; i.e., where power is found, mid-performance, onstage and off; re: vampirism or otherwise, "on the Aegis."

(source: "Giger's Xenomorph")

Furthermore, such things aren't new, but—like a Gothic castle (or something like said castle's vampiric qualities, above)—feel new through constant dereliction and (re)discovery; re (from Volume Zero):

this book is about harnessing the awesome power of the Gothic double—of cultivating a Gothic counterculture useful to liberating sex work from capitalistic bondage, thus requires camping canon through holistic study of the larger aforementioned cycle; holistic study is the returning to, and reflecting upon, old points/dated expressions after assembling them in a powerful, fractally recursive way to understand larger structures and patterns' own divisions and replications across space and time, but also representations of space-time (source: "On Giving Birth," 2023).

and; re:

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 (source: "Shining a Light on Things").

Again, "we camp canon because we must" (from Colin Broadmoor to me, 2021 and 2023); re: during ludo-Gothic BDSM chasing intersectional consciousness (the palliative Numinous, below), onstage and off:

(source: "On Giving Birth")

So the Gorgon-in-small, mid-Amazonomachia, turns "rape" (and the alien-fetish language of sex, terror and violence that vampires help establish) into food for thought: forbidden fruit—one whose "sassy," torture-dungeon aesthetic (the vampire's the vaso vagal response) affords anti-predation potential; i.e., one to liberate from state vampirism while retaining a certain look/retraining its use for liberatory aims "in the pillory"! Sex/weapon hyphenate, as do poetic mergers of armor/weapon, nudity/clothes, and mother/monster during intersectional conscious and ludo-Gothic BDSM: teaching through calculated risk as something decolonized upon itself. In other words, it's both possible and necessary to enjoy something like vampirism while critiquing it (re: Sarkeesian), and which iconoclasts combine: enjoying what they critique/critiquing what they enjoy as two sides of the same coin; re: Athena's Aegis—with Amazons classically terror weapons (and cops) bearing out vampiric, Gorgon-esque qualities (the dark aesthete-in-question threatening rape-as-terror/causing paralysis when viewed under a Protestant ethic, below)! The Gothic conveys "rape" and "home" as one-in-the-same, under capital—fatal homecomings haunting the portrait as fatal, thus conducive to, radical change: an alien destructor-come-home, "shaking things up" death-on-two-legs, and something to mate with that brings on the fresh blood of vampiric learning (our instrument but also symbol* of profound monstrous-feminine revenge; re: the avenger pricking her pursuers while provoking them to attack).

*Often relaid in phallic language, per the femme forte/fatale/monstrous-feminine; e.g., Lady Macbeth as phallic woman: "unsex me here, / And fill me from the crown to the toe, top-full / Of direst cruelty" (source). Similar ideas extend to Archaic Mothers during the abjection process and its more vampiric elements; e.g., witches, blood libel, and the murderous womb (re: Barbara Creed, vis-à-vis Freudian models for which Gothic Communism camps, "making them gay" [similar to Marx, 2024] through dialectical-material analysis, mid-performance).

(artist: Yves Balak; cited: "A Cruel Angel's Thesis")

Such is ludo-Gothic BDSM attaining intersectional consciousness, communing with Medusa-as-Big-Whore/Vampire Queen. To it, we have all the power liberation requires, each iconoclasm setting sex work (therefor Medusa) free: to make trouble with by opening worker minds, darkness visible! "To interrogate power, you must go where it is" (source: "Interrogating Power through Your Own Camp"); play with it to achieve those aims, embodying the process to interact with, and in ways people reliably respond to (a Gothic castle in the flesh—a black church/dark queenly whorehouse of pain oozing cool factor but also vampiric flow of power, above and below)! Amid fractal recursion, mise-en-abyme, Gothic is all about that grey area—a canon/camp quest for the Numinous with Faustian and Promethean implications: to imbibe, embody and/or play with, reifying power as performance, therefore exchange breaking Capitalist Realism "on the Aegis"; i.e., by intersecting different things to gain consciousness, doing so despite dormant, tokenizing factors (assimilation a sleeping vampire drunk on the blood of one's friends)!

Endless forms, endless power to manifest, configure, and express "where power is; i.e., as "burnt offerings" and rings to occupy/wear/give (from Dante and Shakespeare, onwards). It's an invitation to assemble, then play out while taking roleplayers to sites of power/play that never quite were, and whose fearsome retro-future time capsules remind them that form/function are not discrete. Instead, routine decay of mastery under capital historically-materially yields up vampirism; i.e., with faux-religious implants, such installations routinely resurrected—meaning to Dracul (dragon-like) degrees, whose royal decrees symbolize/maintain power as something to understand, mid-ritual. By transferring through sight (and other senses), we reify a pandemonic standard to behold; i.e., in neo-feudal forms, and whose walking stigmata (miracle), vaso vagal, etc, establish metaphorically a paradoxical, oxymoronic*, voyeur/exhibit parody of religion: under capital retaining sacrificial rites, church and state not separate; re: Bakhtin's chronotope, or time-space, conveying dynastic primacy and hereditary rites in castle-like but also church-like ways: a vampire space adumbrating historical-material vampirism over time. In keeping with the medieval, these can be surgical or blunt-force, prandial or profane, plague-like and pious, etc. Power is power to get one's point across, however arbitrarily. Violence is yet another way to argue, hence discuss such matters, locking their flavor in but also releasing it: "I have what you seek, traveler!"

*Re: I have numerous entries on Gothic's poetic nature (e.g., "Notes on Power," "Darkness, Doubles and Paradox" and "Of Darkness and the Forbidden," 2023 and 2024). I strongly recommend reading my Poetry Module, as well.

(artist: Persephone van der Waard and Lydia; cited: "Concerning Rings, BDSM and Vampires")

Among other things, then, a psychomachy remains a vivid, cryptonymic abstraction; i.e., one to communicate but also marry power-at-odds (e.g., jousting knights and Amazons hauntologically bearing out similar badass, stormtrooper vibes—the warrior and the barbarian/whore/mercenary not mutually exclusive; re: "Predators as Amazons, Knights, and Other Forms of Domesticated, Animalized Monster Violence," 2024). Pleasure and pain are excellent teachers; i.e., not merely alone, but together through ludo-Gothic BDSM to achieve intersectional consciousness boasting a variety of "deathly" appendages (e.g., tits or ass, but really any body part one has fetishized to weapon-like degrees): "I kill when I wish and none dare resist!" and "I have weapons you would not dare use!" Pop off, queen! You've come to be the ruler of us all—a teacher/student arrangement, one whose unequal positions reduce harm once engaged: as something killer doll/doll house to poetically rediscover and open, puzzle-box-style, thus liberate Medusa, Pandora, Galatea, genderswap Pinhead, etc, as embodied concentrically and transformatively through mistress-in-small (ergo dominion and submission, sadism and masochism, through different Russian-doll paradoxes: of pleasure/pain, virgin/whore, etc; re: "Back to Jadis' Dollhouse")!

(artist: Loretta Vampz; cited: "Gothic Ambivalence: Canonical Torture in the Internet Age")

Such games are as old as states, ergo their lies. Equally old are ways to transform one's idea about games, from Plato onwards (re: Gloggins) and through Gothic; re: "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" ("Healing from Rape"). In short, trauma haunts survivors in ways that confuse different survival mechanisms, and which Gothic deals in said confusion; i.e., necessitating play to sort things out, forever confused: no perfect abusers, victims or survivors exist, weird attracting weird as those touched by the gods seek the gods out! Often, those historically disempowered by state models (women or otherwise) have only one mode of recourse, then, one which rape play neatly affords during ludo-Gothic BDSM. "Whore" = survivor to speak in different "ravish me!" refrains, calculating risk during play and imagination; i.e., summoning the destroyer—any and all forms, thereof—for those aims. It's not a weakness but a defense mechanism, and you'll know it when you see it:

(source skeet, raynpuddle: December 15th, 2025)

It's also not a means to "rank rape," but relate to others through "rape," specifically rape-as-discourse evoking however paradoxically the real deal (rarefying as "ancient," usually an antiquated "black knight" overtaking a smaller, classically female/feminine heroine; i.e., in the "jouster's" courtly love scenario; e.g., Tessai the golem vs Kagero the ninja girl from Ninja Scroll, 1993—below):

(source: "Demons and Dealing with Them; or Abandonment, Dark Worship and Vengeful Sacrifice When Dissecting Radcliffe," 2025)

To it, the imposter can shapeshift to meet the needs of the conquered, get-it-girl; i.e., when reversing abjection to reinvigorate ourselves, using the language of rape as normally policed and exhibited by state arbiters. Imagination is often all we have. Power is a myth to play with, then, and generally unequally during "rape," mid-performance (re: "Notes on Power"); it's seeming fatal or "toxic," but not exclusively dangerous, despite some tokenism being present (re: "Toxic Schlock Syndrome"). You take the smooth with the rough, returning to trauma to camp it knowing your abusers (and criminogenic conditions) are undoubtedly present, as well. It's a Black Veil—one to pull aside and remind you your abusers are gone, but how it feels to have their stamp of trauma linger on, within and all around you, candy-from-a-baby: "Show us on the doll where the bad man touched you."

