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a-b-riddle · 10 months ago

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Part Three

Warning: If you don't like Taylor Swift, you're not gonna like this chapter that much, homie. But So Long, London is so fitting for this drabble series. (I guess a series since it's longer than a drabble at this point)

Can’t stop thinking about reader just trying to move on

You had to remind yourself several times not to check in with the guys. It had almost become second nature doing something big like this. But going to another country…

Not that they would care. You told yourself. It was for the best that way.

The expo went better than you expected. You didn’t believe that there would be a line out the door of eager readers wanting to read your book, but you got a decent amount. More than a few told you they couldn’t wait to read it. Several asking for photos and asking questions on any future books, a spin-off or even continuing the series.

When one a particular large group of girls your age asked for a group photo, you could have cried. They were had found each other in an online book club. You had given them your book several months ago. All copies signed with a note thanking them for taking the time to read what you had poured your heart into.

You had spent a large chunk of your free time talking to them. Bonding more so as women than over your book.

"Have you listened to Taylor's new album?"

It had only been out for two days and you had been able to avoid it like the plague. You didn't need to even listen to 'So Long, London' to know it would fucking gut you. So you would enjoy your time in the states. Save the listening experience for when you were packing up their stuff.

They had posted and tagged you before continuing on with the rest of the expo. You had reposted the photo to your own social media. Or at least one attached to the pen name you had crafted. You only had twelve thousand instagram followers, but it was something.

The first day was much like the second. You had attended several Q & A sessions with a panel of more experienced authors and managed to go to a few meet and greets. Before you knew it, it was time to pack up shop.

The agent the publishing house had assigned to you had stuck with you for most of the day. You were able to pick her brain a bit about new ideas for possible future plot lines and her thoughts. Overall, the trip was great.

Not only were you able to make great connections and take a lot back home with you to reference, but for a few days you forgot what waited for you back home. Or rather what wasn't waiting for you.

By the time your plane landed back in London you could barely hold yourself up. You left the expo, went straight to the hotel to shower, pack and head to the airport.

Your flight was delayed. Your luggage was taking forever to get onto the belt. It was only seven, but fuck if you weren’t ready to just call it a day. Tomorrow you would have to start again. Opening up the shop. Coming back to an empty flat. Maybe start gathering up the items the boys had left behind.

Should you give them in separate boxes or just one giant one and let them sort it out themselves? It was easy to discern whose sweatshirt and t-shirts belonged to who, but when it got to things like socks and chargers...

Yeah.

They could sort it themselves.

You could drop it off at Kyle's when you knew he would be at the gym. He was good at avoiding you anyway.

It wasn't until you stood in your apartment did it hit you.

You were alone.

For the first time in over a year you couldn't call one of them over to soothe that ache of loneliness.

For the first time in over a year, you had to relearn how to handle just being alone.

You usually showered at night. Washing away the grime of the day before settling into bed. But today was a new chapter. You woke up wanting to start it on a good note. Plus you went straight to bed after getting home so you still had a bit of airport funk on you.

It had been a week. One official since you had sent that text nailing the coffin shut. You had touched base with your friends who didn't bat an eye at you dating four men at once. They liked them, even if Simon scared them. You didn't give them the details of the breakup or the cause. You were pretty private in your problems and if you wanted relationship advice, you would seek an unbiased unopinion.

You had a good group of friends, but the moment you told them that you were well and truly heartbroken, they would insist the best way to get over someone is to get under someone else. Something you were nowhere near ready for.

So you needed to look like you had your shit together. You put on a dress that was feminine and, most importantly, comfy as fuck. An A-line floral frock paired with a light sweater and some white trainers. You knew a few of your friends would be stopping by for tea so you need to look like you were taking the separation well. Even if you were barely holding it together.

With makeup and perfume on, you started the early morning stroll to your shop.

You loved openings. Starting up the register and selecting the playlist for today. Picking out the essential oil to put in the diffuser even though you mostly stuck with a lavender and vanilla blend during the spring months.

For the morning you stuck with a Taylor Swift Instrumental playlist you had found initially for studying, but you liked the peaceful feeling it brought. Even when it covered the most gut wrenching songs.

You had started to collect the online orders that had accumulated over the last week. Sending out the e-mails alerting to your patrons that their orders were ready for pick up. Luckily you weren't set to receive a delivery until tomorrow.

It was eight and everything was set. Although not many people came to a bookstore at eight in the morning, it really didn't bother you opening up that early considering you were the only employee that was on the payroll. It gave you the possibility of making money, but mostly you spent the morning reading or writing.

You flipped the sign over from CLOSED to OPEN. Ready to start take on the day.

You had turned the kettle on in the back room when your friends had stopped by around lunch. You always said it was just tea, but you always had an array of snacks on standby for you all to munch on.

Meredith was complaining about what a dick the new client at the law firm was being. An absolute slime who had been married to his wife for almost twenty-five years before he decided to fuck his twenty-two year old assistant.

Tabitha didn't want to talk about work. To her, her career in tech was just a paycheck. She did what she needed to do and left when she was done.

You talked about the expo and how your book. Although neither of them really read, they had promised that they would read your book. You didn't hold your breath. They had reposted your posts as well as making ones of their owns in celebration of you. Words of praise about your dedication and hard work.

You realized that even though they couldn't give you the support you needed as readers, they supported you blindly. You could have written absolute garbage, but they would still support you.

You talked about how many people liked your book and wanted pictures and to sign their copies.

Then came the question you had been rehearsing since you had texted them a week ago. They both shared a look before Meredith finally asked.

"How are you holding up?" You gave a half-smile and a shrug. So perfectly rehearsed in your head you were ready to deliver your lies lines.

"I'm fine," you lied. "It was just fading so there isn't much of a difference, I guess." Not necessarily a lie. "We just wanted different things and were on different paths in life." Not a lie. "It's for the best." You weren't sure if that last one was a lie or not just yet.

They both shared a passing look before returning their gazes back to you. "You know you can come to us about this stuff." Tabitha's hand reached across the table, placing a hand on top of yours.

"It wasn't going to work out." You added. "Situations like that don't and I should have known better."

"A situation?" Meredith asked. "When have you ever called it a situation?"

"It always was one."

"I love you enough to call bullshit." She raised her eyebrow at you, crossing her arms over her chest. "You loved them and you need to stop pretending this is easy."

"You're a divorce lawyer, Mere," You reminded. "You see marriages fall apart every day."

"I do. I get to see from across the table how a woman is still willing to take her cheating arse of a husband back. So the fact that you went from on cloud nine with all of them to not even talking about the break up is concerning to say the least."

"Tabitha," you looked at your only ally left. "A little back up would be nice."

"I'm with her on this one." She confirmed. "You loved them. Not that I cared, but if you weren't talking about books or the shop, you were talking about them. What you did, where you went. How they fucked you."

"I think I'll miss that part the most." Mere sighed. "I lived vicariously through you."

"You know you could actually date people." Tabitha suggested.

"I'd rather live with chronic carpal tunnel than a man." You almost choked on your tea. If you were wearing pearls you would have used the comedic relief of clutching them to break the awkwardness of the current topic of conversation.

"That should be put on a t-shirt." You suggested

"I wouldn't mind it on a welcome mat to be honest." Tabitha added.

"But in all seriousness, cut this bullshit." Meredith gave you an sympathetic smile. "We're here. Good, bad and ugly."

You returned her smile. "I know."

You had closed up shop for the evening. Your lunch had gone longer than expected so now you were left doing the dishes and clean up during closing. You were setting the last cup on the drying rack when you heard the front door chime.

Shit.

You must have forgotten to lock the door when you turned the sign.

“I’m sorry!” You apologized, making your way out of the back break area and to the front of the store. “We’re-”

“Closed.” He said, locking the door behind him. “I saw the sign.”

#captain john price #kyle gaz garrick #simon ghost riley #call of duty #angst #angst with a happy ending #john soap mactavish

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foone · 1 year ago

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why are printers so hated? it's simple:

computers are good at computering. they are not good at the real world.

the biggest problems in computers, the ones that have had to change the most over the time they've existed, are the parts that deal with the real world. The keyboard, the mouse, the screen. every computer needs these, but they involve interacting with the real world. that's a problem. that's why they get replaced so much.

now, printers: printers have some of the most complex real-world interaction. they need to deposit ink on paper in 2 dimensions, and that results in at least three ways it can go on right from the start. (this is why 3D printers are just 2D printers that can go wrong in another whole dimension)

scanners fall into many of the same problems printers have, but fewer people have scanners, and they're not as cost-optimized. But they are nearly as annoying.

This is also why you can make a printer better by cutting down on the number of moving elements: laser printers are better than inkjets, because they only need to move in one dimension, and their ink is a powder, not a liquid. and the best-behaved printers of all are thermal printers: no ink and the head doesn't move. That's why every receipt printer is a thermal printer, because they need that shit to work all the time so they can sell shit. And thermal is the most reliable way to do that.

But yeah, cost-optimization is also a big part of why printers are such finicky unreliable bastards: you don't want to pay much for them. Who is excited for all the printing they're gonna be doing? basically nobody. But people get forced to have a printer because they gotta print something, for school or work or the government or whatever. So they want the cheapest thing that'll work. They're not shopping on features and functionality and design, they want something that costs barely anything, and can fucking PRINT. anything else is an optional bonus.

And here's the thing: there's a fundamental limit of how much you can optimize an inkjet printer, and we got near to it in like the late 90s. Every printer since then has just been a tad smaller, a tad faster, and added some gimmicks like printing from WIFI or bluetooth instead of needing to plug in a cable.

And that's the worst place to be in, for a computer component. The "I don't care how fancy it is, just give me one that works" zone. This is why you can buy a keyboard for 20$ and a mouse for 10$ and they both work plenty fine for 90% of users. They're objectively shit compared to the ones in the 60-150$ range, but do they work? yep. So that's what people get.

Printers fell into that zone long, long ago, when people stopped getting excited about "desktop publishing". So with printers shoved into the "make them as cheap as possible" zone, they have gotten exponentially shittier. Can you cut costs by 5$ a printer by making them jam more often? good. make them only last a couple years to save a buck or two per unit? absolutely. Can you make the printer cost 10$ less and make that back on the proprietary ink cartridges? oh, they've been doing that since Billy Clinton was in office.

It's the same place floppy disks were in in about 2000. CD-burners were not yet cheap enough, USB flash drives didn't exist yet (but were coming), modems weren't fast enough yet to copy stuff over the internet, superfloppies hadn't taken over like some hoped, and memory cards were too expensive and not everyone had a drive for them. So we still needed floppy disks, but at the same time this was a technology that hadn't changed in nearly 20 years. So people were tired of paying out the nose for them... the only solution? cut corners. I have floppy disks from 1984 that read perfectly, but a shrinkwrapped box of disks from 1999 will have over half the disks failed. They cut corners on the material quality, the QA process, the cleaning cloth inside the disk, everything they could. And the disks were shit as a result.

So, printers are in that particular note of the death-spiral where they've reached the point of "no one likes or cares about this technology, but it's still required so it's gone to shit". That's why they are so annoying, so unreliable, so fucking crap.

