Fucking as monsters.
On Monsterfucking explored the appeal of fuckable monsters to American ladies.
Monsterfucking 2 looked at the appeal of femme & fuckable monsters to American gents.
Now I'm gonna talk about the appeal of being a monster in fuckable senses.
I'm probably going to repeat myself here and there, but with any luck I'll show you a few things that haven't been looked at too closely.
Monsters as heroes are easy enough to see. Legions of folks have dressed as Count Dracula one way or another in the decades since Bela Lugosi brought his own charm to the table. While those dressed as Jonathan Harker, if any, are few and far between. While there are always humans for us to relate to, the monsters are the reason we keep coming.
And a big reason for that is that we see ourselves in the monsters.
This is because our conventional ideas of who gets to be a hero are both contradictory in several places and out of reach of the bulk of humanity. This is a modern flavor of how heroes were considered supernatural creatures themselves in Ancient Greek myths, on par with or occasionally mistaken for Gods and Demigods.
And we still see vestiges of that heroic ideal today: just handsome enough, just tall enough, just strong enough, shoulders just broad enough, waist just slender enough, dick just big enough, the list goes on, narrowing and narrowing every time one looks at it.
The monster, however, not only falls outside of that narrow definition, he's not expected to fall within it.
And more often than not, he's desired MORE than the supposed hero.
Frankenstein's Monster is lurching around in a jacket too small for his shoulders and boots that don't let him walk straight, while unable to articulate more than grunts.
Tell me that an adolescent gent, who's a cocktail of raging hormones, who was two inches shorter yesterday, and has no idea how to talk to the curvy, nice-smelling people can't relate.
Beauty falls for the Beast.
The Phantom of the Opera is considered, by both performers and fans, to be the more interesting and desirable than the traditional hero Raul.
Herman Munster won the heart of a lady like Lily.
Count Dracula is an insanely popular costume from the Lugosi and Lee eras to this day.
Bela Lugosi and Christopher Lee walked so that Tom Cruise and Brad Pitt could run.
Oh, but those vampires are still conventionally handsome, you say?
They're still heroes, just bad boys.
Fair enough. Let's dig a little deeper.
If physical attractiveness isn't the appeal of a monster, what is?
Some would say resources. There's some merit to the idea that 50 Shades is only erotic because Christian Gray is a millionaire, and if he lived in a trailer park it would be a CSI episode. Count Dracula is old-money European gentry. The Beast is really a young royal with a castle full of servants. The Addamses are old-money.
And yet, there's no real economic distinction between Dracula and his opponents. A partner in a law firm, an English Lord, two doctors, one of whom owns his own asylum, and an American entrepreneur are his opponents, and they have no problems keeping up with and overtaking the Count.
Some would say talents and skills are a part of it.
The Phantom may be horribly disfigured. To the point where in the novel, the only kiss he ever receives in his life is from Christine. But he's not only an accomplished singer, musician, and composer, he's a world-class vocal coach and an incredibly skilled architect.
The Beast has the education of a young nobleman, and even while cursed becomes a skilled rose gardener.
Frankenstein's monster is intelligent, erudite, and cunning.
But ordinary humans are talented and skilled too.
Some would say confidence, but here's where we get tricky.
Disney's Gaston, Clayton, and Judge Frollo are all confident too.
And despite Gaston's laundry list of heroic features, all of the above prove far more monstrous than fuckable.
Personally, I think the real line of fuckability is a certain level of proven trust.
Remember when I started writing about this: There's no shortage of American women with submission fantasies. There is however a distinct lack of American dudes who can be trusted to accommodate them.
Because having the confidence to assume that role is one thing.
Being trustworthy to assume that role in a way that won't hurt or shame the lady in question is something else.
There are far too many cautionary tales out there about telling the difference between a trusted dominant and a confident asshole.
The most fuckable of monsters, one way or another, show that trust along with the willingness to engage in each other's darker desires.
Tie the lady up? Sure! That's what monsters do, isn't it?
But following through is what confirms what the attraction hoped.
The Phantom is at best horribly enabling of Christine's daddy issues, but in the end, he allows Christine an actual choice as opposed to between life with him or death with Raul.
The Beast allows Belle to go home.
I've said before that monsterfucking is a way to reconcile "bad boys are hot" with "all men are potential predators."
Fucking as a monster is merging the desire to do all of these naughty and wicked things while proving to someone that they can be trusted to do them.
And it does so in a way that relieves the societal pressure from them both.