Speaking as a rape survivor/former victim of child abuse, such "dolls" are necessary. Furthermore, the Neo-Gothic ability to recreate such scenes (and their awesome confusion, above) can serve us in profoundly educational, anti-predatory ways; i.e., not reinforcing stigma and stereotype, but playing with them concerning the survivor's acclimation to trauma: as something to forever live with/return to in Gothic maturity lacking in canonical forms (and often caught in the middle; e.g., Dragon, 1993—below):

(source: "Trial by Fire: Demon Muscle Mommies," 2024)

Conjuring up Numinous things to comment on systemic inequality under capital; i.e., home = alien, in Gothic—one whose nuclear model remains haunted by older abuse, and whose victims have tremendous power in terms of their axe to grind: to a seasonal degree felt year-round, the grim harvest of the Halloween whore come home to roost! Nature is monstrous-feminine; the merchandise, during the whore's revenge, becomes a weaponized sphere. By reversing terror/counterterror through a hostile planet-in-small, the alien beings "of nature," under Cartesian dualism, can reverse abjection; re: in duality by anisotropically reclaiming the Aegis upon themselves: "humanize the harvest, expose the state as inhumane" (source: "Paid Labor"). This happens by recognizing how we're alien, then hugging embracing such things to reach others with; i.e., on either side of privilege/oppression, finding common ground during ludo-Gothic BDSM (re: "Healing from Rape"). Paradoxically this requires some degree of fascinating with things we see as alien, including our bodies and those of our potential friends; re: of the fertile kind, loaded for bear to change minds with (different strokes for different folks, in that respect; e.g., Rose's hefty knockers, below).

(artist: Romantic Rose)

In conjuring the bastard or the whore (and their sizeable assets, above), such things are notably regressive doorways—ones to embody and activate, part-in-parcel, while investing in post-scarcity using pre-capitalist language (re: the Wisdom of the Ancients, or cultural understanding of the imaginary past): where players well-versed in such things see power for what it is/through bad actors; i.e., marrying things together using medieval metaphors (often bad puns) that seem disordered/oxymoronic, even crude; e.g., sex and death but also food—with "death by Snu-Snu" being not just "staking the vampire," 'burning the witch," "shooting the werewolf" through modernized guilty pleasure (re: "Gothic Ambivalence"; written 2022, published 2025), but a classic Athenian canard workers can optionally reclaim from state, their master/slave dialogs waging Amazonomachia virgin/whore into the present; re (from the Poetry Module):

(artist: Magion02)

My own quest for a Numinous Commie Mommy isn't so odd; capital makes us feel tired relative to the self-as-alien, both incumbent on the very things they rape to nurture them (re: Irigaray's creation of sexual difference). I'm hardly the first person to notice this:

As Edward Said astutely notes in Culture and Imperialism, most societies project their fears on the unknown or the exotic other. This barren land, where the viewers are kept disorientated, is threatening. It is a place between the familiar and the foreign, like part of a dream or vision that one cannot remember clearly. There is always a sense of a lurking danger from which the viewers need protection. Nikita provides that sense of protection (source: Laura Ng's "'The Most Powerful Weapon You Have': Warriors and Gender in La Femme Nikita," 2003).

I am, however, a trans woman who has gone above and beyond women like Barbara Creed, Angela Carter, Luce Irigaray and Laura Ng, etc, in my pioneering of ludo-Gothic BDSM: as a holistic, "Commy-Mommy" means of synthesizing proletarian praxis inside the operatic danger disco(-in-disguise), the "rape" castle riffing on Walpole, Lewis, Radcliffe, Konami, Nintendo, and so many others (re: "In Search of the Secret Spell," 2024).

That's my poison to pick, thus feed on while learning from; i.e., I know the arrangements of power I enjoy learning from: dark mommy dommes—with Gothic castles being perfect dommes because they can't harm you, but offer up the operatic highs and lows a palliative Numinous demands (re: "The Quest for Power"). Whores are cool; warrior whores are cooler still, their badass bodies sexy for their "Gothic," weapon-like double operation bridging all manner of gaps (ass or otherwise; re: revolutionary cryptonymy)! It's a spectacle, a Trojan whore lying on her Aegis to behead Perseus/the Patriarchy's rapacious qualities under capital/the state! "You've activated my trap card, nerd! Brace yourself!"

(artist: Harmony Corrupted)

Whoever said rebellion has to be dull? Language, in Gothic—and keeping with my ludologist roots married to sex work—affords a vital, social-sexual means; i.e., of play reifying piece and process as half-real, anywhere and everywhere. Leaning happens through playtime, and the aforementioned "fertilizer" has to come from somewhere; the best playtime requires aftercare, combating "rape" (state vampirism) in quotes; re: "Gothic" replicas of the ancient original (and its counterfeits/their ghosts, mid-abjection; re: Hogle), but also sites of compelling transformation; re: concealing their true function amid the ritual and its assorted morphologies (e.g., the Lament Configuration from Hellraiser [1987] a toy box to play with alongside its monstrous-feminine, dungeon-master owner). Doing so happens while challenging combined traitors of class, culture and/or race—meaning of differing intensities that don't reduce, savior-style, but pointedly raise emotional/Gothic intelligence and awareness. It's a testament, one to leave behind and endlessly rediscover, mise-en-abyme (circular time): "her tits were there." The lesson continues, long after the Gorgon has been killed/turned to stone.

(photographer: Bay Ryan; artist: Renate Verbrugge's "Mothers and Daughters")

To it, while beheading is a classic weapon to steal a warrior's power/conceal their identity, mid-genocide, Medusa doesn't strictly "lose" her power when beheaded; re: "When Perseus slew the Medusa he did not – as commonly thought – put an end to her reign or destroy her terrifying powers. Afterwards, Athena embossed her shield with the Medusa's head" (source: The Monstrous-Feminine). She's not always a victim, as I write, but can speak apotropaically to her own rape (disempowerment); i.e., in anisotropic ways that empower unpaid labor again, doing so by recognizing what was stolen and turning it back* into a weapon; re: Asprey's "kissing cousin of force" during proletarian counterterror. All you need do is show the enemy her head/terror weapon, "on the Aegis," thereby achieve intersectional conscious (the Gorgon's revenge) over time: land back, labor back, sex back (re: "Our Sweet Revenge"). Class war is ass war, the policing of sex through force turning sex into a terror weapon where force (to regulate terror) is always close at hand! So jam out with your clam out (from behind buffers to keep you safe; re: revolutionary cryptonymy; see: "Transgressive Nudism")!

*As I write in "Abjection Primer: Reversing Abjection and Cryptonymy" from "Nancy Drew Syndrome":

As something to further (and to reiterate), Kristeva's abjection process boils down to us-versus-them. By comparison, reversing abjection reclaims the language of abjection to humanize the alien; i.e., "on the Aegis" as corporal, but also extreme; re: with me taking Barbara Creed's monstrous-feminine to intersectional (and multimedia) extremes:

(artist: Harmony Corrupted)

To it, nudity (and nude "violence," if only from the pimp) equals a terror weapon* with no singular use; e.g., Harmony's aforementioned backside (above and below) functioning like the Gorgon's magnetic lure: to cryptonymically freeze our enemies in place (for fearing the whore-like body out in the open), but also empower ourselves through paradoxical exposure educating workers; i.e., to see what they might normally abject like a severed head ("blaming the whore," as it were, a "homewrecker" scapegoat to preserve nuclear models)! It's the apple to consume while centering the conversation around us, meaning in ways we control; i.e., despite state claims of sovereignty. Per Medusa and the abjection process, the "Numinous" becomes a double-edged sword—a deadly game of "dress up" workers have to play. Might as well "stack" the deck in our favor (re: the whore's revenge when calculating risk, reducing it through anti-predation schemes with fetishized alien flavors)!

