Sunday, May 22, 2016

a human chandelier

So here's the fantasy I teased you about last week, the one I've been slowly developing in my head over the last couple of months. I'm not sure yet whether it will become a full-blown story; that depends on whether I can build a plot around this brief scenario. But even though it's brief, I think you'll agree that it's hot as hell.

Imagine a world like Tabico and Iago's Middle-Urth or the unnamed land of trilby else's story Pawn": a world ruled by sorcery. Now imagine a queen and her honor guard going to parley with a powerful sorceress. The queen thinks she has enough soldiers and amulets to protect her, but her opponent is more powerful than the queen realizes.

When she and her retinue enter the throne room, they see censers burning everywhere, filling the room with incense. The clouds are so thick that they can barely see the sorceress on her throne, but she's alone, and that reassures them. At her invitation they walk toward her. The queen is in the center of the group, protected on all sides; but clouds of incense wind between them and suddenly she finds herself alone at the foot of the sorceress' throne. At least, she thinks she's alone. Her guards are a few feet behind her, but they're trapped behind a thin wall of mist that's solid as stone. They can see their queen quite clearly but they can't reach her, and she can't hear their calls.

Around the queen, the scent of incense increases, and she grows dizzy. She sways on her feet. The sorceress comes down from her throne and takes her in her arms as if to support her. "Look," she says, "I have a gift for you." It's a crystal diadem with a downward point at its center. Dangling from that point is a crystal as large as the queen's thumb, but flat enough to lie smoothly against her forehead. It's pale as moonlight, but it flashes with rainbow hues. She's never seen anything so beautiful in her life. She wants to put it on, to feel its cool touch between her eyes, but she's already wearing a tiara of her own. It contains her most powerful amulet against the sorceress' spells.


Close by but invisible, her honor guard are screaming at her and pounding against the wall of mist, begging her not to be seduced. But the incense has softened her mind, and the sorceress is literally holding her in her arms, binding her in chains of power. Eyes blurring, the queen smiles at the sorceress and removes her tiara. She tosses it aside and it vanishes into the mist where neither she nor her guard can reach it. Then she takes the diadem in both er hands and studies the crystal at its center. Pale light flashes from its depths into her eyes and brain, muffling the last of her thoughts. Her guardswomen see it all. They scream even louder, and attack the wall with their swords and spears. Then the queen puts on the diadem.

Suddenly the mist wall vanishes. The guards rush toward her, and the closest of them even manage to touch her gown, but then she and her new owner vanish and the mist returns. Now the guards are separated from each other as well as their queen, and they wander alone in horror.

Eventually one guard finds her way out of the mist. She's in a ballroom lit by dozens of flickering candles. Their light bounces off a crystal chandelier hanging in the center of the room - hanging strangely low, almost low enough for the guard to touch. From her current position, it looks like a thick hoop held aloft by crystal chains, with more chains dangling beneath it. But when the guard comes closer, she sees what lies in in the center of the hoop: her queen: face down and naked, with straps of crystal crossing her body and spiraling down her limbs to bind her to the hoop. Three more straps hold her head in place: they descend from the ceiling twined together, winding her hair up into them; and then they split apart to cross her forehead and cheeks and meet at the bridge of her nose.

More crystals dangle from the crystal straps; and a large, clear ball gags the queen's mouth. But the crystal, the one which enslaves her, hangs down from the junction of straps on her face. Its chain is just the right length for her to focus on it as it spins and flashes. The queen herself is making it move, because even though she's bound to the hoop and the ceiling, she has enough leeway to squirm; and whenever she does, the crystals between her legs tease her clit just right. She moans through the gag and shudders with delight, but she never takes her eyes off the crystal.

Her guard is heartbroken; she loves her queen and wants to rescue her. Maybe if she jumps high enough, she can grab the chandelier. She steps closer, closer, closer, until she's directly under the queen's head. Her Majesty's eyes are wide and glazed, unblinking, reflecting the pale rainbow lights from the crystal. Those lights don't affect the guard, but the queen is so deeply entranced that she never notices the woman beneath her.