So, here's the good news:

You can still buy a better printer, and it will work far better. Laser printers still exist, and LED printers work the same way but even cheaper. They're still more expensive than inkjets (especially if you need color), but if you have to print stuff, they're a godsend. Way more reliable.

This is not a stable equilibrium. Printers cannot limp along in this terrible state forever. You know why I brought up floppy disk there? (besides the fact I'm a giant floppy disk nerd) because floppy disks GOT REPLACED. Have you used one this decade? CD-Rs and USB drives and internet sharing came along and ate the lunch of floppy disks, so much so that it's been over a decade since any more have been made. The same will happen to (inkjet) printers, eventually. This kind of clearly-broken situation cannot hold. It'll push people to go paperless, for companies to build cheaper alternatives to take over from the inkjets, or someone will come up with a new, more reliable printer based on some new technology that's now cheap enough to use in printers. Yeah, it sucks right now, but it can't last.

So, in conclusion: Printers suck, but this is both an innate problem caused by them having to deal with so much fucking Real World, and a local minimum of reliability that we're currently stuck in. Eventually we'll get out of this valley on the graph and printers will bother people a lot less.

Random fun facts about printing of the past and their local minimums:

in the hot metal type era, not only would the whole printing process expose you to lead, the most common method of printing text was the linotype, which could go wrong in a very fun way: if the next for a line wasn't properly justified (filling out the whole row), it could "squirt", and lead would escape through gaps in the type matrix. This would result in molten lead squirting out of the machine, possibly onto the operator. Anecdotally, linotype operators would sometimes recognize each other on the street because of the telltale spots on their forearms where they had white splotches where no hair grew, because they got bad lead burns. This type of printing remained in use until the 80s.

Another fun type of now-retired printers are drum printers, a type of line printer. These work something like a typewriter or dot-matrix printer, except the elements extend across the entire width of the paper. So instead of printing a character at time by smacking it into the paper, the whole line got smacked nearly at once. The problem is that if the paper jammed and the printer continued to try to print, that line of the paper would be repeatedly struck at high speed, creating a lot of heat. This worry created the now-infamous Linux error: "lp0 on fire". This was displayed when the error signals from a parallel printer didn't make sense... and it was a real worry. A high speed printer could definitely set the paper on fire, though this was rare.

So... one thing to be grateful about current shitty inkjet printers: they are very unlikely to burn anything, especially you.

(because before they could do that they'd have to work, at least a little, first, and that's very unlikely)

#printers #my writing

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thesummerstorms · 7 months ago

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I feel like there's a solid group of fans (in all fandoms) who forget that there ARE differences between fanfiction and traditional publishing.

Transformative work is great about allowing you to explore secondary POVs and characters who aren't the focus of a text.

But traditionally published books are by their nature more constrained in their format. The physical nature of books + the publishing system means they only have so many pages. And those pages need to serve the central narrative of a story.

It can be fun to puzzle out 'man but what about the implications of x'? or 'oh, I feel like there's a connection between A and B, that's fun to think about!' or 'okay, but from Character M's point of view this is so tragic, even though they literally only exist in three scenes'. That's why transformative work is transformative, and for me, it's the fun part of fandom!

But what that doesn't mean is that the author is being mean or cowardly for not exploring those things in the source text. An author's focus has to be ultimately on the story THEY want to tell, and what makes that narrative or those themes work.

They do not have the luxury of including every digression your brain might have fun exploring, and it doesn't make them bad authors if their narrative focus isn't the one you would have personally chosen.

"But such and such character was robbed! They only appeared in x scenes and then-"

Okay, but did the scenes they were in serve their purpose? Did we get a sense of how they meaningfully impacted other characters, the plot, or the themes while still having a sense of personhood?

You can critique whether or not an author was successful in using their characters for story purposes or whether they successfully communicated their underlying message or whether the author unintentionally/intentionally included a bias that weakens their writing.

But an author not chosing to spotlight your particular minor character favorite does not make them a "coward" or bad at their craft.

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power-handmaiden · 1 month ago

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Chuck Tingle interview

OK, here is the FINAL 2024 Tingles My Butt post, which I've been pretty hyped for. I still kind of can't believe this. While I was figuring out how I'd move on from 2024, @drchucktingle generously offered to answer some questions of mine to commemorate the end of my tingler project! Here they are!

-Considering that your process for tinglers is just to write it out and not stress about proofreading and editing, was it weird for you to see someone decide to go back, examine, and contemplate every single tingler published in the past decade?

the whole dang project was really wonderful for me, for exactly the reason you have just said. tinglers are very STREAM OF CONSCIOUS and only edited with one quick pass so while i think this adds to their honesty and rawness it also means that my time with them is limited. really watching someone go back through them at this depth was like reading a diary that i have not opened for many years, and it jumps around through time in a very beautiful way. it was very moving

-I love tingler character names. I personally admire how many great ones you come up with. (I never know what to name my ttrpg characters.) You just come up with all these great names that seemingly spring from nowhere, how do you do it?

DANG great question cant believe i have not been asked this before but yes there is a type of name that shows up in the tingleverse that is unusual and has a certain feeling and cadence that is very specific. if i am trotting along with sweet barbara and there is a name of a product or a place or something that has this tone we will say ‘oh thats a tingleverse name.’ the reason i wanted to do this in the books was as a very subtle way of saying these stories exist on a timeline that is RIGHT next to ours, so in some ways it is exactly the same as our world but there are these little cultural differences with things like chocolate milk and spaghetti and then with the names. you will have buckaroos like justin and sarah trotting along next to buckaroos named corb torbins-quill or borto lart.

-So, as a reader, reading from 2014 to now, old tinglers and new tinglers feel different to me. I believe you when you say tinglers have always been sincere, but they feel MORE sincere than they used to be. Like, I feel like there was some self-consciousness and irony in some of the early tinglers that you've since let go of and embraced the Chuck Tingle voice more. I don't know, am I imagining this, or does this square with your tingler writing journey? If it does, what has that process been like for you?

i think you are absolutely correct. the intention with tinglers was always to be a place for me to express myself with complete sincerity, but the practical way of HOW to trot like this took a bit of an evolution to arrive at. in other words i knew the basics, but actually refining the best way to express yourself and perform your art takes time. maybe in the same way goin back and watching season one of a tv show can feel very different from season three, even though they are part of the same expression.

similar thing happened with in my chuck PRESENTATION as well, where my main focus was to stay anonymous so the metaphors i used to talk about my life were still true but laid on much thicker. even my attire was a large gi so that you would not even be able to see my shape, which has obviously changed now because i wear suits these days. all of this was a process of starting in a place i knew was important to me and then peeling off the parts that were not helping the message or expression over time

-Is there anything you could tell us about the significance of Borson Reems? I feel like he's more than just another Buck Trungle/Chuck Tangle/etc but I'm not sure what exactly...

yes borson reems is god. not that i believe in GOD in the way that most buckaroos talk about god (i am agnostic) but within the tingleverse, borson reems is an avatar for the creator of that world. technically i am borson reems, because i am writing the books. the question is: are we all the gods of our own little worlds that we create? i do not know, but when i look around at my buds and the joy and love they bring to various timelines they sure seem like gods to me

-A lot of no-sex tinglers (especially ones that aren't romance-focused) vary in terms of plot and structure a lot more than erotic tinglers. Is your writing process for these stories any different?

same process actually, but the sex scenes in tinglers are about 1500 to 2000 words long, and total tingler length is 4000 words which means if you are not including that portion you are going to have to come up with some creative way to fill that space in the story and a new axis for story to turn on. so the variety comes from me getting creative and trying out different axis points

-In "Not Pounded By My Book "Pounded In The Butt By My Non-Fungible Tingler That Is Literally This NFT" Because Of The Current Catastrophic Environmental And Ethical Impact" there are references to an earlier draft of the story that was never released because you ended up disagreeing with the message. Are there any other tinglers that never got finished and/or published, if you'd be willing to talk about any of them?

oh this is a VERY good question. the story of the NFT tingler is that when buckaroos were first talkin on nfts online and nobody really knew what they were, my first thoughts were just ‘oh this is interesting what the heck is this?’ this is my way with most CURRENT EVENTS. and i thought ‘this would be an interesting tingler, i suppose maybe i should make the tingler an ACTUAL nft’. this was in VERY early days so i did not really even understand what an nft was (neither did 99 percent of buckaroos yet honestly). so i looked into it just enough to actually MAKE a nft tingler that was a real nft and put it out. lasted for about thirty seconds before buckaroos were messaging saying ‘oh this is bad chuck you should look into what this is’ and i DID look into it and thought’ oh yeah this is terrible nevermind’. i took down the original and thought ‘well THIS is what art is all about. this is where i thrive in a world of moving living art that is in communication with itself’. so i dove into the research and actually started to understand NFTS and then i repurposed the story into a strongly anti-nft tingler and put that on out instead.

as far as OTHER tinglers that kind of move and breathe and live like this, in communication with the audience, GAY T-REX LAW FIRM is another very good example. that one i wrote early on and i think it was kind of in the model of something like fifty shade of grey, where issues of kink and consent and communication are not really handled well. i think at the time it came out the story was okay, but as time went on it always kind of bothered me and finally i thought ‘i love art that exists in the REAL WORLD and changes and evolves, so lets rewrite that story and fix some of these mistakes.’ honestly it is something i wish more artists would be open to. its okay to let something hold strong against a changing timeline, but it is also okay to explore what its like to take the notes that time gives us

-This one is about Chuck Tingle that exists in deeper layers of the Tingleverse that operate on tingler logic: what does the location inside his/your butt look like?

probably a nice mid-century modern home up in laurel canyon neighborhood of los angeles. kind of quiet and small like a cabin but also very cozy, like the kind of place where you would put on a crosby stills nash and young record on vinyl and gaze out into the woods for a while then walk down the hill for dinner at a little cafe where you spot some actor from a 60s tv show also having dinner in the corner booth. this basically sounds like the start of a tingler and in that tingler i will say the actor would be a bigfoot.

-OK this one is very self-indulgent but if you could help settle this frequent point of discussion I have with my wife- where do the following fit in the Tingleverse bigfoot/dinosaur/unicorn/living object(/human/does not apply?) taxonomy?

-a ghost of a regular human

-a regular human vampire

-a human/fish mermaid

-a sentient winged horse

-a sentient centipede large enough to wrap around a mountain several times (she is handsome)

alright lets trot through these. a GHOST is not one of the four tingle types so you can have a ghost racecar or a ghost unicorn or a ghost bigfoot. ghosts are outside of the four types and do not have a classification

a VAMPIRE is also outside of the four types. so you can have a vampire bigfoot or, of course, a vampire night bus. does not strictly fall into any of the four main categories

MERMAIDS are technically a long lost species of unicorn I DONT MAKE THE RULES I JUST EXPLAIN THEM. this makes the MERMOPED tingler a little confusing but i had to pick a category and that one went into living object. now that i mention it possibly the only tingler that is technically a double category of unicorn/living object.

