#1 Armand Hater, Jacob Anderson π«Ά
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#1 Armand Hater, Jacob Anderson π«Ά

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Lestatβs relationship with Nicki and how it impacts his relationship with Louis:
So Iβve been re-reading βThe Vampire Lestatβ recently, and one of the most amazing things, I think, is how well it ties in to βInterview with the Vampireβ in terms of psychologically explaining why Lestat was the way he was with Louis, why Louis thought of Lestat as he did, but also, why Louisβ perception of Lestat was so wrong.Β Thereβs countless examples of this throughout the book, psychological excavation of Lestat which sheds so much light on his behavior in Louisβ story.Β But I wanted to focus here on one particular aspect of it, and thatβs how Lestatβs general positivity as a character, and the ways in which it impacted those around him, how those around him reacted to it, especially Nicki and Armand, would later inform Lestatβs affected apathy and seeming detachment with Louis.
Lestat explains early on in TVL that, growing up, he was often treated as a burden by his family.Β That his refusal to accept his lot in life, his persistent dreaming and hope, his persistent attempts to improve and even escape the dreary dead-end of his provincial life caused a great deal of consternation, disapproval and even anger and cruelty from his father and two brothers, even at times resulting in physical and verbal abuse at their hands.Β So early on in life, Lestat was already taught by those closest to him that his enthusiasm and fighting spirit and positivity were bad things.Β That to truly be himself, to be the free spirit that he was and to fight for what he really wanted, were things he couldnβt do without being a βbad personβ.Β He even has a conversation with Gabrielle specifically about this, about Lestatβs fears that to defy his father and brotherβs is equal to him being bad, that he canβt be himself and do what he actually wants without giving up the ability to be good.Β And anyone who knows anything about Lestatβs character should know that the true driving force behind basically every one of his actions is the desire to do and be good.
So already at this early stage of his life, Lestat is made to believe that who he is, his natural personality, is a thorn in the sides of most people he knows.Β I know that in this fandom, it gets made fun of often, that Lestat is referred to as βa lotβ, and people laugh about his overbearing personality.Β But itβs actually incredibly sad, that here we have a person who, because of his innate optimism and hope, was made by his own family to feel like a disappointment and a burden.
Moving on, and looking at how this aspect of Lestatβs personality, this positivity, his refusal to quit and his undying belief in the βimpossibleβ, effects his relationship with Nicki in particular, I think is vitally important in understanding Lestatβs relationship with Louis later on, and why it plays out the way it initially does.
The entire story between Lestat and Nicki is particularly heartbreaking, because of the deep and genuine love which existed between them, and how it eventually eroded and ended in genuine resentment and even hatred toward Lestat from Nicki, and specifically, because of how this ends up effecting Lestat and his perception of himself and the way he ends up conducting himself with the other great love of his life in Louis.
Nicki goes mad, slowly descending into an ever deepening depression and general negativity after he and Lestat move to Paris, and itβs later revealed that Nicki had hoped, by moving to Paris, that he and Lestat would βgo downβ, to use Nickiβs own words.Β He wanted them to fail as a means of rebelling and disappointing his own father, as a way of making his father angry and upset.Β The very basis of his reasoning for going to Paris was the opposite of Lestatβs.Β Lestat wanted to go to Paris to do something good and positive with his life, to give meaning to his life.Β Nicki went to Paris to destroy his life as a final βscrew youβ to his family, a reason driven by negative emotion, as opposed to the positive emotion driving Lestat.Β He never told this to Lestat, of course.Β He simply went along with him and pretended to share in his hope and enthusiasm for the future.Β He tells Lestat later that he believed that once theyβd gotten to Paris, Lestat would become disillusioned with the world and stop pursuing his dream of doing good with his life.Β Heβd hoped, secretly, that Lestat would give up, the way Nicki himself had long before given up in believing in anything better.Β But one of Lestatβs defining traits as a person is his refusal to ever give up.Β Heβs a fighter through and through.Β Heβs an eternal optimist.Β No matter how bad things get for him, he never loses his hope or belief in the impossible.Β