The guard yells and waves her arms. She jumps and tries to grab the crystal, but it's just out of reach. Suddenly a long, thick string of drool plummets from the ball gag and splashes the guard's face. Some of it lands in her eyes, and some in her mouth. She's never felt or tasted anything so exquisite in her life. She needs more of it, right now. The guard kneels and spreads her arms, begging for her Majesty's favor, but the queen neither hears nor sees.

Then, from behind her, the guard hears a patter. When she turns around, she sees that the queen's pussy is squirting a crystal stream. The guard knows, without even being told, that this is what she really needs. She scurries toward it, crawling because she can't take the time to rise.The flow could stop at any time and she has to have it. She just has to. The guard stops squarely beneath the queen's pussy and drinks from the crystal stream. It's flowing so quickly now that she can't keep up with it. Her mouth fills to overflowing and she spreads the excess across her face and head. She isn't thinking anymore, just obeying the commands of the crystal inside her. It fills her body and seeps inside her head, turning her into a geode with a small hollow core inside her skull. Inside that core is the sorceress' will.

More guards enter the ballroom, one by one. Each of them feels as if she is alone except for the queen, and most of them rush to save her just as the first guard did. But a few are more wary, and if they hang back, their ex-comrades appear from nowhere and drag them under the queen's sightless gaze. The free guards can't resist the geode-slaves. They still look mostly human, but their eyes are featureless crystal and they have the strength of stone.

Within a matter of hours, the queen and all her retinue belong to the sorceress. The parley is a total success.


Sunday, May 15, 2016

You know there's MC in Captain America: Civil War, right?

But before I start talking about that, here's a quick announcement: I think I'm ready to start blogging and writing regularly again. My personal life has stabilized a bit and that has allowed my creative juices to start flowing again. I had to put that Transfixed CYOA aside for a couple of months, but I'm ready to pick it up again. Anyway, thanks to everyone who's expressed their sympathy for me, both here and by email. It really does mean a lot. I want you to know that.

And now on to the new Captain America movie, which I can't help thinking of as the new Avengers movie because, hell, almost all of the Avengers are in it. I won't talk about anything you couldn't infer from the commercials and trailers, so you don't have to worry about spoilers in this part of my post unless you want to go into Civil War with your eyes and ears completely virgin. You'd just better have seen The Winter Soldier first if you plan on that, because otherwise you'll be totally lost.

So anyway, as you could see from those trailers and commercials, Bucky still hasn't broken free of all his Hydra conditioning. He remembers who he is most of the time, but it turns out that Hydra programmed him with trigger words that can revive the Winter Soldier in his mind (Those triggers reminds me of the nonsensical phrases trilby else used to employ; "ammonite contraband" was one of my favorites). But in Bucky's case, it's a whole string of disconnected words, so when he gets triggered, we get to watch him scream and struggle until he inevitably but oh-so-slowly falls back into drone mode. And then, stone-faced, he chants that most perfect of slave mantras: "Ready to comply."

IMO, these scenes (Yes, there's more than one) are much hotter than the single reprogramming scene we saw in The Winter Soldier. I thought of writing about that one when the movie came out, but in the end I decided against because the process was painful and pain turns me off instead of on. However, I did like the brainwashing rig from that movie, so I'm including a picture of it here. You can make up whatever scenario you like to go along with it. Or, hell, if you are into pain, you can just fantasize about the movie scene itself. You have watched The Winter Soldier, right? I can't imagine any MC fetishist would give it a pass. Well, I'm here to tell you that Bucky's programming scenes in Civil War are things of heat and beauty. It's just a shame he got rid that faceless, dehumanizing mask. I'd love to have seen him in that again (Oops, was that a spoiler?).