WINGED HORSE is easy, thats a pegasus which is a species of unicorn just like a mermaid

a SENTIENT CENTIPEDE LARGE ENOUGH TO WRAP AROUND A MOUNTAIN is an ancient creature, therefore dinosaur tingler

-My other self-indulgent question: do you have a favorite bug? (Or second-favorite if you count Mothman as a bug)

i love finding spiders in the house and giving them a pet because they are doing a good job livin their lives doin their thing. close second would be a pretty ladybug

-Any thoughts on what tinglers will be like in 2025? Do you expect to be writing a lot of political tinglers again, like post-2016?

honestly i really do not like writing specifically political tinglers anymore, and the amount that i write has gradually dropped over time (i think ALL tinglers are political but in a different way). so honestly i think i will write a few political tinglers but not many. my hypothesis on this is that my HORROR NOVELS are very very political and so maybe i get a lot of these ideas out of my system that way now. when it comes to tinglers i just wanna explore my OWN mind and heart and butt more

THANK YOU for these wonderful questions and thank you for your tingler-a-day project it was so moving and powerful. what a treat it was an honor to be a part of something so beautiful. THIS PROVES LOVE IS REAL

#chuck tingle #2024 tingles my butt

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theglamorousferal · 9 months ago

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Jason get wife-sacrificed to Ghost Zone Royalty.

As Danny is still prince, it goes to Queen Regent who is single.

Tall Queen Regent Jazz being able to absolutely manhandle Jason and causing him to swoon more than he ever thought possible.

At first it was just super embarrassing while they had people searching for a way to break it and send him home (at least on Jazz's end. Jason however, knew the opportunity presented to himself to live out his romance novel dreams and set about trying to subtly at first woo the Queen Regent.)

He spends hours in the castle library the first time she showed it to him. After the first week, he collected a pile and brought it to her office, laying out on the fainting couch with a poet's shirt slightly undone and black breeches with his combat boots. He absolutely wasn't posing. No-sir-ee.

After the first 10 minutes of reading he really did forget about trying to look enticing and got into the post-mortem published Austen novel. Hours later and into a second book, one on the legends of the Ghost Zone. he was startled by the sound of a large book closing and a heavy sigh.

"What's up?" He asks, formality was thrown out when she told him to call her, "Just Jazz please, for the love of the Ancients".

"I have had my aides look through every bit of ghostly law and I haven't found anything to suggest that there is a way to break the binding. It's also in stages, apparently it's got two mandatory ones and then a secret third one.

"The first binding is what's already been done, the sacrifice and our meeting and not immediately killing each other. The second is the marriage binding, which is typically following a period of courting up to the next Equinox, which is in three months Earth-time. The third, optional binding is, well, is if the binding ends up as a love match. Not all of them have, but some have, and it's the soul-binding. There's not much detail about what happens, and all of the examples are either of full ghosts, half-ghosts, or other supernatural entities with multiple forms." She paused and took a breath.

"As it looks like we are stuck together, um..." She became the awkward girl he had met when he first appeared at her feet in her office a week ago, blushing full pink and clashing with her vibrant orange hair. She set her jaw and straightened her spine and turned to him. "Jason Peter Todd, may I officially Court you?"

Jason lay there for a moment, book all but forgotten. He slowly set aside the book on top of the stack next to the couch and crept onto his feet. He stalked forward towards her, her face deepening in redness as he approached. He knelt to one knee before her as she turned in her chair towards him and took her hand.

"Jasmine Nightingale, only if you allow me the honor to allow me to court you in return." He kissed her knuckles and she let out a nervous squeak.

AO3 Prompt Part 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

#dpxdc #fanfic #anger management ship #hardcover ship #sacrificial bride au #get it jason #live out your romance novel dreams

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nakoyaps · 1 month ago

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unattractive

kenma kozume x fem! reader

kenma definitely isn’t the type of guy to take you out to big restaurats for dates— not that you’re asking him to; if anything you’re both happier spending one on one time at home.

though, to the conventional people in relationships this is a total no-no.

“seriously, y/n? he’s like a millionaire and he can’t spare a few hundred to go out on a date every once and a while? talk about stingy..” your friend, aiya nagged.

she’s always been materialistic if you’re being honest, you don’t even know why you still keep up with her. three whole years of friendship and you swear all you remember is “oh my god, i heard he’s rich!” “ugh, i dumped him— can you believe that he’s only an office worker?”

money is important, yes. you definitely agree on that. but, no one’s worth is solely based on how much they make or how much they spend.

“can you not talk about kenma like that? he’s just not the type that likes to go out.. and to be honest, neither am i.” you murmur, avoiding eye contact with her.

aiya raises a brow, an idea entering her pea brained mind “you seriously think a man with that much money ‘doesn’t like to go out’?”

“he’s so obviously an introvert, aiya.”

“he’s probably just hiding you away from the public cause he’s embarrassed. no offense..” aiya spoke in a matter-of-fact tone, an mildly exceptionally sickening smirk on her pretty pink lips.

“embarrassed— of what?”

“isn’t it obvious?” she asked, motioning to your physique.

“what the fuck, aiya? that’s my boyfriend we’re talking about.” you started to get agitated, raising your voice.

“well geez, no need to get all mad..” she chuckles, “he just doesn’t look like the type to be loyal, that’s all. plus, he’d look better with someone that’s more.. good looking? i’m not calling you ugly or anything, just.. you’re unconventionally beautiful.”

𐙚𓏲⋆ ִֶָ ๋𓂃 ⋆

“fake ass bitch..” you grumble, slamming the door behind you as you flopped on your couch.

kenma appeared from around the corner, looking concerned. “you okay?”

his eyes softened seeing your sour expression, sitting down beside you.

“aiya keeps saying shit about you..”

“so what? people talk shit all the time.”

you roll your eyes, “she keeps saying you’re not good for me, you’d be better off with someone ‘conventionally attractive’ or whatever she’s talking about.”

“that’s not true” he strokes your hair.

“am i not good enough?”

“you are.”

you frown. this was a common reoccurrence and you know you’d get another scolding if you said what you were about to, but.. you only live once, right?

“why’d you choose me anyways? i’m sure lots of your gamer friends are pretty girls too..”

he raised a brow, shutting her eyes with his hands “if you can’t see how pretty you are, don’t even try looking at anything else.”

“i’m serious, kenma!”

“none of them are you. i didn’t just fall in love with your looks— sure they played a big part, but your personality really sealed the deal.”

“that’s what people say when they think their partner’s ugly.”

“you’re not gonna believe me anyways, so..” kenma chuckles, “but seriously, you’re gorgeous. you don’t have to listen to whatever she says just ‘cuz she’s your friend. plus, i keep telling you to stop hanging out with her anyways..”

“i don’t have any other friends—“

“yeah, well she’s a bad influence on you.”

you frowned, sitting upright. face to face with kenma, you felt butterflies in your stomach.

“i still feel like i’m crushing on you sometimes. like i forget that you’re my girlfriend just cause you’re so pretty.”

“fuck off, kenma..” a faint blush dusting your cheeks.

as your eyes met, you felt yourself reaching for his lips—

sorry if kenma felt ooc!! i was listening to music and i think it took control of my writing lol. the writing was all spontaneous cuz i suddenly felt like getting back into publishing fics :p

#kenma x reader #kozume kenma #haikyuu x reader #fanfic #hq #hq x reader

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personnage-neutre · 1 month ago

Text

"Tintin, quel âge as-tu ?"

Today marks 96 years of The Adventures of Tintin, and readers have spent at least the last 78 of those years asking the same question: "How old is Tintin?"

The series is infamously coy about giving a definite answer, as was its creator, but I argue in the first part of this post that 1) there was indeed a specific intended age range for Tintin and 2) it is very much possible, using evidence from many different sources including the albums themselves, Tintin magazine, other BDs of the time, and interviews with Hergé, to say exactly what that age range was. Let me be very clear: I'm specifically making an argument about how old Hergé saw him as and how old Hergé wanted him to be seen as.

The second part is less concrete; it presents how a few scholars have interpreted the ambiguity of Tintin's age, plus some of my own thoughts about it that build on their claims. That part is less trying to find an answer to the age question and more trying to explain why his age is so much in question.

This is a long post.

I. Intent

Official sources

When asked about Tintin's age in a 1960 interview for Cinq colonnes à la une, Hergé judged that "il doit rester aux environs de quinze ans" ("he must still be around 15 years old," 0:33-0:44).

In 1962, he gave a very similar response on the Canadian program Premier Plan: "Une quinzaine d'années ? Quinze ans, seize ans, je ne sais pas, moi" ("About 15? 15, 16, I don't know"). "Donc c'est l'adolescent" ("So he's a teenager"), pursues the interviewer, and Hergé answers with a firm yes.

Nearly ten years later, in 1970, he added some nuance: "What age do I give him? I don't know... 17? In my mind, he was about 14 or 15 when I created him, a Boy Scout, and he practically hasn't budged. Let's say that he's picked up three or four years in forty years... All right, let's take the average: 15 plus 4, 19." (translation mine)

In 1979, his interviewer on Apostrophes preempted him on the age question, saying that "c'est un reporter de quinze ans" ("he's a 15-year-old reporter"). Hergé agreed: "C'est ça, à peu près" ("That's right, more or less").

Today, the official Tintin website run by Moulinsart declares him to be "Seize, dix-sept ans (dix-huit tout au plus !)," that is, "16, 17 years old (18 at most!)."

Responses to reader questions in the Journal Tintin

Early in the Journal Tintin's run, between 1946 and 1954, readers who wrote in with questions had a chance to see the responses to their letters published in the magazine each week. Supposedly it would be Tintin himself who was answering - questions addressed to him would be answered in first person, which probably only increased the urge to ask about personal details. So there were naturally many questions about his age, which provoked a range of responses.

Who was actually answering the letters? It's hard to say. But seeing as the responses were being published in the official Tintin Magazine as the voice of Tintin himself, Hergé would surely have been at least consulted on questions concerning his character, especially as the team running the magazine was still very small when it was regularly publishing responses.

The most common response was to dodge the question entirely. The stock phrases were "Qu'importe mon âge ?" and "Tintin n'a pas d'âge !" ("What does my age matter?" "Tintin has no age!").

In a small number of cases they related Tintin's age to that of his readers; an 11 1/2 year old was told that Tintin can be "l'��ge que tu souhaites : entre dix et vingt ans !" ("whatever age you want: between 10 and 20!", 1953), and for a couple others, where the age of the writer wasn't listed, Tintin's age is "un peu plus que le tien" ("a little older than you," 1951) or "un peu moins que le double du tien" ("a little less than twice your age," 1950). The target audience of the Journal Tintin - as it was for the Petit Vingtième, and for comics magazines of the time generally - was 8-15 year olds.

The only definite answer that appeared with regularity put Tintin's age between 15 and 20:

(TIntin nos. 19, May 8, 1947; 26, June 26, 1947; 6, February 5, 1948; 2, January 12, 1950; 9, February 27, 1947. The second and third examples also have Tintin declare that "I've travelled so much that I no longer remember where I was born," a fine example of the de-Belgicanization he underwent after the early years.)