*From Robert Asprey's War in the Shadows: "terror is the kissing cousin of force" (source). "Class war is ass war," I argue—Medusa the ultimate guerilla, waging as(s)ymetrical warfare between workers channeling Medusa-esque "vibes": "So when the Man comes around, show him your Aegis! Chase the Numinous and use the Medusa's hellish power—your hellish power—to humanize the harvest! Anisotropically expose the state as inhumane! Reverse terrorist and counterterrorist during class war as guerrilla war!" (source: "Kicks After Six: Always Another Castle").

[...]

(artist: Harmony Corrupted; cited: "In Measured Praise of the Great Enchantress")

From ancient to modern nuclear (nation-state) forms, the monstrous-feminine—be it big/small (Archaic/offshoot) phallic, intersex or vagina dentata—retains a vampirism that can send power in different directions, for revenge of pimps or whores.

(exhibit 2: Artist, top-left: Bay Ryan; top-middle: Persephone van der Waard; top-right: Shipwreck Valaroy; bottom-left: Persephone van der Waard; bottom-right: Clockwork Rhxbynn—cited: "Raising Awareness")

That's what my friends and I do while combatting tokenism (re: "What Sweet Music They Make!" from the preface); i.e., living whores tied to dead whores weighing "like a nightmare on the brains of the living" regardless of skin color, divisions of paid/unpaid labor, and other minority status*; e.g., Bay being Maori-Irish/non-white, me being white and American, and Clockwork and Valaroy being respectively black and non-white Americans, but all trans sex workers punching up, during Gothic Communism's holistic, all-inclusive approach (above): "sharing blame" by holding those in/with power accountable! Again, it's holistic, intersectional problems requiring intersectional solutions to consciousness; i.e., its historical-material wax-and-wane, under state bread-and-circus. We share the same stages with those who betray us, the same bodies, costumes and props.

*Camping Marx: 

Except the state doesn't monopolize any of this. So when the Man comes around, show him your Aegis! Survival is victory and victory is speech versus the pimp dressing the whore up, mid-genocide. Revolution reclaims the performance for workers, mid-aesthetic (versus a false rebellion using rebellious symbols; re: Parenti, Works Cited)! The historical fact remains: if we didn't have power, the state wouldn't police us; i.e., they fear us for what we have (and which they desperately want)! Use that to your advantage: play with power to bend it (thus the state) to your will, the whores of all dead generations weighing like a nightmare on the brains of the living (me camping Marx' "18th Brumaire," 1852)! That's what ludo-Gothic BDSM is, babes, and Medusa was a baddie to emulate in good faith (source: "Is Metal Racist?").

In short, it's a trust-building exercise, one tied to various socio-material projects with an intersectional bent: our "cathedral" but also "breadcrumbs," sprinkled towards and away from it, fable-like, onto old adventures made new once more. All share the same spheres of discourse, mise-en-abyme—one for which teamwork stays paramount, radical friends (specifically sex workers) helping radicalize all labor away from Capitalist Realism exploiting unpaid minorities, therein: so-called "easy prey" making it hard on state enforcers by achieving solidarity through teamwork. Said teamwork doesn't always last, in the moment, but can create lasting things that survive the makers, themselves; e.g., Cuwu's vampiric nature capsizing our relationship, but inspiring me through their teachings to formulate ludo-Gothic BDSM and write Gothic Communism, afterwards and upon further reflection:

(artists: Persephone van der Waard and Cuwu; cited, cropped*: "Returning to Volume One, Two Years Later," 2025) 

*Like me, Cuwu does sex work. Given the erotic nature of our shared material, I've cropped any colleges, here; i.e., when featuring them for this particular SFW essay (not my usual pornographer's approach, I admit, but one I'm trying out).

Intersectional Solidarity; or, the Value of Teamwork, Mise-en-Abyme

Having unpacked intersectional consciousness, we arrive at our second point: teamwork, aka intersectional solidarity (again, from the preface). Intersectionality requires friendship to work; i.e., friendship matters, whores uniting to survive state violence (meaning from actual and de facto pimps); e.g., my friends and I, Gothic Communism a banner to unite under and plan future action from: starting with Cuwu (something of a party animal, below), followed by those who came after them; re: Bay Ryan, Clockwork Rhxbynn, and many others* being "homewreckers" in the eyes of capital pimping us as usual! "What Sweet Music They Make!" focused specifically on my friends and I; here, we'll reprise the notion and apply its vampirism to labor struggles more broadly.

*See both my Acknowledgements page for the series and post-series for everyone involved in Gothic Communism (not just sex workers).

(source, cropped: "Challenging the State's Manufactured Consent and Stupidity (with Vampires; feat Cuwu)")

That being said, Gothic Communism originally started in 2022 as a respond to TERFs and SWERFs, including unscrupulous feminists and/or sex workers enacting state predation* (ergo vampirism). Whores can still tokenize—the Amazon the oldest token cop of the West/democratic model under nuclear orders (which demand slavery to operate, Ancient Athens onwards). Combatting tokenism through intersectional consciousness, then, requires teamwork that avoids selling out (re: "Regarding Tokenism and Fighting It"); i.e., teamwork makes the dream work, of which intersectionality is key across all fronts, mise-en-abyme (our focus being sex work/the monstrous-feminine): in and out of stories, of stories, of stories that unfold, onstage and off, back and forth, mid-Gothic.

*Generally by backstabbing their fellow trans workers; e.g., by accusing me "of not respecting consent" (re: "Setting the Record Straight, Transmisia Experience: 5/26/2023"), and whereupon illustrating mutual consent as I coined it (re: "Paratextual Documents") became a means of self-defense/sex education towards a public good under attack; re: the Aegis as a shield and transmitter of data.

To that (and keeping with vampires), cops are pimps versus whores, and both are vampires sending power in different directions, mid-aesthetic; re: the pimp's revenge and whores through classic symbols of so-called "hysteria" reclaimed through dialectical-material context (re: "Rape Reprise"): the apple to eat that, when consumed, also eats you (the usual virgin/whore paradoxes that Amazonomachia historically-materially affords)! Weird attracts weird, the Gorgon something to be, and whose mighty peach, apple, what-have-you, having serious pull when activated successfully (synthesized, mid-praxis, through daily habits that speak to her revenge; re: "The Basics of Oppositional Synthesis"): backing it up, turning the colonizer undead in Gothic Communist ways (so-called "Red Scare" useful to those aims, below, and something to identify in the world at large; re: "Red Scare; or, Out in the World," 2024). We're not just something to carve up, but "carve up" as we please ourselves! For us, "Ravish me!" is a command established through boundaries of consent, not territories of actual abuse:

(artist: Nyx; cited: "Regarding Tokenism and Fighting It," 2025)

To that, token traitors keep quiet/punch down through division while posturing as "saviors"; rebels speak out/punch up, denuding these cops like Radcliffe's "meddling kids" (re: "Radcliffe's Refrain"): rebellion historically the work of the young but also Young-at-Heart—those brave enough to envision a better world in the here-and-now, reifying "a stateless, classless, moneyless society" through the fearsome language of "past" (therefore past abuse). Doing so demands the very accountability token minorities will punish; i.e., when pulling down token veils, telling on ourselves/our fellow oppressed to combat tokenism and its expected revenge. Doing so is vital to expose a larger process of abjection tied to propaganda. In The Crowd: A Study of the Popular Mind (1895), Gustav Le Bon writes, "Whoever can supply [the masses] with illusions is easily their master; whoever attempts to destroy their illusions is always their victim" (source). In 2022, I reply (and publish in 2025):

Le Bon wrote this in 1895, at the beginning of America's geopolitical rise under Capitalism; but in the shadow of the most recent symptoms of Capitalism-in-decline, his words still carry weight in mirrored sentiments. The neoliberal is a master of illusion, hiding their worst atrocities behind a veil of all-encompassing media. These myopic illusions consolidate their own power in ways that break imagination. In 1956, Meerloo called it menticide, a rape of the mind; Hogle, a crypt of the mind. / In 2023, today's neoliberals commit atrocities like Reagan and Thatcher once did, using similar media control to present themselves in the best possible light—again, imposters. Not just themselves, but the neoliberal values they remediate through bourgeois canon—its "junk food" abjection, hauntology and disguises, etc, as "neutral" (source: "Introduction: Dialectical Materialism (with Monsters)").