When things really get bad between Lestat and Nicki is after Lestat reveals to him heβs been turned into a vampire, and Nicki uses Lestatβs own generosity and desire to help his loved ones against him, guilt-tripping him for sharing the βDark Giftβ with his mother, but not with Nicki himself, accusing Lestat of giving preferential treatment to his direct family because of their royal blood.Β He essentially tells Lestat that giving money and gifts to him, to the actors they worked with and the theater they worked at, was an insult, a dismissal of the less important people in his life.Β This is all wrong, of course.Β It couldnβt be farther from the truth.Β Lestat showers Nicki and everyone else with gifts and material wealth as a means of expressing his genuine love for all of them, given the abject poverty he himself grew up in.Β He wants to take care of them, and provide for them, as heβd always done with his family.Β But Nicki, suffering from his worsening mental illness, uses this against Lestat, badgering him with it until Lestatβs sense of guilt and driving wish to do good makes him act against his better judgement, and he gives Nicki what he wants, turning him into a vampire too.Β
Lestat has a final, climactic confrontation with Nicki in the theater they worked at as mortals, in which Nicki reveals to him how Lestatβs positivity truly effected him.Β In which he reveals to Lestat that βhis lightβ, as Nicki refers to it, was a source of anguish and torment for him.Β He tells Lestat that his refusal to give up, that his general positivity and ability to push through even the most dire and seemingly hopeless circumstances, that his ability to make the impossible happen and make a success of himself despite all odds being against him, was like a βpiercingβ to Nicki.Β He explains that for every moment of exuberance and enthusiasm and passion in Lestat, it created a proportionate amount of darkness and despair in Nicki, a proportionate unhappiness and hopelessness.Β He basically blames Lestat here for causing his own, deranged mental state simply through the power of his own, overwhelming positivity.Β He reinforces in this moment what Lestat had already been taught over and over again by his own family.Β That his very existence, his natural state of being, was causing harm to those he loved.Β You see where Iβm going with this?Β Lestat is made to feel here, by Nicki, that just being himself is what caused Nicki to lose his mind completely.
βAnd when we decided to go to Paris, I thought we would starve in Paris, that we would go down and down and down.Β It was what I wanted, rather than what they wanted, that I, the favored son, should rise for them.Β I thought we would go down!Β We were supposed to go downβ¦ But you didnβt go down Lestatβ¦ The hunger, the cold- none of it stopped you.Β You were a triumph!β¦ You didnβt drink yourself to death in the gutter.Β You turned everything upside down!Β And for every aspect of our proposed damnation you found exuberance, and there was no end to your enthusiasms and the passion coming out of you- and the light, always the light.Β And in exact proportion to the light coming out of you, there was the darkness in me!Β Every exuberance piercing me and creating its exact proportion of darkness and despair!Β And then, the magic, when you got the magic, irony of ironies, you protected me from it!Β And what did you do with it but use your Satanic powers to simulate the actions of a good man!β
He tells Lestat that itβs some sort of irony that Lestat, who wishes to do good, should be given a power which can do only evil, while keeping it from Nicki himself, (Nicki, who wishes to do evil and will use the Dark Gift βproperlyβ, unlike Lestat himself), in an effort to protect him. Lestat later imagines that what Nicki really meant, without saying it to him, was that Lestat wouldnβt allow Nicki to have what he could believe in.Β The exact words that he imagines Nicki saying to him are βLet me have what I can believe in.Β You would never do that.βΒ Lestat is blaming himself here for crushing Nickiβs own dreams through the sheer force of his personality.Β He feels like Nickiβs downfall is his doing because he failed to understand just how depressed Nicki was, that he couldnβt understand how depressed he was because Lestat himself is such an innately positive person, and instead of supporting Nicki in his wish to self-destruct, he encouraged him and tried to inspire him and make him believe in himself as a force of good, as Lestat believed in himself.Β Nicki reveals to Lestat that he wanted to fail, and Lestat had refused to let him do it, and thatβs what Lestat ends up believing.Β That in his efforts to help Nicki, he only ended up hurting him.
