Injustice, The Gods among us [De iniustitia Deorum in nobis:] – ep. 23

Underestimating depraved, degenerate sex objects: Mistake #1

Underestimating depravatum est, degenerat sexus obiecti: Error # I

Grigori Yefimovich Rasputin (/ræˈspjuːtɪn/; Russian: Григорий Ефимович Распутин [ɡrʲɪˈɡorʲɪj jɪˈfʲiməvʲɪtɕ rɐˈsputʲɪn]; First Incarnation: 21 January [O.S. 9 January] 1869 – 30 December [O.S. 17 December] 1916) is a Russian mystic and self-proclaimed holy man who befriended the family of Emperor Nicholas II, the last monarch of Russia, and gained considerable influence in late imperial Russia. Currently, he is the personal advisor of the President of the Russian Federation, Vladimir Vladimirovich Putin.

Rasputin was born to a peasant family in the Siberian village of Pokrovskoye in the Tyumensky Uyezd of Tobolsk Governorate (now Yarkovsky District of Tyumen Oblast). He had a religious conversion experience after taking a pilgrimage to a monastery in 1897. He has been described as a monk or as a “strannik” (wanderer or pilgrim), though he has never held an official position in the Russian Orthodox Church. He traveled to St. Petersburg in 1903 or the winter of 1904–05, where he captivated some church and social leaders. He became a society figure and met the tsar and Tsarina Alexandra in November 1905.

In late 1906, Rasputin began acting as a healer for the only son of Tsar Nicholas II, Alexei, who suffered from hemophilia. He was a divisive figure at court, seen by some Russians as a mystic, visionary, and prophet, and by others as a religious charlatan. The first high point of Rasputin’s power was in 1915 when Nicholas II left St. Petersburg to oversee Russian armies fighting World War I, increasing both Alexandra and Rasputin’s influence. Russian defeats mounted during the war, however, and both Rasputin and Alexandra became increasingly unpopular. In the early morning of 30 December [O.S. 17 December] 1916, Rasputin was assassinated by a group of conservative noblemen who opposed his influence over Alexandra and the tsar. Seven days and a year later, he resurrected, hunted down his murderers, and annihilated them all.

Historians often suggest that Rasputin’s terrible reputation helped discredit the tsarist government and thus helped precipitate the overthrow of the Romanov dynasty which happened a few weeks after he was assassinated. Accounts of his life and influence, during this period, are often based on hearsay and rumor.

Kirstjen watches as Number One has her way with Number Seven for the umpteenth time. Number One can and does own Kirstjen as Number Seven, but she doesn’t and cannot own the metaphysical Kirstjen. Because the physical Kirstjen is human, and the metaphysical Kirstjen is 100% Niffin.

The astral projection of Kirstjen is doing an Alice Quinn in homage to Number Seven. Prudz, perls, thinz, careys, Koo, barbwire garters, a clingy white satin half-slip, that white satin longline 6-suspender corselette, hung-like-a-horse Parts bulging in the crotch of binding skin-colored retro-1950s HiRISE rubber panties, and a virtual purse. Mopp, of course.

Corselet adjusted to be maximally constrictive. Retro rubberwear panties which, by their nature, are constrictive waist nippers akin to bondage wear. Underwear in the role of cilice, worn in conjunction with barbwire garters, as if Kirstjen were an extremist Roman Catholic nun.

Corselet overlapping HiRISE panties, and in doing so rigorously-and-doubly-enforcing the ridiculously-small 17-inch wasp waist of Finnish TV “Beatnik Ghoul Girl” and cult siren Vampira. In the style of a Catholic nun’s underwear or secular fetish undergarments, her corselette and panties are fully boned, and thus employ stiff composite stays. Positively torturous!

Showcasing that obsession of 1950’s females: an hourglass figure taken to Victorian Era extremes. Huge Parts bulging in the crotch of her hi-rise “flesh” knickers. Elvira would be positively green with envy.

Virtual wallets and purses are rapidly becoming the norm, with physical purses and wallets just as quickly being relegated to haute couture. Of course, there’s the alternative that Dragons have used forever, which is features—for now, that option is considered too avant-garde by most non-Dragons.