The same "neutrality" becomes a kind of peaceful/critical immunity placed on chosen representatives upholding "peace" through proper resistance (the absence of tension, aka "negative justice*"); i.e., of the token sort, framed through concentric illusion as "progressive." You see it in Congress ("the Squad") but also on YouTube ("BreadTube"). "Neutrality" is just as much an inability for valid criticism to be waged, upon and from, regarding such persons: to attack them is to attack "real change," when in truth they're often praxially inert (token entryism and opportunism). Worse, they're defended by people who will go to war for them, thus their collective bourgeois interests: policing whores, and vengefully! We're biomechanical bugs to fetishize and squash, generally by other oppressed workers acting fascist in gargoyle-like ways (with some black men acting homophobic under white power structures, some women transphobic under sexist ones, and some trans people whorephobic under straight ones, etc; i.e., the state is white, straight, and male): fearsome inkblots policing or undermining a given church-in-decay as forever up-for-grabs, in duality! Such matters aren't just ontological to quantum/cosmic extremes; they're phenomenological—expressed through experience as notably surreal, mid-confusion (and for which mise-en-abyme reliably affords, below).

(artist: H.R. Giger; ibid.)

*Re: as expressed in MLK's "Letter from Birmingham Jail." Such moderacy doesn't limit to white-skinned moderates, but black "progressives" with moderate, functionally white tendencies under colonial models; i.e., Fanon's Black Skin, White Masks (1952) taken to its logical, liberal-Zionist conclusion: scales on the eyes, making various token exceptions where convenient. Here, the token savior buys into cunning recognition; i.e., during imperial decay and collapse, America the nation stripping away its disguise to present more nakedly as token police state; e.g., Kamala Harris being a black cop (specifically a judge, then vice president). Regardless, F.D. ignores her position as racist and sexist under Biden, carefully and conveniently shifting blame onto voters, not establishment structures ("I might need to update my post election takes..." 2025). In doing so, he overlooks (whether on purpose or not) a criminogenic etiology—one that tokenizes African Americans since Jim Crow. Racism may be extant, then, but it's still systemic. Except, saying "America is racist" like F.D. does isn't enough; i.e., because black people—contrary to popular belief—can be racist, too (more on this, deeper in): by defending the very structure Kamala serves. Tokenism is tokenism, but historically-materially takes different forms—meaning through divide and conquer over space and time's plastic (diffuse) ratios of privilege/oppression.

(artist: Fired Up Stilettos; cited: "Paid Labor")

To it, class war includes culture and race, yes, but also sex (aka "ass war" through unpaid labor vs paid gatekeepers, above and below); i.e., betrayals made by defenders of defenders of defenders of some facet of state apologia, and which warriors for worker rights share the same stage (stripper or otherwise). In turn, their subsequent monopolies are myths to uphold or break, as needed; e.g., whores can be detectives for themselves, while undercover cops appear more radical on purpose. Whatever the "look" (Gothic or otherwise), aesthetic doesn't determine function, flow (of power) does, all arbitrating in duality through dialectical-material scrutiny and conflict.

Function can be reactionary, moderate, or "progressive," in pro-state varieties; or can be radical in pro-worker forms state proponents (and their fans) attack: denying their fellow-if-differently oppressed a voice, but also its testimony mid-speech; i.e., under Capitalist Realism; e.g., sex work is work, a reality generally kettled by de facto cops telling doomsday spokespeople to "stay in their lane"; re: "To ask for capitalism to pay for care [and sex work] is to call for an end to capitalism" (source). To silence workers, then, will always criminalize them—with paid labor silencing unpaid, time-out-of-mind; i.e., treating them like cataclysmic "homewreckers" should they speak (re: under Cartesian thought, heteronormativity/the nuclear model, and settler-colonialism; see: "Nancy Drew Syndrome"). So does liberal Zionism blame the whore, therefore the victim who doesn't betray their fellows, mid-apocalypse (revelation):

(cited: "Introduction: Dialectical Materialism (with Monsters)")

To it, language is merely a tool to send power—anisotropically and in duality—to and fro. My friends and I holistically send it towards all workers, our Gothic (monstrous-feminine) varieties looking to combat the very selective, at times reductive blindness capital historically encourages (the paid "Omelas" sort): token workers defending sole educators, seemingly beyond reproach by wearing blinders to criticism (so-called "made it" or "pick me" vibes). It's pastiche—a "statue with blind eyeballs," as Jameson might put it, and one that mirrors a rebellious aesthetic with some degree of truth/skill: token people are oppressed (of which F.D. and Foreign Man are perfectly correct/skilled in navigating through their work), but oppress themselves (and others) through blindness-as-brand (and YouTube censorship, regarding sex work); re: selective blindness overlooking this-or-that in oft-reductive ways that appear "progressive." Except cunning recognition =/= a holistic pedagogy of the oppressed; it castrates workers with workers in favor of state's rights/selective liberation: through various concessions, their assorted half-truths (or lies of omission) framed inaccurately as "end all, be all."

"Power aggregates." When scratched by us, defenders of token content creators bleed for their heroes, and in worringly fascist ways—not always directly, but by proxy through outer defenders keeping outer gates; re: Doyle—a smaller nerdy lesbian YouTuber defending corporate territory across companies (above)—protects a conservative core that easily houses someone coming into privilege and to varying degrees of oppression; re: as TERFs and SWERFs do, all the usual buffers obscuring those facts, mid-DARVO. Whores—especially educated whores like me—are aliens to brand, therefore attack under a Protestant ethic obscured by liberal veneers; i.e., liberal Zionists lashing out for us being visible, thereby "scratching" the usual pimps in ways they'll try to monopolize, undercover (e.g., the token Star Wars nerd [surprise, surprise] attacking the iconoclast, Doyle monopolizing popular media and identity politics: their channel [and annoying comments] versus my independent PhD and subsequent book series—the latter written by a rape survivor seeking systemic rape prevention for all workers; i.e., by critiquing such media and consumers, alike, to reclaim it; re: "Before We Start" from "Nancy Drew Syndrome" and "I'm a Rape Survivor" from "Raising Awareness").

Betrayal of one's interests—class, culture and race, alienated and fetishized/sexualized by state power (re: Marx and I, 1844 and 2023)—is to partake in state vampirism through assimilation: selling out to cheapen life for some. That's how tokenism works, you see; i.e., state parasitoidism (vampires or otherwise), its cops and spokespeople cheapening life and language by pointedly liberalizing behind concentric veneers/"gobstopper masks" monopolizing Gothic (and other labor codes); e.g., Jordan Peele's Us (2019) showcasing black class (ergo race) betrayal/critique tied to the nuclear model* (all despite Peele's own Zionism, overseas; re: Shannon Power's "Jordan Peele Faces Backlash," 2023),

*One told through dark skin acting white (disguising Fanon's white mask/the pale vampire's visage with an ebony counterpart, below).

(cited: "Accommodated/Assimilated Minorities, part two: Trans TERFs, NERFs, and Queer Bosses (feat. Natalie Wynn)")

but also the Amazon/classic Gorgon (monstrous-feminine) myth chattelizing nature virgin/whore, mid-abjection (re: Kristeva and Creed; see: "A Note About Abjection and Reversing it during Rape Play (re: Ludo-Gothic BDSM)" from "Nancy Drew Syndrome"): a cop's a cop, a pimp's a pimp—policing sex, force and speech, the Gothic historically a larger mode to debate such things, mid-abjection.

Abjection, tokenism—call it what you will. A blind eye is still blind, regardless, and one that contributes to blindness as a socio-material phenomenon, over time; i.e., through partial sight, dividing workers in ways they clash with, under cross purposes. So does Fanon's Black Skin, White Masks currently intersect with "pinkness" and overall identity politics being monopolized: paid actors who protect their positions, doing so in a shared theatre occupied by holistic critics who don't; e.g., the Nebula umbrella's token POCs and GNCs, followed by those on YouTube playing token goon (re: Doyle the token lesbian lashing out in TERF/SWERF-like ways). All unfurl inside a larger modular and multimedia dialectic, one accounting for different degrees and flavors of marginalized in-fighting all at once; e.g., a trans sex worker such as myself, forced to defend her valid critiques from bad actors or, at the very least, bad arguments. Intersectional solidarity demands intersectional criticism, my doing so as a white trans woman; re: whose aforementioned specialty (education) lies in tokenism—the "shades" inside Plato's cave (so to speak) that, when worn for universal liberation, liberate through the self-same language-as-tool, reclaimed "on the Aegis": a paradoxical way to expose world and impostor alike through inclusive argument, its entire approach (as Gothic Communism conceives it) dehumanizing the alien through different ratios of privilege:oppression; i.e., for which insider/outsider might apply! White people can be alien, and black people can act "white" in ways that betray their class, cultural and/or racial interests: by mixing lies with truth, concession with punching up only so far.