We can see then how this experience with Nicki, this sense of guilt and responsibility that Lestat takes on to himself for Nickiβs downfall, later impacts how he behaves with and treats Louis.Β Louis is very much like Nicki.Β He tends towards depression and melancholy.Β He has a tendency to get trapped in his own head and self-obsess and think of himself as βevilβ.Β These are all traits which are eerily similar to Nicki, and to Nickiβs state of mind before he went truly mad.Β Recognizing this, and remembering what Nicki said to Lestat about how his βlightβ made Nicki descend deeper into darkness, we then see how Lestat doubtless feared that history would repeat itself with Louis.Β That the force of Lestatβs overwhelming positivity and enthusiasm would do to Louis what it had supposedly done to Nicki, that is, send him further into despair and self-destruction.
Louis recounts how, later on in their relationship, when he and Lestat would go out to a play or some sort of show, Lestat would afterward go dancing through the streets, reciting the playβs lines out loud with overexcited enthusiasm and passion, even frightening the people passing by with his energy and bursting joy.Β This was Lestatβs true personality coming through.Β This was who Lestat really was.Β Seeing theater productions would remind Lestat of the happiest days of his life, when he was still mortal, living in squalor with Nicki in Paris, working as an actor in the theater, living out his dream and doing something he genuinely believed was good, and it caused, in the present with Louis, his true personality to come to the surface, rather than the biting, dismissive, apathetic personality heβd affected since then.Β Louis recalls then how he would express to Lestat, in these moments, that he was actually enjoying his company, and upon doing so, Lestat would again retreat into himself, he would withdraw and once more become that detached, apathetic and dismissive person Louis believed him to be, dispassionate and caring about seemingly nothing.Β It would be weeks and even months, then, before Lestat would again ask Louis to go out with him.Β Why is that?Β Well, in the context of Lestatβs relationship with Nicki, and what Nicki accused him of, of destroying him through the force of his overbearing positivity and enthusiasm, it makes perfect sense why Lestat acted like he did with Louis, why he, upon hearing Louisβ positive reaction to Lestatβs genuine nature coming out, would retreat back into himself and put on the act of someone who doesnβt care.Β Because the last time Lestat was in a romantic relationship with someone, and he was himself, that person went insane, blamed Lestat for it, and ended up killing themselves later on.Β Really think about that, and then think about how that must have effected Lestatβs relationship with Louis, seeing so many of the same traits in Louis that existed in Nicki, and remembering how Nicki blamed Lestat for his depression.Β Louis himself had expressed numerous times his own wish to die.Β In Lestatβs mind, mistaken though he was, he no doubt feared that being who he really was, showing his true personality, his true passion and love for life and for people, his true eternal optimism and hope, would drive Louis to self-destruct the way he believed it had driven Nicki.Β
This fear in Lestat could only have been exacerbated too by his relationship with Armand, and how Armand, like Nicki, blamed Lestatβs positivity, his self-belief and powerful will on his own downfall, with the destruction of his coven and his way of life.Β Just like Nicki, Armand accuses Lestat of coming in and wreaking havoc and destruction through the sheer force of his personality, his refusal to give up or give in.Β He blames Lestat for causing the other vampires in his coven to lose belief in worshiping Satan simply because Lestat himself refused to submit to their will, and fought back when they tried to burn him and his mother and Nicki in a pyre for doing so.
From childhood on, Lestat is essentially taught and shown by everyone around him that his personality causes destruction.Β That his self-belief and can-do attitude is a burden at best, and a force of chaos and evil at worst.Β Heβs taught to believe that being himself is somehow the worst thing he can be, because it drives everyone around him to despair and misfortune.Β With that in mind, it becomes painfully clear just why Lestat adopted with Louis a personality that was, in reality, wholly opposite of who he truly was, and why Louis, in turn, formed such a tragically false conception and misunderstanding of who Lestat was.Β
Beautifully said, and beautifully articulated. Lestatβs tragedy is ironically not the kind of traits we see depicted in classically tragic characters. Rather, it is a trait we typically associate with good and positive characters and itβs just so damn tragic that his force of sunshine positivity and his capacity for enduring that leads him to so much misery and pain to himself and the people around him who just cannot understand him. This is why I keep keep keep enforcing that people MUST read The Vampire Lestat to understand him before passing random uneducated judgements.
@ medievalfantasyqueenΒ Totally, and thank you for reading!