("As I've already told several of my friends, I'm older than 15 but younger than 20." (1947) "My age? Let's say 15… or a little older." (1947) "My age? Between 15 and 20 years old." (1948) "Tintin? He has no age! Seeing him move about, he seems to be about 15." (1950) "I'm not yet 20 but I'm older than 15." (1947))

Real-life incarnations of Tintin

When the end of Soviets was celebrated with "Tintin" arriving at the Gare du Nord in Brussels, the role was played by 15-year-old Lucien Pepermans. When the event was repeated for the end of Congo, two years later, Pepermans was replaced by Henri Dendoncker, age 14. About thirty years after that, Jean-Pierre Talbot was declared Tintin's spitting image at 16 ("Same age, same silhouette, same face, same hair," reads the announcement of his casting in the Journal Tintin). He was 20 at most when Blue Oranges (released 1964) was filmed. Hergé told Numa Sadoul that he unconsciously based Tintin in Soviets on his younger brother Paul, who was 16 when it started. Additionally, Palle Huld, often cited as an inspiration for Tintin, completed a tour of the world in 44 days in 1928 at age 15 (and in plus-fours).

(Lucien Pepermans, Henri Dendoncker, Jean-Pierre Talbot, Palle Huld)

In the play Tintin et le mystère du diamant bleu (1941), which Hergé was very involved in the writing and production of, the role of Tintin was played by Mlle. Jeanne Rubens, a woman - a common theater trick for portraying young boys. He was played by a woman again in Radio Luxembourg's 1950s audio adaptations: Claude Vincent, "qui interprétait à merveille les rôles d’enfants et d’adolescents" ("who played children's and adolescents' roles wonderfully"), was the voice of Tintin. Sadly those broadcasts appear to be lost, but she can still be heard in the likely similar role of Alix.

(Shared on forum-tintinophile.com, "Tintin aux Indes, ou le mystère du diamant bleu." Certainly the only adaptation that got his height difference with the Thompsons right.)

In 1959, the Journal Tintin invited readers who thought they looked like Tintin to send in their pictures; five candidates for "Tintin's lookalike" were chosen by the magazine and presented to the readers for them to vote on. The winner was a 15-year-old, and while the ages of the other contestants aren't listed, they appear to be the same age or younger.

(Tintin nos. 25, June 24, 1959 & 31, August 5, 1959)

Comparisons with contemporary characters

Mainstream BD in the first half of the 20th century was not particularly inventive, especially as it was contending with its relative youth as a medium, a focus on the children's market, and, especially after WWII, heavy scrutiny from both religious and secular moral watchdogs. In the specific case of the Journal Tintin, Hergé's iron-fisted artistic direction in the early years led to a high level of artistic homogeneity across the magazine, while restrictions on the types of stories that could be told (from both the threat of censors and expectations about reader interests) limited variety in plots, characters, and settings.

All that is to say that a lot of what was being published alongside Tintin in the 40s and 50s looked more or less like Tintin, and even was likely directly modeled on it, which makes it useful for comparison. The protagonists of the time can be generally divided by age into children, the "15-20" range, young men, and middle-aged men. Each category is visually distinct (comics are a visual medium!) and each results in a slightly different kind of story with different character dynamics.

Here's Tintin with a couple of the teenage protagonists that appeared alongside him in his magazine:

(L'Affaire Tournesol (1956), p. 51; La Griffe Noire, Tintin no. 6, February 5, 1958; Les Deux Visages de Kid Ordinn, Tintin no. 1, January 2, 1957)

Hergé's no. 2 collaborator Jacques Martin created Alix (center, 1948), a Roman Gaul confirmed to be 16 in the original albums. Chick Bill (right, 1955), who in looks and narrative role is effectively just Tintin as a cowboy, is identified (by none other than Franquin) with the 15-20 age range. Some shared visual markers of their youth are a short and slight build, rounded shoulders, a round head, and a soft jawline. While all very independent, they are all three semi-accompanied by a much older man and a child sidekick.

Now, here are some examples of characters from the next age range up:

L'énigmatique Monsieur Barelli, Tintin no. 44, November 2, 1950; L'ouragan de feu, Tintin (Kuifje) no. 37, September 15, 1960; Défi à Ric Hochet, Tintin (Kuifje) no. 8, February 25, 1964)

Hergé's no. 1 collaborator Bob de Moor had a humor-adventure series using the same style as Hergé, but his character, stage actor Georges Barelli (left, 1950), is a grown man. Martin's second series was required by publishers to somehow be a modern AU of Alix, but Alix's counterpart, reporter in the same way that Tintin is a reporter Guy Lefranc (center, 1952), is clearly older than him. So-called reporter, really amateur detective Ric Hochet (yes, that's his name, right, 1955) is kind of an odd case; he started out a child, then looked basically exactly like Chick Bill (they were both drawn by the same artist, Tibet), then finally settled into his final form as a young man in his mid-twenties - a 1969 album places him at age 26. All three own their own cars (admittedly a moot point for Alix and Chick), and, compared to their teenage counterparts, they're much more likely to have friends and colleagues their own age instead of being supervised by someone older.

It should be clear from these six pictures that Tintin was not drawn in a way meant to make readers think he was an adult. And besides, there's really no reason to believe that Hergé, who once declared that "my primary objective is to be legible. The rest follows," would have chosen to give his main and titular character an appearance that was somehow deceptive. I'm prepared to say with confidence that Tintin looks young because he's supposed to be seen as young.

Textual evidence

For this section, I first look at a few ways that the albums actively present Tintin as a non-adult character. However, most of what follows is about showing that what happens in the albums does not contradict the argument that Tintin is intended to be a teenager. The Adventures of Tintin may be deceptively timeless, but not only is the series nearly a century old, it also was written during a time of extremely rapid and intense social, cultural, and technological change. Consequently, I want to make sure that I'm not judging the past with the attitudes of the present; in order to put the series in its proper context, I try to identify viewpoints and conventions expressed in texts created at the same time (and, when possible, by the same author) to see if a teenaged Tintin fits in with them.

In looking over how other characters refer to him across the albums, one sees that Tintin's most distinctive feature to those around him is his youth. This is, I think, more visible in the original French, where other characters address or describe him with a whole array of words commonly used for children: jeune homme, (jeune) garçon, gamin, galopin, blanc-bec, enfant de choeur, fiston, freluquet, moussaillon, (mon) petit (used as a noun), and morveux, not to mention many, many instances of characters appending "jeune" or "petit" to another word ("reporter," for instance). In English, he's variously (a) young man, (young) boy, kid, boyo, whippersnapper, wonderboy, lad, brat, puppy, young fellow-me-lad, and cabin-boy, along with liberal use of the corresponding adjectives "young" and "little." (I've collected specific panel examples for reference in another post.)

As @professorcalculusstanaccount has pointed out, there's no question of Tintin being called up for the draft as Haddock is in Black Gold; that album also contains the only example of Tintin's competency being questioned because of his age, on page 7: "So you're the new radio officer... You look a bit young to me..." (There's one similar remark, in America, after Tintin is injured in a car accident on page 6: "The poor kid..." "He looks so young...") Him not being called to war is particularly striking because Belgium historically required young men to do compulsory military service at age 18 or 19, after which they would be enrolled in the reserve army (p. 274). Thanks to a hard-to-translate joke in the original French for Emerald (below), we know that military service exists in Tintin's world and that the Thompsons have done theirs; Hergé did his at age 19, and then was called up from the reserves in 1939, interrupting the magazine publication of, precisely, Black Gold. Given his longtime anti-war stance and the peace sign sticker he wears in Picaros, though, one can easily imagine Tintin becoming a conscientious objector after it was legalized in 1964 - but by 1964, most of the series was already over.

(Les Bijoux de la Castafiore, p. 37)

He also doesn't dress like an adult: the plus-fours look very childish after the 1930s, as @illegally-blind-and-deaf pointed out. He also never wears a proper hat, only a flat cap in a few early adventures, and from Temple on (that is, after 1948) he runs around in his shirt and sweater with no tie or jacket. Some of that can be put down to the importance Hergé placed on his characters being maximally recognizable, but it certainly doesn't make Tintin look any older - look at a few of Hergé's crowd scenes and compare how the background characters are dressed.

Next, he doesn't seem to ever need to shave. In fact, in the original French for Black Island, Tintin remarks that the bad guys have gotten away "à mon nez et à ma barbe," an expression equivalent in English to "right under my nose" but literally "at my nose and at my beard," to which Snowy incredulously responds "Your beard? What beard?"

(L'Île Noire, p. 29)

It's true that nearly everyone who meets Tintin, including his adult friends, addresses him respectfully with the formal pronoun "vous" instead of with the informal "tu," as you typically would for someone much younger than you. However, Pierre Assouline attributes this to a dislike of over-familiarity on Hergé's part, citing him as saying that "Le tutoiement est la fausse monnaie de l'amitié" ("Using 'tu' is the counterfeit money of friendship").

(There are a few moments where Haddock slips and uses tu with Tintin, but I won't go into them here. Suffice to say that the majority of them are indeed moments where he's treating Tintin more as a child.)

Much has been made of Tintin's nonchalance about drinking alcohol as proof of adulthood, but evidence from other BDs indicates that this perception is a result of a shift away from historically looser attitudes towards drinking. Early comics for children frequently carried moralizing messages, but there's no marked moralizing present around youths drinking like there is around them smoking.

Compare, for example, the difference in tone between these two Quick & Flupke pages, where the kids are sternly warned off from tobacco...

(Originally published in Le Petit Vingtième nos. 4, January 28, 1932 & 43, October 24, 1935)

...Versus this gag, where Flupke's own relatives getting him drunk on New Year's over his protests is played entirely for humor.

(Le Petit Vingtième no. 1, January 3, 1935. "Tu es un homme et tu dois boire!")

There was even a follow-up comic at the same time the year after, in which Flupke imagines the alcohol he'll be plied with on January 1st and attempts to move to the North Pole to avoid it.

If a kid as young as Flupke is being given alcohol, then Tintin really doesn't have to be much older to be drinking as well. In fact, one might even note an echo between Flupke's reluctance to drink here and Tintin's in Picaros, when he's pressured to take a swig of whisky by Arumbaya custom (p. 34). On the other hand, since Quick and Flupke are so young, the ban on smoking is stronger for them. Tintin is old enough to occasionally be offered a cigarette, but still young enough that he always must refuse: Hergé was adamant that Tintin remain a good model because of the children who identified with him, while Haddock smoking his pipe, for example, never raised the same issue.

Beyond that, for a non-Hergé example and a later one (from 1960), here's child tennis prodigy Jari, hero of an eponymous strip in the Journal Tintin. He's just bicycled from Belgium to the Netherlands and wants a refreshment, so he goes to a drink stand and orders a beer - and no one bats an eye. Similarly, the only alcohol that Tintin orders casually, in a cafe or pub, is beer (Golden Claws p. 2, Black Island p. 41).

(Jari et le Plan Z, Tintin (Kuifje) no. 40, October 6, 1960)

At the same time, this relaxed attitude has limits. Tintin won't share a friendly drink with Haddock, for example when returning to Marlinspike after an excursion (though Haddock pours two glasses anyway in Affair (p. 3)). Calculus scolds Haddock severely when he thinks that Haddock has given Tintin champagne at breakfast in Tibet (p. 4: "Vous avez bien tort de lui faire boire du champagne de grand matin, à ce garçon !…"). Later in that same album, Haddock drunkenly warns Tintin against alcohol, telling him it's "very bad for young people like you!" (p. 38).