As such, I readily recognize F.D. and Foreign Man's skill as token arbiters (and Doyle's lack thereof, defending them); i.e., they're not "always wrong," per se, but frequently right in ways that conceal/underplay when they're wrong. In short, I like their work enough to recognize its likeability needing critique. I thereby acknowledge how capital gentrifies and decays labor through social institution, at large—its illusory, ensuing delusions (and playing with said delusions, above) nonetheless tied to material conditions all workers comment on through different means, but generally the Superstructure (the Base denied to them, by state power); e.g., Gothic media, as I argue (the language of alienation with fetishized, monstrous-feminine qualities); re: "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" (source: "A Cruel Angel's Thesis").

Capital rapes by design, torturing workers towards odd things but notably Gothic ones: a silly-serious, virgin/whore gradient highlighting state harm (and lies) under Cartesian dualism, settler colonialism, and heteronormative dogma; re: "We camp canon because we must," and this plays out in suitably surreal forms of psychosexual theatre (e.g., graveyard sex, but also cops and robbers, below).

(source tweet, Katastrophe: December 14th, 2018; cited: "A Cruel Angel's Thesis")

This, in turn, applies canonically through tokenism, which historically-materially demands different select minorities to launder the systemic issues "at play" (to any color/rainbow that capital situationally requires); i.e., a cheapening of nature with which to move money through, capital/state vampirism devouring itself, workers and the planet under Capitalist Realism (re: me, vis-à-vis Fisher, Patel and Moore): by keeping silent on violence as much as committing violence, ourselves (as "saviors" [and their defenders] historically do). Silence is still genocide, the refusal to "kill one's darlings" a form of silence through censor-and-segregation; re: through class, culture and race reductionism demonizing all work, including sex, in poetic shorthand; re: the vampire's language of courtly love, whose ensuing terror and horror communicate paradoxically through Gothic: taboos reducing harm (therefore rape) when camped—through vice-character stigma, medieval bias, and guilty pleasure, among other things (the whore as much a pirate, mercenary bastard, Great Destroyer or Black Penitent, out from an imaginary past come forwards*, below).

*Re: the liminal hauntology of war (danger disco).

(artist: Anato Finnstark)

Truth through lies isn't always harmful, the Gothic splendid mendax (whore or otherwise) liberating through counterfeit since Walpole (and future medievalists, above): an occupation with "past" as poetic disruptor capable of snapping workers out of pro-state illusions with illusory language (the Gothic space of concealment, per the cryptonymy process reversing abjection). On and across different registers, then, we need to embody such things in "Gothic," castle-like ways: growing brave enough to level with each other as workers of different walks and stripes; i.e., by playing with them in ways that "feel rough," bruising their egos to Numinous, anti-predatory degrees (as the Gorgon does, apotropaic-yet-fearsome). Anyone can tokenize; we have to rise and stand against tokenism, one composed chimerically of potential friends who—by tokenizing however they have, in duality—cause systemic, therefore generational harm: something to share the blame with, once called out and while using the same language traitors do (e.g., shieldmaidens and Nazgul, above). It's code, one whose subsequent abbreviation and cryptonymy pursue different aims at once—those in the gutter (whores) critiquing token assimilators with some degree of protected, therefore canonical status. "We camp canon because we must," not because "pick me" types enjoy or understand it, mise-en-abyme!

All this being said, now that we've set the table—covering intersectional consciousness and solidarity in full—let's get down to brass tacks; i.e., regarding liberal Zionism/state vampirism vis-à-vis F.D., Foreign Man and Abigail Thorn: as bad token actors, insofar as liberal Zionism divides workers, reducing the consciousness required to combat state vampirism.

Brass Tacks, and Getting Down to Them

To that—and returning to F.D. and Foreign Man regarding Thorn's liberal Zionism (which Doyle, a token lesbian, denies)—I previously wrote:

I generally like F.D.'s work, but find it really sus/somewhat token that neither he nor Foreign Man in a Foreign Land can apparently critique their boss, Abigail Thorn, for her liberal Zionist views. Yeah, it'd be a quick way to get fired (a la Second Thought), but even so. Both men promoting her work and Foreign Man even interviewing her without any push back is pretty unfortunate (source YouTube community post, 12/13/2025).

I did so regarding two videos by two different black men, on Nebula (one American, one from the Bahamas); re: F.D.'s "Charlie Kirk and the Conservative Death Cult" (December, 2025) and Foreign Man's "The Rise of Homonationalism" (August, 2025):

Yet, Dani Doyle went on to accuse me of "anti-blackness," anyways (racism by another name)—making a statement so completely wrong (and profoundly dumb) that I couldn't resist firing back:

Except I've critiqued Thorn and Wynn before, and in the very research Trash cited (which you haven't read, apparently). So I resent the idea that this is anything spontaneous or inconsistent, on my part. Furthermore, it's not "anti-black" to hold black men accountable, my criticism of these men pretty fair, I think; re: "I like your work, but find it worrying/slightly token that you don't critique your boss for her liberal Zionism." Thorn's a liberal Zionist*, and neither F.D. nor Foreign Man has, to my knowledge, has said anything about her in a remotely critical manner, which would indicate a degree of silence on the topic, no? Tokenism is tokenism, regardless of why it occurs.

*Re: Being co-owner of Nebula, which fired Second Thought for refusing to toe the line on genocide. Moreover, her running defense of Israel in a VIDEO APOLOGIZING FOR THOMAS JEFFERSON GENOCIDING THE INDIGENOUS PEOPLES OF TURTLE ISLAND I think is adequate evidence enough - especially given she released it alongside Wynn's own Zionist take on the situation (with Thorn following Wynn's lead on virtually everything). To call Thorn NOT a liberal Zionist is academically irresponsible, on your part, and indeed, more anti-black (in terms of intersectional solidarity) than what you accuse me of. It's not "anti-black" to critique affluent YouTubers with a clear bias; i.e., for said bias regarding an obvious elephant in the room (re: Thorn's token trans position vocally pinkwashing Israel). I like their work, but also specialize in tokenism, and defending a liberal Zionist is token no matter how you slice it or who does it (source YouTube community post).

(ibid.)

Remembering that racism is extant and has been for centuries, I'll happily conceded that all workers are, to some degree, racist (even African Americans). However, I fail to see how fairly criticizing two black men qualifies, specifically two affluent content creators tied to profit; i.e., their being employed/acting as employees in ways that uphold capital, therefore white structures of power that include heteronormative elements (all requiring tokenism to function, mind you). Indeed, I merely explained how F.D. plugs Thorn, seemingly his boss*, uncritically. Likewise, Foreign Man straight up interviews her without mentioning her months-old defense of the Israeli ethnostate:

*Frankly this is me being generous to him and Foreign Man; i.e., I know for a fact that Thorn is co-owner of Nebula, a company with Zionist ties (re: Second Thought and his firing for refusing to toe the line, on Palestine). But if all are co-owners, this reflects even more poorly on them; i.e., "closing ranks" together to hold their tongues regarding Zionism as a group effort; re: Thorn saying stupid shit, which F.D. and Foreign Man help launder—one hand washing the other as part of a larger network of marginalized voices keeping mum. Silence is genocide!

And I'm sure some of you will be drawing parallels between the process that the United States went through with the American Indians [aka genocide] and the process Israel has gone through with the Palestinians since it was founded in 1948: illegal settlements, crimes by settlers tolerated by government, American presidents saying they just want to move in and take over the land—our question for today is, why is America the way that it is? And today in America, many people are protesting the actions of the Israeli government. You may have heard people describe Israel as a "settler-colonial state" [does air quotes like a spineless twat] (quoted in Quarantine Collective's "Why I'm done with PhilosophyTube"; timestamp: 18:24; cited: "Slurs Aren't Activism").

I, myself, would critique Thorn, in "Slurs Aren't Activism," footnote [3]:

(ibid.)

In turn, my commenting on F.D. and Foreign Man applied said critique to them, months afterward; re: through dialectical-material context, a chain with which nothing stays unrelated; i.e., they live in the same ecosystem—one affected by fascism and capital in ways for which none are immune, liberal Zionism a form of praxis all take part in; i.e., as different minorities (racial, in this case) keeping curiously quiet in notably cop-like ways: to apologize for the system by doing nothing to challenge one's paid position therein. "Saviors" = cops, specifically "good" cops; ACAB.