On Monsterfucking explored the appeal of fuckable monsters to American ladies.
Monsterfucking 2 looked at the appeal of femme & fuckable monsters to American gents.
Now I'm gonna talk about the appeal of being a monster in fuckable senses.
I'm probably going to repeat myself here and there, but with any luck I'll show you a few things that haven't been looked at too closely.
Monsters as heroes are easy enough to see. Legions of folks have dressed as Count Dracula one way or another in the decades since Bela Lugosi brought his own charm to the table. While those dressed as Jonathan Harker, if any, are few and far between. While there are always humans for us to relate to, the monsters are the reason we keep coming.
And a big reason for that is that we see ourselves in the monsters.
This is because our conventional ideas of who gets to be a hero are both contradictory in several places and out of reach of the bulk of humanity. This is a modern flavor of how heroes were considered supernatural creatures themselves in Ancient Greek myths, on par with or occasionally mistaken for Gods and Demigods.
And we still see vestiges of that heroic ideal today: just handsome enough, just tall enough, just strong enough, shoulders just broad enough, waist just slender enough, dick just big enough, the list goes on, narrowing and narrowing every time one looks at it.
The monster, however, not only falls outside of that narrow definition, he's not expected to fall within it.
And more often than not, he's desired MORE than the supposed hero.
Frankenstein's Monster is lurching around in a jacket too small for his shoulders and boots that don't let him walk straight, while unable to articulate more than grunts.
Tell me that an adolescent gent, who's a cocktail of raging hormones, who was two inches shorter yesterday, and has no idea how to talk to the curvy, nice-smelling people can't relate.
Beauty falls for the Beast.
The Phantom of the Opera is considered, by both performers and fans, to be the more interesting and desirable than the traditional hero Raul.
Herman Munster won the heart of a lady like Lily.
Count Dracula is an insanely popular costume from the Lugosi and Lee eras to this day.
Bela Lugosi and Christopher Lee walked so that Tom Cruise and Brad Pitt could run.
Oh, but those vampires are still conventionally handsome, you say?
They're still heroes, just bad boys.
Fair enough. Let's dig a little deeper.
If physical attractiveness isn't the appeal of a monster, what is?
Some would say resources. There's some merit to the idea that 50 Shades is only erotic because Christian Gray is a millionaire, and if he lived in a trailer park it would be a CSI episode. Count Dracula is old-money European gentry. The Beast is really a young royal with a castle full of servants. The Addamses are old-money.
And yet, there's no real economic distinction between Dracula and his opponents. A partner in a law firm, an English Lord, two doctors, one of whom owns his own asylum, and an American entrepreneur are his opponents, and they have no problems keeping up with and overtaking the Count.
Some would say talents and skills are a part of it.
The Phantom may be horribly disfigured. To the point where in the novel, the only kiss he ever receives in his life is from Christine. But he's not only an accomplished singer, musician, and composer, he's a world-class vocal coach and an incredibly skilled architect.
The Beast has the education of a young nobleman, and even while cursed becomes a skilled rose gardener.
Frankenstein's monster is intelligent, erudite, and cunning.
But ordinary humans are talented and skilled too.
Some would say confidence, but here's where we get tricky.
Disney's Gaston, Clayton, and Judge Frollo are all confident too.
And despite Gaston's laundry list of heroic features, all of the above prove far more monstrous than fuckable.
Personally, I think the real line of fuckability is a certain level of proven trust.
Remember when I started writing about this: There's no shortage of American women with submission fantasies. There is however a distinct lack of American dudes who can be trusted to accommodate them.
Because having the confidence to assume that role is one thing.
Being trustworthy to assume that role in a way that won't hurt or shame the lady in question is something else.
There are far too many cautionary tales out there about telling the difference between a trusted dominant and a confident asshole.
The most fuckable of monsters, one way or another, show that trust along with the willingness to engage in each other's darker desires.
Tie the lady up? Sure! That's what monsters do, isn't it?
But following through is what confirms what the attraction hoped.
The Phantom is at best horribly enabling of Christine's daddy issues, but in the end, he allows Christine an actual choice as opposed to between life with him or death with Raul.
The Beast allows Belle to go home.
I've said before that monsterfucking is a way to reconcile "bad boys are hot" with "all men are potential predators."
Fucking as a monster is merging the desire to do all of these naughty and wicked things while proving to someone that they can be trusted to do them.
And it does so in a way that relieves the societal pressure from them both.
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