Next, while Tintin is undeniably capable of driving a car, there's actually no indication outside of the earliest stories that he can legally drive. (A quick Google search also tells me that Belgium has historically been notoriously lax on road safety.) At no point after the first four albums - that is, after Hergé became interested in telling a story that makes logical sense, a development typically placed at Blue Lotus - does Tintin drive a car that was acquired legally, not commandeered or outright stolen. (In Soviets and Congo he buys a car; in Cigars he drives the two Rajaijah victims to the asylum, though I doubt anyone was worried about him getting pulled over in the jungle.) On the few occasions where there isn't an emergency, it's always Haddock who drives; see for example Crystal Balls or the few pages of Thérmozéro. When Tintin finally gets a vehicle of his own, in Picaros, it's... a motorbike, which one can get a license for at a younger age than for a car. And in Alph-Art, where the motorbike plays a much larger role, Haddock still drives Tintin into town (p. 25) - and then gets left in the car while Tintin investigates!

Hergé also apparently didn't think flying a plane was particularly difficult. In Jo et Zette, one of his other series, Hergé has little Jo be able to fly his father's "Stratonef" and even land it from a glide, despite only ever hearing his father talk about how to fly it. Over the course of the two-part story (Le Testament de M. Pump and Destination New-York), Jo manages multiple successful flights - more than Tintin ever does! - despite unambiguously being a child.

(Destination New-York, p. 41)

And as with the cars, every plane Tintin ever flies is stolen, so whether he has a legal license or not really doesn't matter.

The same goes for his guns. In all but the first albums and Ear where, surprised in his flat, he really does pull a revolver out of nowhere, Tintin's guns are explicitly either given to him or taken from a disarmed enemy. The series doesn't make a point of him owning and carrying his own gun - just the opposite. And while it seems to us now that Tintin has a lot of firearm use for a children's comic, proficiency with guns was honestly a genre expectation for all adventure heroes of the time (just don't put a gun on your cover). For example, Chang, who from his introduction on acts like a second Tintin, wields a pistol at the end of Lotus and is even implied to be the one who makes the shot that breaks Didi's sword despite appearing even younger than Tintin. (See also the previous section of this post; Chick Bill is carrying a gun in the picture I included.) What's more, the gunplay in Tintin is actually a step down from its predecessor Totor, where Hergé's titular Boy Scout kills a man with a rifle shot to the face.

In short, Tintin is able to do a lot of things he shouldn't legally be able to do by simply not doing them legally.

The fact that Tintin lives alone isn't necessarily a mark of maturity either. It's hardly uncommon for a young adventure protagonist to be unusually unsupervised; it's effectively a demand of the genre. Hergé learned why that is from experience when he created Jo et Zette for the editor of the French, ultra-Catholic children's magazine Coeurs Vaillants, who had raised concerns about how unrealistic Tintin was. In Hergé's own (translated) words:

(From Entretiens avec Hergé, reproduced & translated in The Comics Journal no. 250, p. 191)

Parents are a nuisance, one that Hergé was only too happy to dispense with in Tintin's case. And besides, Tintin isn't completely alone forever; with the introduction of the Marlinspike "family," not to mention Marlinspike Hall itself, during the war, he at least ends up with a home and some adult supervision, however dubious it may be at times.

As for his schooling, according to a report on the Belgian education system from 1932, education was only compulsory there (not to mention free) from ages 6 to 14. That same report records that in 1928, the number of students in the higher level of secondary education - corresponding to high school in American terms - was only 1% of the number of students enrolled in compulsory primary school. Even adjusting for the fact that primary education enrolls children for twice as long, the percentage is still a paltry 2.6%. And then the number of students in university that same year was only about three-quarters of the number of students in secondary education.

What that means is that at the time when Tintin was getting started, only very, very few people stayed in school beyond age 14. Hergé himself was one of those few, but to many of his readers in the early years, the idea that Tintin was already working at age 14 or 15 would have been not just reasonable but recognizable - especially as he has no apparent family to support him. (Not that Tintin isn't knowledgeable: judging from the number of books in his apartment, we can presume that he's quite the autodidact.) Of course public education was broadened after WWII, but by then the character was already firmly established.

As for how Tintin is already a reporter, well, Hergé freely admitted that he gave him the job just because that's what he thought was cool at the time. "Of course it was a pretext," he said on British radio in 1977. (The announcer for that interview describes Tintin as "a 16-year-old Belgian boy with a strange lick of hair, a pair of plus-fours, and a terrier." In it Hergé, questioned about the outsize success of his series, responds that for him "he [Tintin] keeps to be a little boy. Only that.") The tone of the series would be very different if Tintin were just an office clerk or a paperboy, after all - and besides, all but the youngest readers of Le Petit Vingtième would have understood that it's not a real newspaper, just a little children's magazine, so the idea of it having its own official reporter was not to be taken fully seriously.

It's important to remember that our current cultural idea of the teenager as a separate, unique stage between childhood and adulthood was largely a post-WWII American innovation - in fact, the word "teenager" only entered popular use in the 1940s. By contrast, fully half of the Adventures of Tintin (up to the first 2/3 of Crystal Balls) were written either before or during WWII. Hergé himself, born in 1907, began submitting illustrations to a magazine (Le Boy-Scout) at 14, was hired at the Vingtième Siècle at 18, created Totor and did his military service, reaching the rank of sergeant, at 19, and before turning 22 had been given full responsibility for creating and running the Petit Vingtième, gotten engaged to his first wife, Germaine Kieckens, and created Tintin. Being young looked different then.

To close this section I'll also note that, as far as I can tell, positioning Tintin as a teenager never seemed to pose much of a problem to anyone reading the series while it was actively running. Anecdotally, nearly every published source I've read takes for granted that he's an adolescent, and an exception like writer of multiple books on Tintin Renaud Nattiez saying on the air in 2016 that he thinks Tintin is at least 22 (~03:30-03:50) seems to be a uniquely 21st-century development.

TL;DR: Everything I can find indicates that Tintin was always intended to be around 15, and never older than 20, years old.

II. Interpretation

Finally, it's important to not overstate Hergé's commitment to realism. At the end of the day, Tintin can do whatever the story needs him to be able to do, because he's the protagonist of a very straightforward adventure serial. He's always been aspirational, even for Hergé himself: "Tintin is me the way I'd like to be: heroic, flawless." And yet Tintin, victim of its own success, has always been held to a higher standard of realism than its fellow comics, not to mention a higher level of scrutiny in general. Even if, as I've tried to demonstrate, Tintin's feats aren't entirely out of the range of possibility (or at least the norm for comics characters) for his time period, I'm not arguing that he's supposed to be a perfectly accurate representation of the average boy of any point in the mid-20th century. I also don't deny that he typically does act like an adult. So the guiding question here is: How can this dual nature of Tintin's - his adolescent status and adult aspects - be interpreted?

Jean-Marie Apostolidès writes that as "il unifie dans sa personne deux aspects opposés de l’existence, l’enfance et l’âge adulte" ("he brings together in his person two opposing aspects of existence, childhood and adulthood"), Tintin represents "un mythe réconciliatoire" ("a reconciliatory myth") of which the "fonction implicite est de ressouder entre deux générations une confiance brisée" ("implicit function is to mend a broken trust between two generations"). He names this type of child-adult character the "surenfant" ("superchild"), and argues that it is specific to the 20th century and the cultural shock of WWI.

For Pol Vandromme, who wrote the first book of analysis on Tintin (or on any BD), Tintin is simply a perfected version of the teenage boy, one that other teenage boys can aspire to. First, he cites as conventional wisdom that Tintin is around 15, and concludes that "c'est dans tous les cas un adolescent" ("in any case he's a teenager"). While Vandromme accepts that Tintin is presented as a teenager, he also points out that Tintin doesn't represent the experience of being a teenager; Tintin "ne présente [...] que les apparences de l'adolescence" ("only displays the appearance of adolescence") because he's so self-assured and stable, traits antithetical to "l'époque de la métamorphose" ("the time of metamorphosis") that is adolescence.

And yet "il [Tintin] demure malgré tout suffisamment proche pour que les garçons se disent qu'ils auront un jour la chance de lui ressembler, d'imiter son style de vie. [...] Ce que Tintin propose à ces garçons de quinze ans, c'est la figure achevée de leur âge. Il les venge de leurs insuffisances" ("he [Tintin] remains all the same close [i.e. similar] enough that these boys tell themselves that one day they'll have the chance to be like him, to imitate his way of life. [...] What Tintin offers to these 15-year-old boys is the perfected version of their age [group]. He makes up for their shortcomings"). Consequently, having put themselves in Tintin's place, these boys "ont l'illusion d'être déjà de la tribu des jeunes gens qui ont découvert dans leur sac de voyage les clefs qui ouvrent les portes de la fable du monde" ("have the illusion of already being part of the clan of young people who have discovered in their travel bag the keys that open the doors of the world's fable"). In plainer language, being able to identify with Tintin as an apparent peer lets teens imagine themselves as being more capable and powerful than their age allows in reality, an attractive illusion.

I'll add that the static quality of Tintin as a character that Vandromme identifies is dictated by the form of the series. When presented with a teenage protagonist in a work, the novelistic expectation is that what follows will be some kind of bildungsroman, where the events of the story will push the protagonist to change and mature into adulthood. However, I believe that it's a mistake to approach The Adventures of Tintin as a novel when it is fundamentally a serial - even late in his career, when he didn't need to do prepublication anymore, Hergé's approach to plot was still oriented around the page-a-week format. Serial characters, as a rule, change very little. Tintin gets compared to Sherlock Holmes more than once in the series, and it's also true on a meta level: Holmes has a few minor moments of character development, but he largely remains exactly the same over the course of Conan Doyle's stories, which were likewise published in a magazine. In a true serial, the status quo is god, because the main aim of the serial is to perpetuate itself - theoretically forever. And so Watson always finds a reason to return to Baker Street, and Tintin never gets old enough to think of settling down and getting a real job.

Like Holmes, Tintin does change and grow somewhat as a character over the course of the series, but also like Holmes, that growth is not a planned arc with an endpoint, as you would expect in a novel. Instead, it's just a result of Hergé himself maturing and changing. In his contribution to L'archipel Tintin, Benoît Peeters notes that "Grande est la tentation, pour beaucoup, de lire la série comme une totalité, un monument où tout signifierait" ("The temptation is great, for many, to read the series as a totality, a monument where everything has meaning"). And yet he declares that "si accomplies soient-elles... Les Aventures de Tintin se sont élaborées en l'absence de tout grand dessein" ("however polished they may be... The Adventures of Tintin were created in the absence of any grand design"), citing the testimonies of both Hergé and those who knew him at the beginning of the series. Hergé never really had a plan for Tintin as a character; he really did just put him in situations over and over again for a little more than fifty years. However, now that the series is only read in album format and serial publishing is less common, the "temptation" Peeters describes is even stronger. This mismatch in narrative expectations may be part of why modern readers might struggle to view Tintin as a teenaged character.