Intersectional Betrayal; or, Tokens Actors Enacting Liberal Zionism by Covering Each Other's Asses

I digress. A white woman, trans or no, can absolutely call out black men defending trans celebrities defending liberal Zionism (ergo state vampirism). Yet, Dani Doyle—rather than consider these statements (and my body of evidence, at large)—chose to scapegoat me, instead; i.e., by accusing me of "anti-blackness" for acknowledging this token behavior in a fair and relatively mild way. Except, it's not "anti-black" to hold tokenism accountable, anymore than it's "actually racist" to call Tommy Tallarico* a con man; re: F.D. and Foreign Man refusing to critique Thorn while plugging her shit, after she said what she said on Israel. They're sus, she's sus—their entire company bearing out Zionist elements. Equally sus is punching down at valid criticism by calling foils to liberal Zionism "racist†"; i.e., in the usual style that weird nerds historically employ (embracing their favorite creators by acting like "right much of the time" = "right all the time"). You can swap out each character for different races, classes and/or genders, and the meme still works: traitors, including race traitors of a "progressive" sort, defend the bourgeoisie and petit-bourgeoisie from valid criticism (themselves also being class, culture and/or race traitors [ergo state vampires] by refusing to critique Zionism, but also "critics" of Zionism, and critics of those critics, etc).

*A non-white con man (of material privilege) who called his critics "gaming racists" (according to another liberal Zionist, notably gun-shy when it comes to Israel—hbomberguy and his "ROBLOX_OOF.mp3"; timestamp: 14:54); i.e., whenever they called him out on his obvious con job, the Amico (one where he scammed buyers out of millions of dollars; re: "Hot Karl," 2025). Calling critics "racist" isn't a valid response, from token minorities, but a calculated (and effective) deflection from their own problematic behaviors.

†Zionism, and Western Liberalism as a whole, are historically ethnocentric, ergo racist on a fundamental level. To apologize for/otherwise conduct Zionism, then, is to be systemically racist to reactionary and/or moderate, fascist/liberal amounts; re: racism is already extant, and black people—including African Americans and men from the Bahamas—can absolutely be racist within a system thereof; i.e., similar to Jewish people being anti-Semitic when upholding Zionism, cops-and-robbers; e.g., Ze'ev Jabotinsky or David Ben-Gurion: as cops, or people apologizing for cops (content creators, academics, politicians, etc). If Jewish colonizers can betray fellow Jews (usually secular militant Jews versus diasporic, non-national Jews), so can people of color take Judas pay—meaning black men like F.D., seemingly more progressive than Obama. Nine times out of ten, this undoubtedly holds true. Yet, aesthetic doesn't determine function, flow of power does; liberal Zionism defends Zionism, overall, by doing nothing to hold it (and its vampirism) accountable, push-comes-to-shove—i.e., fulfilling the cop-like function of "property over people" by selling a particular promise through a particular brand of saviorism: "subscribe to our approach and everything will work out." Sound familiar? If Obama can apologize for the state (specifically "A More Perfect Union" [2008] and similar speeches dressing tokenism up), F.D. and Foreign Man can apologize for Thorn, who lie/apologize for them, for the state, for genocide, round-and-round. Tokenism is tokenism; re: whose modular degrees of class, culture and race don't reduce under scrutiny. Vampirism is vampirism, the state using it to feed in plain sight.

Furthermore, profit—from a material standpoint—is bigotry because it requires some degree of violence, therefore silence/denial regarding violence, to work; i.e., to exploit others for profit/the state (under all state monopolies; re: violence, terror and monsters). To help a cop is to be a cop. Here, mask-off fascism appears easy enough, whereas Western Liberalism whitewashes to adopt a "benevolent protector" role (re: MLK's rightfully bitter stance on white moderates, in "Letter from Birmingham Jail"). Compared to overt centrism or out-and-out reactionary politics, "progressive" tokenism has even more masks, under capital; i.e., by which to conceal exploitation through adopting the multicultural, selective language of tokenized rebellion and critique—meaning in ways that only go "so far"; e.g., speaking out on fascism at larger, as F.D. surely does, while curiously failing to hold his white trans boss/co-worker accountable, "when in Rome" (re: Omelas). These various concentric, imbricating disguises demand investigation—my having spilled so much ink, given these bigotries (and their material effects) aren't so obvious, up front; they're camouflage for state vampirism (which we'll unpack more, in just a moment):

(source YouTube community post, 12/14/2025)

The core issue remain the same, regardless—exploitation under fascism-behind-liberal, and one worth spilling ink to expose regarding spilled blood: how reactionary-to-moderate fans deify these persons, treating them (and their vampirism) like gods; i.e., that, when criticized at all, somehow constitute "anti-blackness" towards critics as the "real" Zionism(!). It's sacred cow argumentation, propping such people up as impervious and fragile (as vampires classically are). Except content requires critique, lest it fall into dogmatic thinking. Fascism starts with liberalism, whose impunity harms everyone (the predator preying on home soil). So interrogate that; make 'em squirm as workers should, holding de facto representatives accountable!

For example, in my response to Doyle (the precursor to this blogpost, above), I add how I wrote "Slurs Aren't Activism" to cover Thorn's liberal Zionism, myself; i.e., alongside Wynn's, noting how Thorn's prior statement (and dubious use of air quotes) discourages comparison; re: between Jefferson's America/settler-colonial project under Manifest Destiny versus Israel's aforementioned ethnostate reliant on American aid—money to be sure, but also liberal-Zionist apologia. Ever the charmer (another aspect of vampirism), Thorn tells her audience, gaslight-gatekeep-girlboss: "it's not genocide" regarding Israel, but was genocide for, as she calls them, "the Native Americans" (re: Quarantine Collective's "Why I'm done with PhilosophyTube"; timestamp: 18:24). But good news, y'all: "Jefferson didn't get what he wanted; Indigenous People are still living in America, today!" Seriously.

(ibid.; timestamp: 15:17)

Not only does Thorn do this with all the grace of a shameless ringleader cashing in on state bread-and-circus; she does so while speaking over, but also for, Indigenous People she purposefully misrepresents for profit—i.e., when they really don't want to her to;

(source)

e.g., Coyote & Crow rightfully noting how Thorn's insufferably smug treatment of Indigenous People feels like a dishonest prop (above)—one tied to a brand set to make Thorn (and company) lots and lots of money provided they lie (as vampires do); re: "Jefferson 'wasn't successful' because not all the Indigenous People died." Hearing that, I can hardly blame these groups for not trusting her as much as F.D. and Foreign Man apparently do (whose lies told by Thorn don't impact the lives of, people of color a different minority group than Indigenous Persons): they know when they'd being preyed on. Bear in mind, F.D. and Foreign Man aren't audience members, but fellow employees who likely would have insider information on Thorn's content. Yet, they were all-too-happy to plug her work and keep quiet about it, anyways; i.e., versus those without material incentive to do so, who are much more critical. Gee, I wonder why.

To be clear, it's not because F.D. and Foreign Man are stupid—they're relatively educated men, specializing in the Humanities (with Foreign Man having a master's, for instance). Instead, their shared silence owes to how each "turns a blind eye." Thorn calls this denial—a standard she doesn't apply to her defenders and they don't apply to her. Instead, both ignore her egregious statements on Indigenous cultures, keeping quiet so all can feed, mid-denial. On paper, they seem universally polite/woke; i.e., as vampires so often do—comparing favorably to Bad Empanada, punching down at "identity narcissism" (a term he applies to Indigenous People as much as GNC folk, below). In practice, though, profiting off genocide is the opposite of polite, something F.D., Thorn and Foreign Man doubtlessly understand. They only have to look better than other hypocrites (re: Bad Empanada, below), cash their checks, and move on. A drop in the overall bucket, their doing so is still tokenism, ergo vampirism aiding state projects in liberal ways (re: Zionism).

(source YouTube comments: Persephone van der Waard's "Essay No.7: Transphobe Bad Empanada Goes Mask-Off"; cited: "Raising Awareness")

Furthermore, such framing isn't "silent," but vocal in highly privileged ways, mid-tokenism. A cop's a cop, one where Thorn's racially token comrades come to her defense: by continuing to advertise Thorn, "one of the good ones," as trustworthy within a larger monetized brand haunted by settler colonialism. Serving private property to a middle-class degree, their opportunistic predation brands less like "edutainment" and more like real-deal Education™ (that you pay for, of course). It frankly feels like Black Excellence, one steeped in a "progressive" aesthetic allowing different groups to bullshit their way around Zionism, then posture assimilation vibes; i.e., while crowing their achievements to Indigenous chagrin; re: "cunning recognition," one whose marketed "pedagogy of the oppressed" conveniently excludes different voices, mid-representation—all while playing dumb, mixing truth with lies (on purpose or not) and publicly counting beans: blood is blood, money a form of stolen labor on stolen land (one populated by tokenized settlers, many generations in).

