trying to educate an anti to stop saying cp because it’s simply just not a good term to use and to use csam or csem because it’s not pornography, it is not consensual and never can be and it is exploitative and abusive material, and to most of all stop applying these terms to fictional media such as art and writing and they still say “yeah but it’s still exploitive even if it’s fictional…” to who? who is being exploited and abused here? the drawing? are we serious right now?
I really think everyone needs to truly internalize this:
Fictional characters are objects.
They are not people. You cannot "objectify" them, because they have no personhood to be deprived of. They have no humanity to be erased. You cannot "disrespect" them, because they are not real.
I know this has good intentions, so I will just add the "how you treat them, even as objects of fiction, can speak about your own character, be careful out there"
Your addition is actually completely antithetical to my message. It is literally the opposite of what I am conveying.
Stop telling people to encourage the cop inside their head.
How you treat fictional characters, given they are entirely objects of fiction, does NOT necessarily speak to your own character, and you do not need to be "careful".
It is not dangerous to imagine dark things happening to fictional characters. It does not mean you are secretly a bad person. It does not mean you unconsciously want to hurt people in real life. It is not a "slippery slope" to doing bad things to people in real life. You cannot damage your brain or turn yourself into a bad person by consuming "dark" fanfic.
I can write tentacle noncon of my favorite character all day long and be a fierce anti-sexual assault advocate in real life because what I do in my head is not the same thing as what I do in real life.
has anyone thought about Michael killing for Vanessa like a cat bringing dead birds to her door. have we thought about him trying so hard for so long to kill people in a way that will make her love him. that will make her proud of him. has anyone ever thought that all he really wants is for his big sister to look at the bloody mess he made for her, for their family, and tell him "good job".
rating: mature
creator chose not to use archive warnings
tags: pre-canon, non-explicit sibling incest, canon-typical violence
also on AO3
Michael slips in through her window. It sets her curtains fluttering like restless ghosts, the night air sticky and warm with summer, and he brings in the scent of wet grass and pavement and, Vanessa can't help but notice when she sits up in bed and turns the lamp on, blood.
Michael stands at the foot of her bed, eyes bright and jacket stained, and says, "I took care of the journalist."
Vanessa's stomach does a funny little swoop, and the bone-deep wire trap that keeps her jaw shut is as certain and steady as any Afton animatronic. It's happened once or twice now; reporters and wannabe bestselling authors coming to try and dig to the bottom of what happened, hoping that they'll be the one to finally solve it and pin a face on the yellow rabbit's grinning mask. The last one got as far as breaking into Freddy's — Vanessa was mopping up blood from Parts & Service for what felt like days.
"Don't worry," Michael says, and he skirts around the bed to stand closer to her, the dark splotches on his jacket revealed to be the red that Vanessa knew they would be. "He can't hurt us. He won't get as close as the last one did."
Vanessa finally manages to open her mouth. "People will ask even more questions if journalists keep turning up dead."
"I made it look like an accident." Michael drops to his knees, almost reverent, and crosses his arms on Vanessa's bed to look up at her with wide, childish eyes. "Like you taught me. It was perfect. I haven't told Dad yet."
"You don't have to do it," Vanessa tells him, and then she's seized with a sudden desperation and turns so she's facing him, grabbing the edge of her bed and leaning down to look into his eyes. "Listen to me, Michael, you don't have to kill anyone for this. You shouldn't. You should stop. They'll never find anything—"
"But they might," Michael replies, sounding for all the world like a petulant preteen despite the fact that he's only three years younger than Vanessa. "What if you get sloppy? You might be Dad's favorite, but you're going to fuck up eventually, sis."
Vanessa wants to yell in his face that it's not about her being sloppy. Sometimes, she wishes she could be sloppy, wishes she could paint a big goddamn sign and stand on the fucking street corner with it. She holds up this Afton secret because if she doesn't, it's not just her and William that it'll come crashing down on, but Michael, too. Michael, the boy who got shy around Foxy because of how much he loved him. Michael, the boy who stood up for her when Freddy's closed down and she became social pariah overnight. Michael, the boy that Vanessa made sure never had to be the lure, the bait, the distraction, because it was always her instead. It's sunk-cost fallacy if nothing else, Vanessa thinks bleakly — if she cracks and spills it all, what good are those years she spent sacrificing her own childhood so Micheal didn't have to?
Michael isn't a child anymore, though. He's not the boy that cowered behind Vanessa as William ranted, nor is he the boy dogging at her heels and pouting about not being allowed into the saferoom when William worked like Vanessa was. Those years that Vanessa spent trying to protect him from William are gone, and the boy that she tried to save is dead, just like so many others. Now, the man that stares back at her has the same eyes as William: the deadly blue of an arcing wire.
"I did it for us." Michael's tone is cajoling this time, coaxing, as if he's got any right to lecture her on selflessness. "For you. I know you would hate it if everyone at the precinct knew who you were."
The threat is not lost on Vanessa, and she resents him for making it as much as she resents herself for being afraid of it. Her name change is public record, in all technicality — all it takes is a quick trip to the civic building to discover that Vanessa Afton and Vanessa Shelly are the same person. But it's not wide knowledge at her job, and for that she's thankful, because there are people she works with old enough to remember what happened and, more importantly, remember William Afton's daughter.
"Trust me, I... I did it so well, Vanny," Michael breathes, and he pushes himself a little further onto the bed like a needy cat and reaches out to pet her thigh, bare in her outfit of underwear and an oversized t-shirt from the academy. "As good as you would have. I can't wait to tell Dad."
Vanessa's throat is oddly tight. "You should clean yourself up and get some sleep."
"I will," Michael says, and pushes himself up even more until he can lay his head on Vanessa's thigh, laying awkward and only halfway on the bed. "But you should let me spend the night. So you don't forget why we have to do this."
Protecting Michael used to mean shielding him from William, covering his eyes so he didn't see the blood and violence hidden just behind the curtains. Vanessa can't cover his eyes any longer. Resignedly, filled with that old dread that's as familiar to her as Freddy's itself, she puts her hand on his head and pets his hair like she thinks their mother used to do. She refuses to tell him that he did a good job, that she's glad he did it, but— but deep down inside, there's a part of her that's going to sleep a little easier knowing that, at least for now, they're still safe.
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