But now let me switch topics and talk about the upcoming X-Men: Apocalypse. I will have to drop some medium-sized spoilers here, although they're rumors and guesses that might prove false, so it's your gamble whether to bail out or keep reading. I'll be back next weekend anyway with a scorching hot new fantasy I've been toying with. But for now Apocalypse is on the front burner, and I'm hoping he'll give us plenty of heat. Already we know he collects powers by taking over the bodies of mutants with abilities he covets. We also know from the trailers that Magneto kidnaps an unconscious Charles Xavier by pulling his wheelchair toward Apocalypse and the horsemen. What you might not know unless you caught the most recent YouTube featurette is that there's a scene in the movie where Charles is lying on a slab like the one Oscar Isaac was on in the earlier trailers, and Oscar-as-Apocalypse is looming over Charles. The implications seem obvious. In fact, I've read that Apocalypse specifically covets Charles' telepathy, but you have to dig a little to find out how he wants to use it. This might be a false rumor, but I've read that Apocalypse wants to use Charles' telepathy to MC every person on the planet. Well, you can imagine how desperately I want that to be true. Unfortunately the trailers make it look like Apocalypse is more interested in killing people than enslaving them...but maybe he plans to kill the weak and MC the strong. That would make sense because in the movie, Oscar-Apocalypse was betrayed by his last set of horsemen, and I'm sure he doesn't want to risk that again (Plus, in the comics Apocalypse does MC his horsemen). So I'm cautiously optimistic that we'll see some MC action in the new movie before the X-men inevitably take him down. The premiere can't get here soon enough for me.


Thursday, May 5, 2016

Wanna hear a song about "sexuality inside the hive mind"? Of course you do.

I'm still on hiatus (see my last post); but I promised that if I found anything worth sharing, I'd share it. Well, I've found something. Oscar Isaac, a.k.a. Poe Dameron, used to be in an alternative rock duo called NightLab, and I've just started listening to their music. The first time I heard the song "People Keepers," I couldn't make out enough of the words to understand their meaning; but I did hear references to drones, honey, and a priestess. That made me curious enough to look up the lyrics, which I'm posting below.

But NightLab has posted their music in a few different locations, and I found a note about the song before I found the lyrics. This note, written either by Oscar Isaac ("Monscar" here) or his partner, describes "People Keepers" this way:

NightLab Industries agents Monscar and Boocho submit a proposal entitled "Sexuality Inside the Hive Mind." 

The funny thing is, even though their nicknames are jokes, the description itself is not. This really is a song about a woman finding peace by submitting to the hive mind. The lyrics are creepy/cool in all the best ways, and the music matches it perfectly. Actually, I really like a lot of NightLab's stuff; and it's all available for free on SoundCloud, so you can have a listen for yourselves. Here's the link directly to "People Keepers," and you can easily get to the main NightLab page from there. (Alternately, if you haven't signed up for SoundCloud and don't want to, you can download that song and several others from Reverb Nation without having to give up any personal information.)

Okay, so here are the lyrics for "People Keepers":

We are the People Keepers
Smoking out your potential
We are the Holy Waters
Take this love from us

The push, the pull, the grinding of teeth
Hands full of hair, her heads underneath
Quiet as bones, I don't know how
But heaven knows she's comfortable now
Heaven knows she is comfortable now
Heaven knows she is comfortable now

We are the Weeping Healers
Roping out your dimensions
You are the lonely daughters
Bleed your honey for us

The push, the pull, the grinding of teeth
Hands full of hair, her heads underneath
Quiet as bones, I don't know how
But heaven knows she's comfortable now
Heaven knows she is comfortable now
Heaven knows she is comfortable now

Priestess, priestess, swallow me into your swarm
Priestess, priestess, suffer the queens and the drones
The drones.

You know its getting pretty late now
So say goodnight, say goodnight
You cant change our minds

We are the People Keepers
Smoking out your potential
We are the Holy Waters
Take this love from us

The push, the pull, the grinding of teeth
Hands full of hair, her heads underneath
Quiet as bones, I don't know how
But heaven knows she's comfortable now
Heaven knows she is comfortable now
Heaven knows she is comfortable now

Wednesday, April 27, 2016

Update

The reason I haven't posted in a few weeks is that I and my family are dealing with a perfect storm of serious issues. I am here, and I plan to stay here, but I'm not sure how much posting I'll be able to do until certain things are resolved. I appreciate any kind thoughts and prayers you care to send my way.