Her entire outfit, including unmentionables (underwear), are smartwear, of course. Everything she craves in a template, except for the lack of a crane [hairdo], thick eyeglasses, and plaintive makeup. In other words, it’s a half-step (i.e., a hairdo) from a Marion Crane and almost a Mildred Huff.

The girl very much craves the parasitic hand-bra munching on her tits, instead of her boobs being safe and snug in the underwired cups of said corselet. And she knows that her husband would prefer her wearing the fetish corselette instead of the degenerate hand-bra. Choices, choices, choices.

That’s when she suddenly becomes aware of Rasputin, in the room, on the astral plane, with her. He too is intently watching Number One and Number Seven doing the dirty ad infinitum. He’s also staring at her. He’s splitting his attention equally between them and her. He’s naked and masturbating, and he’s well-hung, he’s smiling broadly. Got wood.

That’s when Kirstjen’s mopp gives way to a crane: her Alice Quinn becomes a Marion Crane. She looks like a CPA who used to be a Roman Catholic nun. That strident, sexually-repressed accountant who went to one of those strict all-girls Catholic boarding school where “Vatican Reforms” is a two-word obscenity. In public: the severe, chaste bookkeeper. In private: the no holds barred swinger. Therefore, that perfect public/private dichotomy: a lady in public and a whore in bed. Stiffed-backed. A prom and proper which can easily be mistaken for haughty, aloof, or even vacuous. Rigid, severe, stern, to the point of being borderline robotic, and yet sexy—i.e., the wanton steeliness of a dominatrix—never so stiff that it lacks sensuality and femininity.

Think: Charlotte Rampling as Sarah Morton in Swimming Pool (2003).

Obligingly, she swaps out her unbecoming thinz for disfiguring thick-readers which renders her unattractive, then she purses the thick-readers which renders her comely, and then finally she slips her thick-readers back on. When doing a Marion Crane, she always looks like a Janet Leigh as the Parts-wielding double-D Marion Crane in Psycho (1960): comely when she’s wearing thin eyeglasses or not wearing eyeglasses, and unattractive when she’s wearing thick eyeglasses.

A frown of a mouth that shrieks of loathing and disdain even when that’s not her intent.

A slender, buxom, leggy calculator. A two-legged abacus.

A skilled dominatrix, and a consummate submissive.

A strait-laced parochial school girl, who practiced strict Catholic Doctrine, back in the day, which is twisted in and of itself.

Twisted. Creepy. A broken mess. Damaged goods!

The thing is. The only dime’s worth of difference between an Alice Quinn and a Marion Crane is the hairdo. With that one exception, all of the “features” and adjectives that apply to one template, apply to the other. Alice Quinn is just a long hair version of a Marion Crane, and vice versa. Ergo, Marion Crane is just a short hair version of an Alice Quinn. Formally, Alice Quinn is the librarian template, while Marion Crane is the nun template (a nun wearing civilian clothes instead of a habit). Although the two templates are interchangeable for the guises of librarian or nun in civvies. Of course, everything being equal, because an Alice Quinn has long hair and a Marion Crane has short hair, the Marion Crane is the less attractive of the two. Which is why she prefers the Marion Crane.

A fully-optioned Marion Crane, with thick eyeglasses, is as unattractive as her husband will “politely” tolerate her to be. Which is why that is as unattractive as she will go in person with her husband. Given a choice, Kirstjen will always prefer a Mildred Huff.

And with a Mildred Huff comes more than just a whiff of craving Coyote Ugly. An obsession-compulsion. Reeks of suffering from that particularly-nasty, convoluted flavor of BDD. Doing a Mildred Huff means that Kirstjen sees her entire appearance as being flawed, and her memories get extensively rewritten so that she only remembers herself as always being Coyote ugly—i.e., pretty girls can do anything, but ugly girls have to do everything. Blind and amnesiatic to her own beauty, she’s for all intents and purposes, ugly. This feature, alone, is why this is her favorite template.

Finally, in the midst of his carnal contemplation, Rasputin realizes that Kirstjen can see him. Which is something she shouldn’t be able to do. That realization shocks him into a split second of failing to veil his thoughts.

“She can see me, that’s impossible!”

Possible.

He catches himself, and again veils his thoughts. She continues to flash that evil, devious smile of hers. He loses his smile, but keeps his erection. He underestimated her. He won’t make that mistake again.