(source YouTube community post, 12/11/2025)

And while I've no doubt some of the money, for instance, will go towards helping the community F.D. belongs to (whose Charlie Kirk video [above] ties to the same Nebula brand that Thorn and Foreign Man do), I'm also not his accountant/advocate. We shouldn't take this at face value, regardless, but remember how he—alongside Foreign Man, Thorn (and Wynn, for that matter)—all belong to a shared corporate brand; i.e., one they use separately-and-collectively to apologize for/with vampiric images of automatic correctness and financial success: celebrity minorities, shamelessly "getting that bag" while talking in seemingly positive ways, all affecting other minorities impoverished differently to their chosen representation. Such actions aren't intersectional solidarity because that requires not fucking over other groups while lying through one's teeth (and counting cash, above)! Such is liberal Zionism—a parasitic sham whose shared lie uses inclusive freedom to exploit; re: for "negative justice," token traitors coldly exploiting settler-colonial victims tied to profit and diversity politics. A mask is a mask.

Even so, the word of tokens—taken at face value—isn't totally useless; i.e., when challenging fascism for all, we might expose on its hypocritical face: by showing ourselves off through their response. Specifically as things token assimilators prey on, they manifest not merely as repulsed and enraged, but equally indifferent and knowing-better through various compatriots and proxies. Vampires—at least the classical kind Stoker monetized—can't reflect. Use that to your advantage, both as camouflage from state predators and a vital means of outing traitors mid-inflammation; re: "on the Aegis," a mirror shield providing cover and relaying information through poetic language: the Gothic, half-real theatre of impostors, but also scapegoats during blood libel (and bloody exchange, below).

(artist: Eves-eme; cited: "Old-World Horrors: Red Hook's Nazi Vampire Bug Mom" in "The World Is a Vampire")

Concerning Vampirism (of the liberal-Zionist sort)

Vampires can be camped (above). When it comes to Zionism, however—specifically liberal Zionism—black straight men and white trans women tokenize, arm-in-arm sans irony. Show ponies to trot out, they say "genocide is bad" or "America does Imperialism"; re: paying lip service without challenging the status-quo around-and-among themselves. F.D., Foreign Man and Thorn—all represent a multicultural cone of silence to deny genocide with, one whose controlled opposition keeps silent while saying plenty to keep getting paid (blood money). "Silence," here, isn't acknowledging genocide, period, but prohibiting surgical, abject critiques in favor of broad, unspecific statements (and stalemates); i.e., whose flashy platitudes sound progressive but avoid radicality (and blame) in favor of market profitability. And this, dear readers, we can expose—a mild tokenism (vampirism) like F.D. and Foreign Man's, tied thrall-like to increasingly "master" varieties, from Thorn to Wynn aping white, straight male (nuclear) models.

To quote Thorn, herself: "It's that pesky capitalism that keeps getting in the way" (source: Ollie Kaplan's "Abigail Thorn Reminds Us That Hollywood's Response to Strikes Is Bad for International Labor," August 2023). Shame this hero status applies to her but not those she cheapens by downplaying Zionism, in 2025. She's a twat, specifically a traitor posturing as "noble":

(exhibit 3: Ibid.. It literally took years for Thorn to say anything on Palestine; i.e., keeping quiet early on, versus speaking out right after October 7th; re: as I did; e.g., "Justice for Palestine," October 2023. She's a fraud, one with blood on her hands if only to a liberal-Zionist degree. "Out, out! Damn spot!")

Again, tokens are traitors to a vampiric degree; i.e., traitors care more about money than speaking out, which means they can be bought in vampiric ways, using state coffers. It happened with Wynn, and arguably with her friends imitating her veiled predatory business model*: traitors, one-and-all, chasing the same delusions, but also formulas of "monetary success = praxis," "drinking the Kool-Aid" in more ways than one! For one, they often think/call themselves "noble," until suddenly they're too rich (and stubborn) to care: insect politics, eating their own by drinking the "blood" states harvest, mid-genocide. Uncs and tenderqueers, their vampirism lacks critical irony but has all the unironic bite of state predation dressed up (re: as "progressive," but couched paradoxically within and between theatre [entertainment] and education)!

*Specifically BreadTube, which F.D. still belongs to; i.e., despite saying "BreadTube been dead but nobody listens to me" (2025). This statement is both a deflection and mischaracterization: BreadTube is undead, and so is F.D. to a degree! To it, you can't just say something once then cash your checks, my dude! That's called selling out. Share the blame!

(exhibit 4: Artist: Natalie Wynn; cited: "Preface: Inside the Hall of Mirrors." Fascism merges corporation and state, wrote Mussolini [source: Chip Berlet's "Mussolini on the Corporate State," 2005]; Western Liberalism cloaks capital's vampirism behind façades of "intersectional solidarity" [counterfeits]. Despite appearing genuine, the process remains vampiric and opportunistic—selectively quiet in its speech when it should be targeted-but-loud; e.g., pointing out how liberals—including token liberals enacting Zionism behind a progressive veneer—default to establishment norms, when push comes to shove: "trust the process." For example, Wynn said "Vote Blue," in 2020, focusing on establishment harm reduction inside her tokenized bubble: while holding her nose, but conveniently making a killing while sucking patron funds [drenching her Antoinette cosplay endorsing such realities, above]. It's neoliberal, effecting GNC and POC alike; re: a spectrum of race and queer traitors, interwoven under liberal Zionism [therefore Imperialism] come home; re: Kamala was racist, too! So is any systemic division; i.e., on either side of the proverbial fence;

e.g., Muhammed Ali [a known monster movie fan with his own black-and-red aesthetic, mid-bloodsport—above] saying on record, "A black man should be killed if he's messing with a white woman" [source: "Playboy Interview: Muhammad Ali," 1975]. That's racist for being exactly what the colonizer would say [not to mention, Ali was a millionaire, at this point].)

"Capital sucks," Marx once wrote—with Natalie Wynn selling out, pick-me-style, much like the Wilsons chasing nuclear ideals, in Peele's Us (and which I compare, side-by-side—above): intersectional betrayal, hard at work and decaying afterwards. Wynn did it, gentrifying arm-in-arm with her performative "enemies"; F.D. and Foreign Man do so with Thorn (who famously chase Wynn's mythical success)—all falling into the same seductive-yet-vacuous traps that give a shared opportunism away (which Nebula and YouTube largely are). That's plain enough, provided we apply to them what they won't apply to themselves: a mirror, one that reveals how such betrayals have historically-materially happened before and will again, on and offstage! The world is a vampire, one whose ability to suck must reverse the flow of powers towards and among all workers; re: by killing our darlings to outlive their predation, all by using the same (dualistic) language of alienation and fetish to empower ourselves/comment on abjection; i.e., as something to reverse, mid-camp: ludo-Gothic BDSM hugging the alien, the criminal—the dreaded monstrous-feminine from either side of privilege/oppression*—to achieve connection and reduce exploitation, mid-aesthetic† (to place "rape" in quotes while commenting on rape without quotes, consent and coercion a razor's edge). Play = power and education; so play with forbidden things, including interracial critique, to reverse abjection, therefore tokenism/state vampirism.

*I.e., the lady and the tramp but also the pauper and the prince; e.g., Gothic damsels and courtly love, wedding demon lovers to regain connection (re: "I'll See You in Hell").

†The vampire's classic black-and-red look historically paired with white: black-on-white bonds through forbidden, transformative exchange—of sanguine, knowledge, essence/vitality and anything else; e.g., trauma as something to feed on/with to transform in ways useful to workers and actual rebellion (not false rebellion stealing unruly language for profit; re: Parenti's Blackshirts and Reds).