Sunday, April 10, 2016

Does this get your motor running?


Last week I blogged about the fact that Oscar Isaac had been cast in the upcoming movie adaptation of Annihilation. He'll be playing the biologist's (Natalie Portman) husband - a secondary character in the book who should have lots more screen time in the movie. You see, the book is told from the biologist's point of view during the twelfth expedition, as she tries to find out what happened to her husband during the eleventh expedition. Eventually she discovers his journal and learns the truth by reading it, but you just know that in the movie we'll see his story play out live. And trust me, it's going to be very exciting.

But while we're waiting for the movie to start production, what about a little more background on what happened when the eleventh expedition returned from Area X? The passages I'm going to quote will give you some small spoilers, but since they're all within the first 40 pages of the book, it shouldn't matter much. So if you want to read about virile young men being turned into zoned-out zombies - and the biologist's attempt to have sex with one of those zombies - read on. And for maximum effect, imagine Natalie Portman and Oscar Isaac in these two roles.

The first quote begins after the biologist has explained how the returnees just showed up, at various and in various places, with no clear idea how they got back from Area X. The second quote explains how her husband returned, and how she handled his bizarre reappearance.


 
Estrangement, in all of its many forms, was nothing new for these missions. I understood this from having been given an opportunity along with the others to view videotape of the reentry interviews with the members of the eleventh expedition. Once those individuals had been identified as having returned to their former lives, they were quarantined and questioned about their experiences. Reasonably enough, in most cases family members had called the authorities, finding their loved one’s return uncanny or frightening. Any papers found on these returnees had been confiscated by our superiors for examination and study. This information, too, we were allowed to see.

The interviews were fairly short, and in them all eight expedition members told the same story. They had experienced no unusual phenomenon while in Area X, taken no unusual readings, and reported no unusual internal conflicts. But after a period of time, each one of them had had the intense desire to return home and had set out to do so. None of them could explain how they had managed to come back across the border, or why they had gone straight home instead of first reporting to their superiors. One by one they had simply abandoned the expedition, left their journals behind, and drifted home. Somehow.

Throughout these interviews, their expressions were friendly and their gazes direct. If their words seemed a little flat, then this went with the kind of general calm, the almost dreamlike demeanor each had returned with - even the compact, wiry man who had served as that expedition’s military expert, a person who’d had a mercurial and energetic personality. In terms of their affect, I could not tell any of the eight apart. I had the sense that they now saw the world through a kind of veil, that they spoke to their interviewers from across a vast distance in time and space.




In case you couldn't guess, the "compact, wiry man" with the "mercurial and energetic personality" was the biologist's husband. Now, skipping ahead just a little, let's see what happened when he returned.


One night, about a year after he had headed for the border, as I lay alone in bed, I heard someone in the kitchen. Armed with a baseball bat, I left the bedroom and turned on all the lights in the house. I found my husband next to the refrigerator, still dressed in his expedition clothes, drinking milk until it flowed down his chin and neck. Eating leftovers furiously.

I was speechless. I could only stare at him as if he were a mirage and if I moved or said anything he would dissipate into nothing, or less than nothing.

We sat in the living room, him on the sofa and me in a chair opposite. I needed some distance from this sudden apparition. He did not remember how he had left Area X, did not remember the journey home at all. He had only the vaguest recollection of the expedition itself. There was an odd calm about him, punctured only by moments of remote panic when, in asking him what had happened, he recognized that his amnesia was unnatural. Gone from him, too, seemed to be any memory of how our marriage had begun to disintegrate well before our arguments over his leaving for Area X. He contained within him now the very distance he had in so many subtle and not so subtle ways accused me of in the past.