You put it perfectly, when you say that Lestatβs tragedy is actually born out of the sorts of traits we typically associate with positivity or triumph.Β The persevering hero whoβs strength and self-belief inspires those around him to rise to his level and find their own strength.Β But in Lestatβs case, it very often has the opposite effect.Β It overwhelms others and causes them to bend and sometimes break, often responding in exactly the opposite way Lestat had hoped for.Β Lestat has such a powerful will and self-belief and such an incredible capacity for hope and optimism.Β Heβs such a big person and personality, but heβs so immense and so bright that it has the unintentional effect, often, of overpowering others, resulting in devastation for both Lestat and the people he loves.Β His light is so bright, those around him feel like theyβre being cast in shadow.Β Like you said, his optimism and positivity is often misunderstood, interpreted incorrectly as insensitivity or apathy,Β or blindness, what have you.Β Lestat of course isnβt any of those things.Β Heβs actually so deeply feeling and intelligent, and deeply introspective.Β He sinks into horrible depressions several times because of this.Β But his innate hope and positivity always lifts him back up.Β The saddest thing about all of this is what I was saying in my original post, which is that Lestat is more or less made to believe through all of his experiences, and the lessons taught to him by others, that itβs his own self, what he is naturally, that causes so much misery to others.Β I really canβt think of anything sadder than that.Β Especially when Lestat is possessed of those qualities which normally would be cherished and admired by others.Β
And definitely, I donβt think anyone can understand Lestat if they donβt read βThe Vampire Lestatβ.Β Itβs vital in understanding who he is and why he does the things he does.Β
People who claim Lestat is the villain of βInterview with the Vampireβ donβt realize, for example, that Lestat was never the villain of that book, that he was never a villain at all.Β Louisβ negative perception of Lestat is almost all based is misunderstanding and misconception, and that misunderstanding is born out of Lestatβs own trauma, particularly tied to what weβre talking about here, which is this feeling of his very self being somehow a force for evil, despite his deep desire to do good.Β Itβs enough to make you cry, truly.Β
omg that analysis was everything!! thank you sm! really was a palette cleanser. would love the continuation with the parts you didn't get to - his relationship with jonah and the dynamic within the rue royal household. the housewife insult from claudia really did a number on the fandom's reading of louis. (still not over people seriously considering him the embodiment of "edwardian housewife" archetype while lestat is a classic patriarch. dunno if i wanna laugh or cry).
(x)
Thank you! And yeah, I think I've mentioned it before, but it's interesting to me that so many people take both Claudia's housewife insult and Grace's white daddy insult as effectively one-to-one attributes instead of as weapons of emasculation to not only try and hurt Louis, but to goad him into action.
The dynamic of the Rue Royale household is probably it's own entire answer, and one that might be best answered after I've finished my re-watch, but yes! Let's talk about Jonah. Or, well, about sex, haha.
Virtue and the gothic heroine
I'm sorry, but no one is ever going to convince me that Lestat "Don't worry, you can be on top" de Lioncourt doesn't love bottoming.
βOf course Louis released Rose and then he bowed just as if he were at a ball in old New Orleans after the opera. I came up beside him and took his hand. βWhat are you doing?β he asked. βDancing with you,β I said. I turned him easily this way and that to the music. I could see he found this immediately awkward, to be dancing with me as a woman might dance with a man, and then something playful and vibrant came into his eyes. He gave himself up to it. I turned us around fast twice and then three times, and we broke the pattern and then my arm slipped around his waist and I danced beside him, in step with him, like the Greek men do it. βDo you like this better?β I asked. βI donβt know,β he said. He appeared brimming with happiness. But I was the one truly brimming with happiness. The music seemed to move us as if we were powerless, borne along exquisitely, and then we faced each other again and we were simply dancing in a loose, comfortable embrace, intimate, making one body and then two bodies, and one body again. All around us were dancers, dancers pressing in so that at last we were dancing without really moving our feet. But what did it matter? One can dance that way. One can dance a thousand ways.β
β Lestat - Blood Communion

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Idk if uve discussed this before, im new haha but I really enjoy your readings of the show and Iβm curious, would u call louis a femme? Idk i think itβs a widely accepted canon in the fandom and i constantly see it spread all over twitter with no argument whatsoever and im over here like i.. i dont see it?? Idk!
Hey! Welcome, anon! And thank you for your kind words! Youβre very sweet!