There's one more element to Tintin's strangeness: the world of the series was built around Tintin himself to facilitate his adventures. Vandromme recalls the fact, so obvious that it's easily forgetten, that "Tintin étant ce qu'il est et ne pouvant être un autre, infléchit l'intrigue d'une certaine manière. [...] Remplacez Tintin par le père Fenouillard et il vous faudra modifier l'album de fond en comble. Dans un roman les personnages déterminent les événements avant d'être déterminés par eux" (Tintin, being who he is and unable to be anyone else, influences the story in a certain way. [...] Replace Tintin with the father of the Fenouillards [character from a 19th-century comic about the misadventures of a French family abroad, n.b.] and you'll have to change the album from top to bottom. In a novel, the characters define the events before the events define them"). This point is especially relevant to Tintin given that the series' beginning was, to put it mildly, haphazard. Starting from Soviets, where Tintin is alone with his dog in a bizarre world where he can sneeze down a sewer grate, cut down a tree with a pocketknife, or fistfight a bear - whatever it takes to keep the plot moving - set a precedent for the character: that Tintin, and nobody else, will always triumph over whatever enemy or obstacle he is faced with.

Because it's founded on Tintin himself, there are no real adults in the Adventures, and in fact there can't be any. Preserving Tintin's Soviets-era boy hero status as the world of the series became steadily larger and more realistic created a kind of 'competency warp' where Tintin, along with his young "doubles," Chang and Zorrino, is effectively always the most capable, the master of the situation, while those closest to him who are much older (the Thompsons, Haddock, Calculus...) tend to act rather childishly. I think it's telling that the 1946 introduction of Blake & Mortimer is often hailed in terms like these: that "pour la première fois, les héros n'étaient pas des enfants, mais des adultes responsables dont la psychologie était en parfaite harmonie avec leurs fonctions" ("for the first time, the heroes were not children, but responsible adults whose psychology was in perfect harmony with their roles," emphasis mine). All the major adult characters in Tintin had been introduced at that point, but apparently none of them qualified as "responsible" or properly suited for their positions.

Apostolidès similarly notes a deforming effect: "Tintin est un adolescent qui, sans jamais entrer dans l’âge adulte, rajeunit le monde en se confrontant à lui. Au lieu que le personnage se soumette passivement au monde adulte, s’intègre dans une histoire, vieillisse et meure, c’est l’univers extérieur qui se fige dans le temps au contact du héros" ("Tintin is an adolescent who, without ever entering adulthood, makes the world younger by confronting it. Instead of the character submitting himself passively to the adult world, fitting in to a history, getting older and dying, it's the outside world that freezes in time at the hero's touch"). Not only does Tintin resist adulthood himself, he also protects others from its effects.

There are characters who escape the warp, but they must stay on the very edges of Tintin's orbit. One example is the efficient and no-nonsense Mr. Baxter from the Moon books. He has a real job: he's director of the atomic center, and every time we see him he's actually doing it. He also remains disengaged from the antics of the Marlinspike crew, often exasperated and confused by them. They don't belong in his serious space program, and he doesn't belong in their funny adventure series - hence the clash. Another (and very different) example is Jolyon Wagg. I wish I could remember where I read it, but I once saw it pointed out that Tintin and Wagg almost completely ignore each other; their only direct interaction in the whole series is saying hello to each other exactly once (Emerald p. 17). The unidentified author's point was that Wagg inhabits a world so intensely banal, so different from Tintin's - one with community organizations, salesman jobs, an old mother, an Uncle Anatole, a wife and (a lot of) children - that the two can't even come into contact. Wagg may be almost preternaturally obnoxious, but he's also a genuinely ordinary man in a way that the major characters really aren't.

Tintin must remain the sole and main driver of action, because if he isn't, the series would have to change fundamentally. That means no other character can threaten his role by being more competent and responsible than him - and so the adults become ridiculous and/or irrelevant, and Chang and Zorrino are only allowed to act for one album each. And yet Hergé created Tintin as a teenager, and suggested that a Tintin who progressed past teenagerhood would also grow out of adventure: "Il est difficile, pour un personnage comme ça, à le faire vieillir. Parce que s'il vieillit, il va avoir vingt ans, il va avoir vingt-deux ans, il va rencontrer une jolie fille, il va se marier, il va avoir des enfants..." ("It's hard to make a character like that get older. Because if he gets older, he'll be 20, he'll be 22, he'll meet a pretty girl, he'll get married, he'll have children..."). Tintin passing into adulthood, 'real' adulthood, symbolized here by settling down and starting a family, would make the series just as unsustainable as demoting him to a more technically age-appropriate role would; both sides of the tension between Tintin's youth and his maturity are required to make him a proper adventure hero for children.

And so he remained, as he remains today, the world's most competent teenager.

#tintin #hergé #journal tintin #le petit vingtième #resources #also featuring:#jean-pierre talbot #quick et flupke #jo et zette #alix #chick bill #monsieur barelli #lefranc #ric hochet #jari

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exorcxqsm · 5 months ago

Text

The price of desire.

ᯓWord Count: 4,4k

ᯓ tags - WARNINGS: mdni, reader isn’t the lnds!mc, explicit sexual content, alterations to the main story, toxic relationship, dr/y humping, t/easing, (lowkey) o/rgasm control, b/egging, f!receiving oral, p in v, unprotected sex, breath play, sensory play, spanking, mention of breeding!kink (toxic if you squint really hard), creampies, dom!sylus, use of pet names (kitten, sweetie), violence, mentions of blood and injuries.

ᯓnotes: This is my first published work here, it took me some time to write but I believe I’m content with how it came out. At first, the idea was to keep it a part one which is connected to an event of the series. Ending this part, I can think of some ways this can go, but I’d still want your opinion:) If you want to see more of this, please go ahead and ask. Any reblogs and likes will be appreciated.

You were a dangerous woman, a fact well-known throughout the N109 Zone. As the assistant to one of the most feared men in the underworld, your reputation was built on the edge of a knife.

But today, the real danger sat directly across from you at the table—your boss's most formidable and deadly rival: Sylus.

His silver-white hair fell messily over his forehead, creating a disheveled yet intentional look that only added to his unsettling charisma. A smirk played on his lips, while his crimson eyes held an unreadable intensity, as he sat on the table with his henchmen on each side of him. Luke and Kieran.

You had done your research, uncovering every scrap of information about the three men before you. It was a challenge, of course; the leader of the most notorious illegal organization in the N109 Zone wasn’t one to divulge valuable intel easily. Yet you had pieced together enough to know the depths of Sylus's ruthlessness.

You were certain of one thing: Sylus would not hesitate to sacrifice anyone—including his own men—if it suited his purpose. The black-red tendrils of his mist would mercilessly end the person and he wouldn’t blink an eye while his lethal capability, capable of extinguishing a life in an instant, would take over.

The only individuals he seemed to protect were Luke and Kieran, his unwavering henchmen, whose loyalty was both a strength and a potential weakness in this deadly game.

Everyone claimed that the twins were somewhat adopted by him—a complex relationship in which he protected and provided for them in exchange for their loyalty and services.

If you were being honest with yourself, you found yourself drawn to the twins. They exuded a carefree spirit that brought an element of fun, even in the context of business. You often wished you could shed your own uptight demeanor and embrace life as they did.

Your thoughts were abruptly pulled back to the present when one of Sylus’s men dropped two large armory boxes onto the table that separated your group from his. As the man opened the boxes, a collection of modified and illegal firearms was revealed, each piece looking as lethal as the man who had crafted them.

Dante, your boss, rose from his chair beside you to inspect the guns. After all, that was the purpose of this meeting—a trade, a business transaction between two men who despised each other's very existence, yet could not deny that, in times of crisis, their respective resources could prove invaluable to one another.

Dante provided the protocores, and Sylus expertly modified them. When Dante requested his part of the deal, the modified protocores were returned to him in the form of firearms capable of ending a life in less than the blink of an eye.

“Resourceful as always, Mr. Sylus,” your boss mused, but Sylus’s gaze was locked onto yours, seemingly ignoring Dante entirely.

“Oh, Dante,” he said, the man’s name dripping with disdain, “my little black heart is shattered into pieces. One would think you’d have learned by now not to question my methods or my work.”

You rolled your eyes at the silver-haired menace, your heels clicking against the carpet in a rhythm of impatience. You were growing weary of this standoff. Dante needed to state the agreed price and move on already.

“Set the price.”

Sylus’s smirk widened at Dante’s request, his eyes now fully focused on him. He seemed to stall deliberately, taking slow, measured steps around the room. His imposing aura filled the space, the coat draped over his broad shoulders swaying slightly with each movement. Finally, he came to a halt by the table, gripping its edge with both hands and leaning forward.

“Such a pretty kitten you have with you, hm?” he taunted.

Your gaze turned icy as Dante’s eyebrows furrowed in confusion. “Are you referring to Miss Y/N?”

Sylus tilted his head to the side, his crimson eyes locking onto you once more, studying you with an intensity that made you uneasy. “You’re a foolish man, Dante.”

“What the hell did you just say?”

You exhaled through your nose, frustrated by your boss’s inability to keep his pride in check when it came to Sylus. This man ran an entire organization yet seemed unable to handle a little provocation.

“I said…” Sylus drawled, relishing the moment, “you’re a foolish man. Only someone with the brain capacity of a goldfish would keep a pretty kitten like her uncollared.”

You shot up from your seat faster than lightning, leaning dangerously close to Sylus, your hand itching to grab one of the weapons from the boxes in front of you.

“You should watch your mouth when speaking to a lady, Mr. Sylus,” you seethed, your voice low but fierce. “Only a man with the brain capacity of a goldfish would disrespect a woman for no apparent reason.”

Sylus chuckled at your retort, a wide grin spreading across his sharp features, revealing his teeth.

“Feisty,” he mouthed, a smirk playing on his lips, meant only for you to see.

Just then, Dante stepped up behind you, and you almost forgot he was there until his hand landed firmly on your behind, giving it a squeeze. Your hand was so close to the gun that it took all your willpower not to reach for it.

Sylus's expression shifted, the amusement fading as his brows furrowed, re-centering on his forehead.

“Set. Your. Price,” Dante reiterated, his body uncomfortably close to yours.

You had served as his assistant for far too many years, becoming accustomed to his unpredictable behavior. Yet, deep down, he knew you wouldn’t dare act against him with all his guards surrounding him.

You were a capable assassin, more than capable of matching his malevolence, but you were just one woman up against his entire army. He was well aware of your skills, which is precisely why he always kept a close contingent of guards present during your meetings in his office. You were his most valuable asset, yet he was frightened of what you could do if pushed too far.

Despite this knowledge, he often seemed to forget the extent of your capabilities, choosing instead to provoke Sylus.

“Her.”

“No.” Your response was immediate, your tone firm. He couldn’t be serious.

Dante’s chest shook with laughter beside you, his golden teeth glinting in the light.

“She’s off the table, I’m afraid,” he added, a mischievous glint in his eye.

“Very well, then.” Sylus retracted from the table and rose to his full height, a shadow looming over both you and your boss. “So is the deal. Have a good one, Mr. Dante.”

Your shoulders relaxed for only a brief moment, but before you could even blink, you found yourself lifted off your feet and thrown over the table like a ragdoll.

Fucking bastard.

Of course, the deal was too important for him to let it slip away. Sylus knew exactly what he was doing when he pulled this stunt.

“Don’t even think about it,” you spat, your voice harsh and defiant. “I am your right hand; your business will crumble without me!”