After a time, I couldn’t take it any longer. I took off his clothes, made him shower, then led him into the bedroom and made love to him with me on top. I was trying to reclaim remnants of the man I remembered, the one who, so unlike me, was outgoing and impetuous and always wanted to be of use. The man who had been a passionate recreational sailor, and for two weeks out of the year went with friends to the coast to go boating. I could find none of that in him now.

The whole time he was inside me he looked up at my face with an expression that told me he did remember me but only through a kind of fog. It helped for a while, though. It made him more real, allowed me to pretend.

But only for a while. I only had him in my life again for about twenty-four hours. They came for him the next evening, and once I went through the long, drawn-out process of receiving security clearance, I visited him in the observation facility right up until the end. That antiseptic place where they tested him and tried without success to break through both his calm and his amnesia. He would greet me like an old friend - an anchor of sorts, to make sense of his existence - but not like a lover. I confess I went because I had hopes that there remained some spark of the man I’d once known. But I never really found it. Even the day I was told he had been diagnosed with inoperable, systemic cancer, my husband stared at me with a slightly puzzled expression on his face.

He died six months later. During all that time, I could never get beyond the mask, could never find the man I had known inside of him. Not through my personal interactions with him, not through eventually watching the interviews with him and the other members of the expedition, all of whom died of cancer as well.

Whatever had happened in Area X, he had not come back. Not really.

Friday, April 1, 2016

One point to ponder and another to excite you

I'd planned to write about one thing this week, but then I heard some news that gave me a second subject to talk about; and since the two happen to be tangentially related, I'm giving you both.

First, let's talk about a little movie coming out soon, which you might have heard about: X-Men: Age of Apocalypse. The most recent trailer and promotional images include several shots of Apocalypse's eyes turning white when he uses his powers. Now, if you've followed the X-Men comics for a while, you know that several mutants have white eyes - either permanently white, or just white when they use their powers (Storm seems to go both ways. Hah....Sorry.)

Now, I grew up reading DC comics instead of Marvel, and (as I've said many times) watching Superfriends and other Saturday morning cartoons that used white eyes to show that a person was under someone else's power rather than to show the person had special powers of their own. Then there's that drool-inducing scene in Big Trouble in Little China that I'm sure pushes all our buttons. With all that in my history, I'm much more inclined to connect white eyes with MC than with power.

But it's not that simple. Think about white-eyed zombies, again mindless and will-less; but then contrast them with video game characters whose eyes turn white when they use magic. The fact is that in fantasy and SF, white eyes can have one of two contradictory meanings. My guess is that the "white eyes=power" meme is newer and probably started with Marvel Comics, but that's just a guess; and figuring out the origin of the idea is less interesting than figuring out why someone came up with it. I like to imagine that he/she/they were already MC and/or white-eye fetishists who just couldn't get enough, so they decided to tack a second meaning onto the look just so they could include it in more comics. Maybe that's how it happened, and maybe it isn't. All I know is that I get almost as turned on by white eyes that symbolize power as I do by white eyes that symbolize MC.

And now on to my second, related topic, the one that I hope will excite you as much as it excites me - and I am very excited indeed. You probably know who Oscar Isaac is now that he's played Poe Dameron in The Force Awakens, and of course that's him in the top photo playing Apocalypse. He also starred in Ex Machina, which I raved about back in January and which - stay with me here, because this is important  - was written and directed by Alex Garland. Garland is a genius and Oscar Isaac is this generation's Pacino, only with a geeky SF bent. And the two of them together are going to be working on the movie adaptation of Annihilation, a book I blogged about several times last year because it's the start of a trilogy that leans heavily on hypnosis and MC. The actual star of the movie is another highbrow actor-geek, Natalie Portman, but I'll wait until the next paragraph to tell you who Oscar Isaac is playing because it's a small spoiler and I want to give you a chance to back out if you want to stay spoiler-free. But I'll try not to say anything that you wouldn't see in the movie trailers, so I'd personally recommend you keep reading. This is going to be hot.