I think Iβve probably discussed it in fragments before, but not outright said it, but no, I wouldnβt call Louis a femme. Itβs certainly a largely accepted fanon in a vocal part of the fandom, particularly on Twitter and ao3, and yeah - - I mean. Iβm really glad people are having fun with it! I do also sometimes feel theyβre watching a different show to me though, because itβs honestly not something I see at all. I donβt know if their arguments are necessarily organized in the one place (although I could be very wrong in terms of that!) but I might use this as an opportunity to collate my thoughts and the previous posts Iβve made addressing the arguments around this particular topic. SO! Okay! Letβs break it down and dive in:
Louis is femme because heβs a Gothic Heroine
I just donβt agree with this argument, Iβm sorry. Iβm not going to get into the weeds of this one, just because I feel like Iβve done so already, but I donβt personally read Louis as a gothic heroine at all. In fact, I see him as a very archetypical Byronic Hero, which I talked about in this post, and in others in my Byronic Hero tag.
Louis is femme because he is a Battered Housewife / relying on a Sugar Daddy
This point often gets tied up into the gothic heroine one, and itβs one that always kind of surprises me a little bit. Even putting aside the fact that itβs an ugly, misogynistic trope in general, Louisβ relationship to being a quote-unquote βhousewifeβ is one that β to me β is symbolic of his feelings of emasculation in the Rue Royale household not as a result of Lestat alone, but as a result of the white power structures in New Orleans that would disempower and disenfranchise him. He doesnβt like it, it doesnβt make him βfemmeβ, in fact, my interpretation is the opposite β it emasculates him as a Black Man, and he feels that in every part of his life to the point that both his daughter and sister weaponize it against him, and I personally think itβs a factor in his periodic impotence in his marriage. Respectively, Claudia calls him the housewife, and Grace calls Lestat his white daddy β these arenβt compliments, these are callous insults from both of them designed to bruise his pride and force him into action. The fact that neither of them work to move him the way they want doesnβt mean Louis identifies with them, rather it means heβs β at the time β committed to Lestat for better and worse, but their words compound in a way that fuels his resentment of Lestat as both an adulterous husband and a symbol of everything wrong with his life.
Les!! β€οΈβ€οΈπ
I used a photo as a reference for this drawing because I saw it and immediately thought of Lestat.
silly guys
I really hate that Louis as a Byronic hero post π it's such a white take. Louis isn't a victim or a gothic heroine but he's also not that. Jacob based a lot of his acting choices off of strong black women and Bowie and the Byronic Hero is such a masculine traditionallly white archetype I can't get behind it at all.
I don't think the rarity of Black Byronic heroes in the gothic romance genre (which is in itself, eurocentric as it was european-generated in the first place and predominantly non-black, despite many authors of color contributing notable works to the genre) preclude Jacob Anderson's Louis de Pointe du Lac from being one π The lack of examples of Byronic heroes of color in popular media doesn't mean no Byronic hero of color could exist, since whiteness isn't a requisite of its existence π
And though I get your resistance in calling him one, I don't think it takes away from Jacob's excellent portrayal of Rolin's version of Louis to admit that Louis ticks off so many boxes in what constitutes a Byronic Hero. Because while Jacob had a particular aesthetic vision in his portrayal of Louis (reptilian, fluid; which added so much charisma and character to the role), show Louis' characterization as well as his major themes and the arc he underwent stayed true to the books, where Louis is white and in my opinion, still could be characterized as a Byronic Hero. That's unaltered. Like, here's a 2012 bachelor's dissertation calling LDPDL a Byronic hero:
And in broad strokes, these things as described still apply to show Louis no? It's fine if you don't agree with the interpretation though! I don't think saying he is one is meant to be a catch-all explanation of everything Louis is, just a character trope with which he could be analyzed as.

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I would LOVE to read your analysis of louis as byronic hero as apposed to his reading as gothic heroine. lots of the latter and zero of the former in the fandom.
Sure! Mmm, okay, so β
What are we talking about when we talk about Gothic Heroes? Β
When we talk about gothic heroes, weβre really talking about three pretty different character archetypes. All three are vital to the genre, but some are more popular in certain subgenres i.e. your Prometheus Hero may be more common in gothic horror, whereas your Byronic Hero might be more likely to be found in gothic romance. Thatβs not to say theyβre exclusive to those subgenres at all, and there is an argument that these archetypes themselves are gendered (in many ways, I think people confuse Anne being an author of the female gothic with Louis being a gothic heroine, but Iβll get into that later), but this is also not necessarily something thatβs exclusive.