Sylus seemed to revel in the chaos, leaning casually against the doorframe with his arms folded across his chest. As his black-red mist began to swirl around the room, it coalesced around your body, lifting you off the table and bringing you effortlessly to his side.

Your struggles were utterly futile. No power could match his evol.

“Bastard!” you yelled, directing your fury at your boss.

Dante let out a deep sigh, visibly irritated but choosing to remain silent. His organization was already on the brink of collapse, a fact known only to you—and apparently Sylus too. That was the reason he had recently struck a deal with Onychinus; only their resources could possibly uplift him now—if anyone could, that is.

“Always a pleasure doing business with you, Dante.”

The plush sofa of his dimly lit living room felt uncomfortably rough against your bare thighs as you took in your surroundings. Your revealing dress had ridden up significantly due to the twins’ rough handling as they placed you there, while their boss prowled around the sofa like a predator circling its prey.

The record player in the corner emitted a classical melody that only heightened the unnerving atmosphere, each note echoing with an eerie elegance.

“So uptight,” Sylus whispered in your ear, causing you to jump as his breath brushed against your skin. You hadn’t even noticed when he had gotten so close. “My, my… and so jumpy, aren’t we, kitten? Just try not to scratch my ceiling.”

You turned to glare at him, and if looks could kill, he would have been slain by the fire in your eyes. Nevertheless, you managed to keep your voice steady. “Why am I here?”

He didn’t bother to meet your gaze as he sank into his enormous cushioned chair across from you. A black-and-red mist began to swirl around your body once more, and before you could react, it lifted you off the couch and positioned you right on his lap, straddling him.

“What the hell?”

His hand shot up, gently tucking a stray strand of hair behind your ear. “Shh, just keep your claws sheathed for a moment.”

You could feel your patience wearing thin. “Why. am I. here?”

Sylus's jaw tightened slightly, and if you weren’t intently observing his every expression, you might have missed it. “Because, kitten, Dante and I had a transaction.”

“Isn’t your typical price protocores when dealing with my boss?”

“Typically…” Sylus’s gaze was fixed on your face as an eerie silence enveloped the room.

Before you could process his words, his hand snaked around your throat, pulling you closer. His eyes locked onto your lips, a predatory glint flickering within them.

“What are you doing…” you whispered, your body tensing in instinctive response.

“Show me, kitten.”

“What?”

Sylus chuckled softly, a mocking sound that sent shivers down your spine. “I know you’re a smart kitten; don’t play dumb with me. It won’t help you.”

Of course, you understood what he was implying, but how did he know?

“I have no idea what you want,” you replied, your voice steady despite the turmoil inside.

His hand tightened around your throat, making it increasingly difficult to breathe. Then you noticed it—the red glow of his eye—and you realized what he was doing. “Show me.”

Ironically, he was now in control of your actions, even though he sought the opposite.

You slowly removed your glove, compelled by the white-haired man in front of you. Your bare hand pressed firmly against his chest, and in an instant, his heartbeat ceased.

Your breath hitched in your throat.

You stared at his face, dumbfounded, as the glow in his eye faded and his complexion turned an ashen pale. Before you could comprehend what was happening, a low chuckle echoed through the dimly lit room.

Sylus’s chuckle. He was alive. Wait, what the hell?

His laughter grew more vibrant with each passing second as he took in your horrified expression. You shot your hand out again, daring to touch him, but he caught your wrist, tossing it aside with ease.

“Ravishing…” he breathed, his eyes darkening to a richer shade.

You watched him for a moment, trying to make sense of everything that had unfolded in the past few hours, until suddenly, everything clicked into place.

You gasped.

“You fucking bastard!” you shouted, fury igniting in your voice. “Is this why you didn’t take the protocores? Is this why you asked for me?”

Sylus’s arrogant smirk returned, dominating his features. “He wasn’t aware of the precious possession he had in his own house, sweetie. But I am.”

“You are… sick.” The expression on his face darkened, and something twisted in your gut, though you wished it was anything but excitement at his subtle praise. “You will not control me. I belong to no one.”

“Oh, kitten, I’m not trying to control you. This is just… a deal.” His eyebrows shot up, his face tilting slightly to the side as if he found your defiance amusing. “Isn’t business what you excel at? Or do you want me to believe it was Dante who called the shots?”

Your own expression faltered, but your body began to relax atop his, a fact he noted with a small, apprehensive smile that curled at his lips. “Are you trying to extract intel from me?”

He rolled his eyes at your tactics, a playful smirk on his face. “You are so gullible, kitten.”

He leaned in impossibly close, your breath catching in your throat and a shiver coursing through you as your body responded to his proximity. This was all so wrong.

“He didn’t value you nearly enough, sweetie,” Sylus whispered against your pulse, his warm breath sending a jolt through you. “But I can.” His teeth grazed your throat, and as your mouth opened, no sound dared to escape your lips.

“I…” You took a deep breath, trying to steady yourself. “I have no idea what—”

In one swift movement, you found yourself perched on the edge of the chair, Sylus looming over you like a consuming inferno. Your chests were nearly touching, and his eyes held a dangerous allure as he stared directly into your own. “I believe you do.”

His hand drifted from beside your head, descending to your collarbone as his fingertips caressed the delicate skin with a featherlight touch. “You can end someone with just a touch…” he whispered against your neck, and you had to fight against the electric shivers coursing through your body. “I am the only person you can’t kill, even if you tried, kitten.”

Your mind was slowly turning to mush as his hand roamed over the sensitive swell of your breasts, his lips planting tender kisses against your throat. “Don’t you see where I’m going with this? We’re meant for each other. Kindred spirits.”

“You’re insane,” you wanted to accuse him, but your voice came out breathless, betraying your mounting desire. A soft grunt escaped his lips, a sound that only fueled the tension between you.

“If I’m insane, what does that say about you, sweetie?” He began kissing his way down from your neck to your collarbone, his gaze locking onto yours with an intensity that made your heart race. “I can smell your arousal from up here.”

You gasped at his bold accusation, your body jerking in response, but it only heightened the sensation as your clothed core pressed against his torso. You tensed, and his lips curled into a dangerous smirk. “So insatiable…”

“This is so wrong…”

“I’ve never been a righteous man.”

You leaned back instinctively, your hands reaching out as if to find comfort around his neck, but he halted your movement just before contact.

In your hazy state, you noticed him licking his lips, his gaze searching the floor for something—your glove.

“As much as I can’t think of another way to go, I’d prefer to be fully conscious when your pretty cunt is all over my mouth.”

“You’re… outrageous,” your voice faltered, betraying the rush of emotions coursing through you. Your body reacted in ways that contradicted your words.

“Do you prefer gentle, kitten?” Sylus asked, his fingers teasingly tugging at the neckline of your dress, unveiling your flushed skin. His tongue flicked over your right nipple, while his other hand caressed the neglected one. “Would you rather I whisper sweet nothings and cherish you gently?”

His tone dripped with playful mockery, and you arched your back, responding instinctively to his touch and taunting words.

“Would you like me to take it slow? To tell you how beautiful you are?” he teased, his laughter rumbling softly in the air.

Your resolve crumbled as he nipped at your sensitive bud, his hand expertly working the other. “No!” you moaned, your gloved fingers tangling in his hair, pulling him closer, caught in the intoxicating desire in the air.

He growled against your chest, his body pressing forcefully against your legs as they parted to accommodate him. He felt a thrill of compliance wash over you, nearly tempting him to follow through on his suggestion to take it easy.

“More,” you demanded, your fingers tugging insistently at his head, guiding him downward to where your dress had pooled around your waist, leaving your red lace panties tantalizingly exposed.

Sylus grinned at your eagerness, his gaze lingering on your clothed cunt. “God, kitten…” he grunted, pressing his nose against the damp spot on your panties, a rush of heat flooding your cheeks as a thrill of shame coursed through you. “Did you wear my favorite color on purpose?”

His voice dropped to a husky whisper. “Or did you wear it for him?”

You could only whimper in response, arching your body desperately to bring his face where you craved it most. Instead, a sharp sting greeted your cunt, your eyes widening as a gasp of surprise escaped your lips.

He slapped your pussy again, his expression darkening into a scowl. “Answer me, kitten. Did you get all dolled up for him?”

You clenched around nothing, the possessiveness in his tone igniting a deeper need within you. “No,” you whimpered softly. “It wasn’t for him.”

In an instant, he tore your panties away, his mouth descending on your cunt, his tongue skillfully lapping at your folds. “Good girl. Good fucking girl.”

Your fingers clawed at his shoulder, sounds of pleasure escaping you uncontrollably as he toyed with your sensitive clit. “Such a sweet pussy,” he grunted against your core, sending shivers through your body. You slid down the chair, his face pressed firmly against you, your lower body lifted almost into the air. His strong arms wrapped around your thighs, hoisting your legs over his shoulders as he devoured you.

“Say my name, kitten.”

You felt yourself teetering on the edge, already giving him too much. “N-no.”

His teeth grazed your clit, sending waves of pleasure and frustration coursing through you as he slid one finger against your entrance, teasingly. “No?”

“No.” Your voice trembled, betraying the mix of emotions swelling within you as you neared your release with each stroke of his tongue, yet your stubbornness held firm.

“Very well, then.” In an instant, his mouth was gone, leaving you feeling cold and exposed as he stood to his full height.

“What…?”

Sylus leaned over you again, delivering a sharp slap to the side of your breasts that made you squirm and gasp. “This is my zone. My side of the board. Here, you either play by my rules and win, or you go against me and lose.” His voice was low and commanding as his hand reached down again, sliding two fingers inside you, curling them to find your sweet spot. “What will it be, kitten?”

By this point, your entire body felt like it belonged to someone else. “Please…” Your voice was laced with desperation, the plea spilling from your lips, unrecognizable even to you.

“Please what? Just say it, sweetie,” he urged, a teasing glint in his eyes.

His fingers quickened their pace, and your legs trembled under the mounting pleasure, each mewl that escaped your lips a symphony to his ears. “So—Oh my god… S-so close.”

The moment he sensed your walls beginning to clench around his fingers, a satisfied smile crept across his face, and you returned it through a haze of bliss—until you felt him start to withdraw.

Your hand shot out, wrapping around his wrist with a desperate grip, pulling him back toward you. “Sylus!” you cried, your stomach twisting in knots as sweet release threatened to crash over you.

“Sylus, yes, oh my god, yes…” You were barely coherent, the words tumbling from your mouth, but Sylus grunted, his pants taut against his rock-hard cock.

“That’s it… That’s it, sweetie, I know. Drench my fingers; they’re all yours.” He moved with an urgency that took your breath away, thrusting deeply inside you, sending shivers through your entire body as you rode the wave of your climax.

You panted, your chest rising and falling heavily. As the haze began to lift, your mouth fell open in awe, watching Sylus suckle on his fingers, his eyes glowing with satisfaction as he savored your essence.

A fresh wave of slickness coated your folds, and Sylus cursed under his breath as he stood, taking you with him. You instinctively wrapped your legs around his waist, your bare, wet cunt smearing against the fabric of his pants, leaving a tantalizing mess.

The coarse material of his attire heightened your senses, making your body arch in his arms as you ground your hips down, chasing that blissful friction.

