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Imago (Rendle-Short)

Imago begins in a stupified haze of sublimation, cast aside shortly as the journey commences, leaving English behind for Australia. Australia there becomes a space of fleshly liminality. Her husband is a soil scientists, precluding her own fixation, with maggots and fat. Flesh happens across two boundaries, a gradient in both direction, fertilization as in decayed mud to grow flowerings, and putrefaction as in the living turning to soil in rot. Molly dreams of putrefaction as Jimmy dreams of fertilization. Jimmy, for this life fetishization, for his dreams of flesh not in itself but for what it could create, what use it could serve (his hole of gradient stages) ends with his return, his frightful flight back to the land of sublimation and cold, the neurotic pigeons of Molly's mother. Molly meanwhile goes on a journey into her body, developing a love and obsession for her obese neighbors Marj and Kevin. Through both of them, Molly undergoes the trauma of one raised under cogito
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Kairo & Proteus - The Textual Foundations of the Walking Simulator

In Kairo, the player's task is to explore, linearly with the exception of small detours to find hidden areas, an empty, alienating world made of concrete brut in abstract, larger than human-scale shapes. The environment of Kairo is built to awe and confound, light and shadow playing off pure geometry that the player massages and coerces, striking blood from mountain stone to bloom the meadow of the credits sequence. Proteus has a similar goal, though with a more direct goal. The player wanders the various environmental changes in a forested island. The sun rises and sets in four days, each representing a season. At night, the player goes to a stone circle somewhere on the island to teleport to the next season. The environment is dynamically drawn for the season and in response, the soundtrack of the game is generated from the environment the player moves through, certain sounds emerging in response to certain surroundings. Both of these games are very "pure" in their
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Light Boxes (Jones)

In the tradition of Brautigan's nature-writing, nature is taken as-is and writing is constructed from the framework of nature being, and not nature as a fetish. The common conceit of nature writing is that of the detached observer, documenting Eden. Not so in this tradition. Nature and the "artificial" are not seperated, which allows for a storytelling of whole integration between all aspects of the world enclosed. The poetic value of this foundation cannot be understated. The text of the book itself is a short poetic journey of revolt against the stagnating death brought about by winter. The spring's emergence against the blanket of snow is narrated in dramatic form by the active struggles against frost in the text.
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Flights (Tokarczuk)

Identity is often taken for granted with discourses of identity being around the dealing-with from the outside of pseudo-soul "identities". Not so in this text. Two fascinations pervade this text - the first being travel and the second being flesh-as-flesh. In both, two separate paths are drawn around the issue of identity. The former being the topological, discourses made to create the identity from the individual person, as well as the individual's own self-writing as they go forward in their travels. The latter being geometric, the individual's relationship to the flesh, their own and the broad abstract of The Flesh. Within this setup, a non-linear series of vignettes explores these themes down all manner of promenades and detour.
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Aa! Megami-sama!

"Men are the wind" as one of the goddesses remarks in an episode where Keiichi finds himself turned into a gust of wind. It's no occluded metaphor to show this, the full face of the show given openly in this small interaction. Belldandy's powers are the manipulation and directing of the wind, a force of motion directly compared to masculinity. Hobbes knew this, in defining man as a creature of appetites, with the gender theory inherent being in defining *men* as beings of appetite, a force akin to a flood or a gust. Belldandy's control of these forces is related to her perfection, a sickening degree of it, exemplifying every virtue of the ideal woman imaginable, with utter devotion to fulfilling those virtues in all ways and cases. Her sisters and compatriot form counterpoints to her own magic of the wind. Urd controls fire and electricity, inflamed herself with passions and the occultist practices of Hell, something endemic to her very blood. Skuld has no power
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Taimanin Yukikaze (Anime)

As Andrea Long Chu said in her writings on sissyfication fetish, desire is always non-consensual. The horror of desire is that it always take the form of masochism. One in their superego, will always rebel against the fact of their being a sexual being. The only question is what form and to what degree that rebellion takes place. Taimanin Yukikaze demonstrates this in the classic fashion that NTR porn does. Yukikaze and Rinko are, in their superego, not consenting to the actions they take part in, yet the desiring part of them, their physical performances and their own self's reactions of pleasure to it, are forced upon them. The drama is within themselves, the ego split in twain as the supergo uncovers the horrifying depths of depravity hidden within the self's unconscious, as it sees, as if from third person, the actions the body was desiring, without the superego ever consenting. The horror of this is shown in the classic NTR finishing scene, Yukikaze's boyfriend sitting
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Taimanin Asagi (Anime)

Oboro, for all her sadism and acceptance of Black's goals on the surface, never truly accepted the demonic presence inside her. For all she facilitated Asagi's induction into the arena, it was always out of a homoerotic rivalry as warriors. it was for this that she failed in the end. She never fully grasped the true nature of what was occurring when she inducted herself into the world of demons. Rather, it's Asagi who Black understands the true potential of. After the death of her boyfriend, she loses all ties to the ways of a ninja, ways which Oboro was still bound to, despite her demonic possession. Asagi then falls into a fully carnal state, engaging in nihilistic violence after killing her ties to her old ninja order. Asagi, in doing so, better fulfill Black's goal and ideal than Oboro ever did. Violence is as we can all know from Bataille, the opposite side of sex, with both being expressions of the same libidinal force, what Suda51 uses again and again in his ga
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