Okay, still with me? Natalie Portman is playing the biologist (None of the characters in this book have names), and she's one of four women who've been sent into what might possibly be alien-occupied territory in the Florida swamps called Area X. I wrote more about the setup in my previous posts, so I'll let you follow the link above if you need the details. But here's something I didn't tell you before. We find out somewhere near the middle of Annihilation that the biologist had a husband who was on the expedition prior to hers. He came back, but only sort of, and finding out what happened to him is one of her chief reasons for going there. You see, before hubby went into Area X, he was a brilliant, vibrant, and probably very sexy man. But the person who came back from Area X was just a shell: reminiscent of the man the biologist loved, but flattened and confused and just...not all there.

Well, Oscar Isaac is playing the biologist's husband, and Oscar is a brilliant, vibrant, sexy man. Seeing him go through that transformation will be simultaneously horrifying and hot as fuck. I'm going to be even more sexually confused about him than I am right now, and I have a ginormous straight crush on the guy (How could I not? Just look at him!). Watching him get turned into a zombie is going to throw me into system overload. Even now, I'm getting dizzy thinking about it.

So there you have it: Oscar Isaac and Natalie Portman in a SF/fantasy/horror movie with a strong MC element, written and directed by Alex Garland. It just doesn't get any better than this...until you add in Jennifer Jason Leigh as the psychologist! I'd never have thought of her for that role, but whoever did think of her was a genius. She's going to knock it out of the park. They all are. I can't wait for this movie to come out.

Sunday, March 13, 2016

One for the ladies, one for the gents, and a bonus

You might or might not have noticed that I've started my own YouTube channel. It'll be a good way for me to keep up with the videos I like and share them with you. Right now I've only uploaded a couple of videos of my own (a cleaned up and complete version of the lesbian vampire seduction from The Vampire Lovers and the transformation sequence from Invasion of the Bee Women), and since I've already posted about them here once, you might have seen them already. If not, or if you want to see them again, just go to my channel. :-) I plan to upload more videos, but there's no telling when that will happen.

Fortunately, I'm also curating a playlist of my own favorite MC videos, and it's expanding all the time. Last night I added several different versions of the Fright Night club seduction scene from three different Fright Night movies. My reasoning is that since the original 1980's scene keeps getting taken down, and there's no telling whether the other movies will fare any better; so it's nice to have some backup copies. But for the moment, these are the best versions on YouTube of all three scenes (yes, three, not just two). As always I recommend that you download your own copies while they're available.

First up is the glorious, notorious scene from the original 1980's Fright Night, with Chris Sarandon seducing Amanda Bearce in the middle of the dance floor. It's funny to think that I was just a little younger than she was when she filmed this, and I actually looked a good bit like she did. My hairstyle was exactly the same too. And of course, both of us eventually came out as gay. But I swear to you in total modest confidence that I could have performed this scene just as convincingly as she did. Feel free to imagine me in it if you like. ;-) After a long, long search, I've finally found the whole thing uncut and in order, in pretty high definition. I was surprised to see how long it's been up without my noticing, but I wouldn't trust it to stay there; so again, download your own copy.



Now here's a clip from the mostly forgotten sequel to the original Fright Night, unsurprisingly called Fright Night 2. The movie overall is best forgotten, but it does have this one fantastic scene where the vampire (the sister of Jerry from the first movie) turns the tables on our hero Charlie by dancing/entrancing him just like Jerry danced and entranced Charlie's girlfriend in the first movie. Incidentally, apropos of nothing, I love her dress.



Now here's your bonus: the Jerry/Amy seduction scene from the 2011 Fright Night remake -  plus the beginning of the scene where Jerry taunts Charlie with Amy's vamp-induced betrayal. I didn't like Colin Farrell in this role because he was sleazy rather than sexy; but I love every second of Imogen Poots' performance in the club scene - especially her hand drop at the end. You'll see what I mean.