(cited: "The World Is a Vampire")

The blame must be shared, the betrayals laid bare, mid-attrition; i.e., that it's not enough to merely join hands in performative solidarity and gestures thereof, but actually pass a more radical, self-critical message along through parallel chains (and societies): exposing traitors of all walks, many coming inside after leaving their fellow oppressed behind! Selling out is selling out; Western Liberalism (and its Zionist apologia/state-corporate vampirism) lets in more people of different walks inside state buffers (the middle class). The bargain is Faustian, its token price of admission omerta—one covering not just for themselves but each other as complicit across space and time, therefore class, cultural and racial lines wedding oppression to privilege until it gentrifies/predates on its fellow oppressed, fleecing them of this or that. Betrayal is betrayal, and we don't need our jailors or their hypnotic charms (token or otherwise); we can free ourselves, be our own vampires that aren't bourgeois, using what we got (what the elite and their servants steal from the start)!

(exhibit 33b2a1b2b; ibid.) 

Camp aside, so can black people and white—straight or queer—deny their own embodiment of stigmatic labels like vampirism; i.e., crossing boundaries, out of desperation and convenience, to horrifyingly betray the working class for their blood (a metaphor for stolen land, labor and equal rights, etc): the token Judas, enacted through compound hypocrisy and solidarized betrayal to enforce dogma upon different out-groups. It's prison gang behavior, the holocaust out-group "making themselves useful" as temporary guards to avoid the flames but for a time (a liberal reprieve inside the police state). Again, assimilation is poor stewardship, which the elite bank on (and who have more than enough wealth to tempt out-group members with; re: Nebula a constellation of token "saviors").

"Et tu, Brutae?" The Value of Intersectional Criticism/Sharing Blame

Keeping with Gothic, the call but also the exit occupy the same liminal, concentrically ravenous home (the infernal concentric pattern; re: Aguirre): on the fatal portrait, only waiting to be found once blame is shared! Bounce it back!

(artist: Asu Rocks; cited: "Preface: Inside the Hall of Mirrors")

As such, there is always another castle/another princess in another castle to whisper, then scream whatever needs to be (re: "It Began with a Whisper"). The prey must liberate themselves*, the Gorgon/unruly whore a kind of vampiric pedagogue; e.g., dark mommy dommes and queenly intimidation, but also Alice-style arrested development (echoing Peele's fascination with uncanny chattel animals, above). It behooves critics of all genocide to be dialectical-material in their approach, hence doubled poetic thorn in the side of all token actors tied to profit-as-Promethean; i.e., because increasingly centrist, thereby reactionary rhetoric, skulks unavoidably behind bands of seemingly "progressive" employees' diversity brand (the vampire's lack of reflection). Layered through different talking heads, scratch them and see how they bleed; dissect their words and actions to see whatever rotten core lies beneath—on the surface of, layer-by-layer—these caramel onions' pretense of "diversity": something that decays, outwards to in, towards that awful center. The function is always white, straight and male, the sacrifice whatever tokens deem necessary but often people more/differently marginalized than them. Privatization loves a "progressive" glow-up, armoring itself with its own token prey, mise-en-abyme:

*For more on this idea, refer to "Prey as Liberators"; see, also (re): "Concerning Rape Play: a 2025 Note on My Development of Ludo-Gothic BDSM."

Even so, the state is always hungry for more—a voracious appetite demanding blind eyes towards selective cannibalism; i.e., which Zionism, ergo racism (and liberal apologia, below), require on state/corporate levels: of which F.D. and Foreign Man also ignore alongside Thorn (who all have careers to think about, emulating Wynn [and their vampirism imitating bigger vampires, above and below] to a matter of degree). To defend one is to defend those that person defends (and that person and that person: F.D. and Foreign Man > Thorn > Wynn > Clinton), imitation the sincerest form of flattery denying the same-old feeding process, DARVO-and-obscurantism: liberals are fascists with more masks, feeding and lying (about their bad breath [garlic or otherwise] and red-flag threads) all the same.

(source tweet, KlonnyPin_Gosch: July 9th, 2025; cited: "Slurs Aren't Activism")

Zionism is a gradient, then, one whose liberal side occurs in moderately token spheres ignoring the heart of the problem; i.e., Thorn's modular pinkwashing (versus Wynn's), intersecting with F.D. and Foreign Man—the latter straight black men defending Thorn, on YouTube (a company that tokenizes workers to aid in Zionism); re: to such a degree that intersects with/plays defense for token trans women like Thorn and Wynn, and those they and their liberal Zionism defend with POC help, quid pro quo (the "X-Men problem"). A bigotry for one is a bigotry for all and profit = bigotry. Yet, everyone here "plays ball," upholding the same structure anyways; i.e., by keeping quiet/acting surprised/playing dumb regarding historical-material conditions when it suits them (and their wallets—a quality that F.D., in particular, likes to brag about: "keepin' it light*"). It's MLK's "silence of our friends," which F.D. and Foreign Man effectively achieve while plugging Thorn's work uncritically alongside their own: "buy our stuff." That's incredibly irresponsible on both men's part. However, it's equally harmful to defend said men, ergo the token trans women they protect, in token liberal ways; i.e., by keeping silent, all whilst their fans discredit my anti-Zionist work as "anti-black"; re: as Doyle does: like a cop, if only a stochastic one scapegoating genocide (specifically a gatekeeper treating me, a multi-book author and academic researcher, like some degree of "hysterical," "full of hot air," etc; re: "We're not the vampires, you are!").

*Activism stops the moment you grow silent, my dudes. If you want to relegate your activism, off-site, that's your prerogative. It doesn't change the fact your work has become moderately tokenized, therefore liberal over time; re: by refusing to say the quiet part out loud, each and every time. "There must be struggle," said Douglass, and if you give in/stop struggling on YouTube, that portion of your work has tokenized by selling out. Simple as that. Hold your peers accountable, including yourselves!

ACAB, remember? It's a business model, one that requires cops, ergo traitors, ergo vampires as liars who feed in lair-like homes conditioned for it: a study in scarlet giving such predation (and infiltration) away "on the Aegis." "Something is rotten in Denmark," insofar as the dark reflection threatens to infect activism, from an early age (vampirism classically a venereal disease comparable to rabies, but also criminality—so-called "lycanthropy" an accusation; i.e., to levy by insider groups against perceived alien invaders that outsider groups must reclaim, mid-alienation). Service to the state's private property/profit motive is to embody a cop-like function (one whose class character intersects with culture/race to different degrees aiding fascism/genocide simultaneously). In turn, people can be multiple things, at once, perfect victims or abusers as mythical as vampires, themselves: that assimilation was ever an option for more than one.

(source)

Rebellion and birthing it, then, are as messy as childbirth, but also period sex ("murder dick," as an ex once put it). To that, F.D. and Foreign Man do good work (which I cite*), but also bad (which I also cite/critique; re: their defending Thorn and by extension, Wynn—cloistered in her vampire's big empty home, above); i.e., in forms of class, culture and race betrayal their audience will defend, ipso facto: by employing DARVO on their behalf, selling out as the chickens come home(!). So are saviors tied to destroyers, great and small; so does Imperialism and its Boomerang haunt empire, doing so under fascism/trans genocide impacting people of color as potential cops and vice versa (overlapping holocausts). If we don't hold ourselves accountable, they most surely will: unite against betrayal or pay the price, death by exsanguination. So does capital gentrify and decay to toxically undead extremes, token pimps (and their transient monopolies) turned back into slaves/token queers closeted overnight by bigger vampires; i.e., while turning a blind eye, mid-invasion (the original zombie apocalypse—Richard Matteson's I Am Legend [1954]—treating vampires in zombie-like ways): "I love the night." What sweet music they make, all but demanding ours be bittersweet in response! Show 'em who's boss!

*E.g., Foreign Man's "The Gymcel Epidemic" (2024); cited: "White Moderates Still Don't Challenge Fascism," 2025).

(cited: "The Imperial Boomerang, part one: Survival," 2024)

To conclude, I specialize in tokenism; I see tokenism, I call it out whenever and however it appears, Scooby-Doo-style. This includes liberal Zionism as committed by intersectional traitors playing at token saviors doing lesser vampirism to apologize for greater vampirism; it includes in the moment, but also afterwards when defenders of tokenism show me their ass (or the ass[es] of those they uncritically worship). Share the blame, hold each other accountable, and do better, comrades. I'm not "staking" you in actuality, but your views in ways to hopefully change your minds. "Eat the fucking apple," not each other (to build on Maegen O'Leary's poem, "What I Would Tell Eve," 2024). To that, fuck Zionism and traitors/paid labor pimping unpaid; intersectional problems furthering abjection, intersectional solutions reversing abjection (through vampires or otherwise); land back, trans rights, sex work is work, black lives matter, and free Palestine! Any and all, have the whore's revenge, "pussy on the chainwax!"