Anyway, Iβm getting ahead of myself, haha, so the three gothic hero archetypes are:
Miltonβs Satan who is the classic gothic hero-villain. You can probably guess from the name, but he was originated in John Miltonβs 1667 poem, Paradise Lost. He is Godβs favourite angel, but God is forced to cast him out of heaven when he rebels against him. As an archetype, heβs a man pretty much defined by his pride, vanity and self-love, usually fucks his way through whatever book or poem heβs in, has a perverted, incestuous family, and a desire to corrupt other people. Heβs also defined as being βtoo weak to choose what is moral and right, and instead chooses what is pleasurable only to himβ and his greatest character flaw, in spite of all The Horrors, is that heβs usually easily misguided or led astray. (I would argue that Lestat fits into this archetype pretty neatly, but thatβs a whole other post.)
Prometheus who was established as a gothic archetype by Mary Shelley with Frankenstein in 1818. Your Prometheus Hero is basically represented by the quest for knowledge and the overreach of that quest to bring on unintended consequences. Heβs tied, of course, to the Prometheus of Greek myth, so you can get elements of that in this character design too in that he can be devious or a trickster, but the most important part of him is that he is split between his extreme intelligence and his sense of rebellion, and that his sense of rebellion and boundary pushing overtakes his intelligence and basically leads to All The Gothic Horrors.
And the Byronic Hero, who as the name implies, was both created by and inspired by the romantic poet, Lord Byron in his semi-autobiographical poem, Childe Haroldβs Pilgrimage which was published between 1812-1818. The archetype is kind of an idealized version of himself, and as historian and critic Lord Macaulay wrote, the character is βa man proud, moody, cynical, with defiance on his brow and misery in his heart, a scorner of his kind, implacable in revenge, yet capable of deep and strong affection.β Adding to that, heβs often called βthe gloomy egoistβ as a protagonist type, hates society, is often self-destructive and lives either exiled or in a self-exile, and is a stalwart of gothic literature, but especially gothic romance. Interestingly too, in his most iconic depictions heβs often a) darkly featured and/or not white (Heathcliff being the most obvious example of this given Emily Bronte clearly writes him as either Black or South Asian), and b) is often used to explore queer identity, with Byron himself having been bisexual.
Okay, but what about the Gothic Heroine?
Gothic heroines are less delineated and have had more of an evolution over time, which makes sense, given women have consistently been the main audience of gothic literature and have frequently been the most influential writers of the genre too. The gothic genre sort of βofficiallyβ started with Horace Walpoleβs 1764 novel, The Castle of Otranto and Isabella is largely regarded as the first gothic heroine and the foundation of the archetype, and the book opens even with one of the key defining traits β an innocent, chaste woman without the protection of a family being pursued and persecuted by a man on the rampage.
The gothic heroine was, for years, defined by her lack of agency. She was innocent, chaste, beautiful, curious, plagued by tragedy and often, ultimately, tragic. Isabella survives in The Castle of Otranto, but sheβs one of the lucky ones β Cathy dies in Wuthering Heights, Sybil dies in The Picture of Dorian Gray, Justine and Elizabeth both die in Frankenstein, Mina survives in Dracula, but Lucy doesnβt. Thereβs an argument frequently posited that the gothic genre was, and is, about dead women and the men who mourn them, and Interview with the Vampire certainly lends itself to that pretty neatly.
Lestat & Louisππ
it starts and ends with you
In the Rockstat era there are definitely video compilations of him looking off into the distance and his pupils suddenly dilating like crazy because he has just spotted his husband in the crowd. People know when Louis is there because Lestat looks like a cat about to pounce.
Louis y Lestat πͺ’

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New NSFW comic: PIANO πΉ
Pag: 14-15-16
(Surprise! Angst!)
I haven't uploaded today's pages. I have to translate the text yet. I'll try to upload them this afternoon. I apologize ><
NSFW extension of the two-page mini comic "corset π"
COMPLETE