“So eager…” he whispered in your ear, his breath hot against your skin before he nipped at your earlobe. “And so fucking wet.” He strode toward his desk just a few feet away, easing you onto your feet. “I’m going to devour you.”

In one swift motion, your belly pressed against the polished surface of his mahogany desk, your body bent over, your ass perfectly positioned for him. He didn’t allow you a moment to breathe before two sharp slaps landed on your cheeks, your body jolting forward in response.

Your moans filled the air, driving him wild, and the way your back arched instinctively shattered any semblance of his control.

You heard the unmistakable sound of his zipper, and a thrill raced through you as his cock was freed from its confines, teasingly brushing against your entrance.

Turning your head over your shoulder, your eyes fell on him, and a rush of desire coursed through you. He was enormous, his veins prominent and pulsing, the tip glistening with precum that trickled down, landing directly on your cunt.

“Sylus…” You brought his attention back to you, and the look on your face made his brows knot slightly in concern.

“What’s the matter, sweetie?” he asked, his voice thick with lust yet surprisingly calm. “Do you want me to stop?”

You placed your hand lightly against his abdomen, feeling the warmth of his skin beneath your fingertips, and shook your head. “No, it’s just…” Your cheeks flushed a deep crimson, almost mirroring the color of his eyes. “It’s not going to fit.”

Sylus paused, momentarily dumbfounded, before releasing the breath he had been holding along with a low chuckle. “We’re going to make it fit, kitten.”

Skepticism flickered in your eyes, and he noticed.

“Do you trust me?”

“No.” You answered honestly. He had been your rival until now, and you couldn’t fully grasp how your dynamic had shifted to this moment, you bent over his desk, spread and exposed.

He grinned, shaking his head in amusement. “You shouldn’t.”

In one powerful thrust, he was inside you, and your eyes rolled back in your head as pleasure surged through your body, overwhelming your senses.

“Fuck!” you cried out, but there was no pain—he seemed to know exactly how to plunge into you.

“Shit… You’re so tight,” Sylus growled, his hips slapping against yours as he took you roughly, driving deep against the surface of his desk. “It would’ve hurt more if I’d taken it slow, sweetie.”

It was becoming increasingly difficult for him to speak, but even if he could, you wouldn’t have heard him. Your mind was consumed with the exquisite fullness of his cock filling you completely.

Your eyes crossed as he continued to thrust in and out, your lips parted in a silent gasp, drool escaping the corner of your mouth and trickling down to the polished surface of his desk.

“Cock-hungry little whore,” he grunted, folding his body over yours to penetrate you even deeper. “And you claim you hate me.”

“I d-do,” you managed to moan, your legs trembling from the intensity of the sensations.

“You hate me, yet your sweet cunt is squeezing my cock like it’s her lover.”

Your mewls and whimpers grew louder with each thrust, your head spinning from the overwhelming pleasure. “Sylus…” you moaned his name, urging him onward toward his own release.

“What is it, sweetie?”

“I-I’m… s’close. So so close.” Tears were welling up in your eyes, and Sylus moaned deeply behind you as he felt your cunt squeezing him, clenching around him like he belonged there. Because he did.

His hand shot up, wrapping around your throat as he kept pounding you from behind, his whole desk shaking from the force of his thrusts. You were sure a bruise would form on your abdomen where it made contact with the wood.

Your eyes rolled as he applied more pressure, making it difficult for you to breathe. “Such a pretty kitten…” He moaned in your ear. “And now she’s collared. As she should be.”

Your orgasm broke through you with a new force, the tears escaping your eyes and your cries lulling Sylus to fall on his own release right after you.

“Fuck.” He moaned, his teeth clamping down on your shoulder. Rope after rope of cum filled your cunt, his thighs shaking slightly from behind you as he emptied himself inside you.

You were so overstimulated and sensitive by your encounter when Sylus caught his dripping cum from your thighs and pushed it right back in.

Your legs threatened to give out, your mind clouding the moment he began to fill you with his seed once more. “Such a pretty cunt, used and bred by me,” Sylus murmured, his voice low and possessive. “What will your boss say when my kids are running around his base, huh?”

You weren’t even aware of how or when it happened, but suddenly you were moaning his name, sweet and desperate, as you drenched him once again. This time, the force of your release was blinding, your vision fading to a brilliant white.

Confused, you turned to see Sylus, his abdomen glistening with your essence, his fingers slick and dripping as he stared at you with a manic edge in his eyes.

“Oh my God…” Heat rushed to your cheeks as the realization of what you had just done washed over you. “I’m sorry… Sylus, I’m—”

Before you could finish, his hand pressed firmly against your lower back, forcing you back into position as you tried to shrink away from his gaze. “Kitten…” His voice was taut, barely contained. “We’re not leaving this room until you do this again.”

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lovemyfairlady · 2 months ago

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So, about my other post. The masterclass was a success, there were so many people that only four seats were empty.

I’m gonna share some answers and tips from Shirahama in the hour she was with us, she was lovely!

(note that this is a translation from Spanish translated from Japanese, so there may be some mistakes)

About the style:

☆ She started wanting to draw a manga with occidental-style art, but noticed that it’s hard to keep the pace and she understands now why nobody does it. Even so, she also notices that her own backgrounds have so much more details than before. Many scales, many bricks and now many leaches. She (jokingly) said that she would like for her characters to go to she desert or the sea…

☆ Q: I noticed that the style takes things from art deco, what are your referents, is it other mangaka, art or literature?

A: She imitated Urasawa’s style when she was a child and still is an inspiration, also Hayao (I think it was him? The translator got a little confused).

☆ They asked her if she had experience with scientific drawing or gone to safaris, because of the animals she creates, and she said no, but since she was a child she liked drawing animals more than people.

About the proces:

☆ She has so much fun planning the layout of the manga. She sets aside the ideas that come while she writes and revisits them later. The hard thing is knowing where to squeeze them, as they are many.

☆ For the sketch/draft she uses a B9 mine and does the shading and coloring digitally

☆ For inking she uses a tachikawa nib, she says the G type it’s too soft and she prefers another one (sorry I didn’t hear well, but I think it was the 600 type)

☆ After inking, the assistants erase the graphite sketch and fill the parts that she marks with black ink. Many assistants use markers for this part but she prefers a brush because it’s faster. After, they scan the pages and start hatching/shading digitally. Usually she draws the traditional hatching without assistants.

☆ They asked her how many assistants she has. She has three now but there was a time where she had five. They come from ten days to one week before the deadline to help, once the layout it’s decided.

Other:

☆ She doesn’t move around the paper too much when drawing, she keeps it centered. And every time, she remembers to pet her dogs while doing it.

☆ The idea of the wheelchair occurred to her when traveling and walking some pretty uneven stone paths, she thought it would be difficult if someone had to use one.

☆ They asked her “Do you think you could publish some specific references of the special outfits of the characters, for cosplayers and artists?” She said that she would consult with the editors (laughing).

☆ She liked Barcelona and specially the architecture, “I feel like Coco when she discovered magic”, she said. She appreciated the decorations of the buildings and the trencadís (catalan mosaics).

#witch hat atelier #tongari boushi no atelier #kamome shirahama #wha #manga barcelona

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simblrcc-site · 3 months ago

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Simblr.cc - but better!

A lot has changed! Not only does it have a new lick of paint, it comes with way more features now!

Psst! If you are new to the site, please read this post first: Click me!

✨New Features

There are a lot of exciting new features:

An improved (Tumblr) importer.

A better Stories uploader.

A new lightweight uploader for quick, small posts.

A completely redesigned projects page with a fresh, modern look!

A redesign of the feed page + being able to like posts on said feed

You can now upload stories as "scenes" that appear on the feed, while still being part of a full, easily navigable story!

A new "Welcome" page, giving more people exposure to their stuff!

And... of course some bug fixes and teeny tiny User experience issues. 😉

🐦Lightweight Uploader

Something I'm super proud of putting together, the Lightweight uploader!

It streamlines the process of uploading simple pictures—no more navigating through multiple pages. Everything is on one easy-to-use page.

If you're logged in, you can access it directly from the Feed or via the "Upload/Post" option in the navbar.

Compatible Post Types:

WIPs

Gameplay

Personal

Lookbook

Familiar and Intuitive Features

If you're used to Tumblr's posting mechanism, you'll notice some recognizable elements:

Drag and Drop Images: Arrange your pictures to create collages! Each row holds up to 3 images, and you can add as many rows as you want.

Simpler Tagging: Tags are now easier to select.

Optional Titles and Descriptions: For WIPs and Personal Posts, titles and descriptions are optional. For other posts, they're still available but not required.

Streamlined and intuitive, the Lightweight Uploader makes sharing your content easier than ever!

📥 Improved Importer:

What's New?

New Importer: Pillowfort! We’ve added a brand-new import option: Pillowfort!

Tumblr Importer:

Previously, the Tumblr Importer relied heavily on your theme, which often caused errors if your theme wasn’t quite right. Fixing those errors was frustrating for both of us!

What’s changed? The importer now uses the official Tumblr API to grab your posts. This means imports will work flawlessly 99% of the time.

Plus, when you share a post on Simblr.cc, the importer will reblog it on Simblr.cc's Tumblr, giving you more exposure—that’s what Simblr.cc is all about!

What about past uploads?

I'm working to have the importer recognize whether your upload is CC or a Gameplay item (not live yet).

Support is being added to reblog posts from the old Tumblr Importer, so those uploads can still shine!

More import options are on the way in the future!

🖊 Improved Stories Uploader

Easier for Writers and readers! 😉

When creating a new story or legacy, you now have three options:

Chapter-Only Story

Chapters & Scenes Story

Scenes-Only Story

Important: All stories created before this update are currently set to Chapters-Only.

What’s the Difference Between a Chapter and a Scene?

Introducing Scenes! Previously, stories and legacies were strictly chapter-based, meaning you could only release a full chapter at a time. Now, with scenes, you have more flexibility!

A scene works like a storyteller’s post on Tumblr—it appears on your feed. This means your scenes can be shared on Simblr.cc’s Feed (but not the Stories browse page) even before the full chapter is published, making it easier for readers to discover your story.

Note: A "Scenes-Only" story works just like a "Chapters & Scenes" story—just without the chapters! 😉

Can I Change My Story Type?

You can change a Chapters-Only Story to a Chapters & Scenes Story. However, you cannot switch from Chapters-Only to Scenes-Only or any other combination.

Though, you will have to ask me to do this for you, due to the way it's currently set up.

Afterwords:

Note: Since this entire platform was built by just one person (me!), it might still have some bugs I haven’t come across yet. Please understand that most social media platforms have entire teams working on features like this, and therefore I can't promise a super "bug free" experience.

So, If you spot any bugs, please don’t hesitate to report them—it’ll help make the platform even better, and it also helps me out! Thanks for your support! 😊

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raekensluver · 7 months ago

Text

dangerous attractions (3)

PART ONE, PART TWO, PART THREE

description: your mysterious new neighbor, spencer reid, turns out to be an agent for the fbi, and you get tangled up in his dangerous life.

pairing: spencer reid x fem!reader

contains: 18+, Minors DNI, mutual pining, fingering, unprotected sex, p in v, r is implied as being shorter than spencer.

song rec: reflections by the nbhd- "i never knew somebody like you, somebody."

w.c: 3.1k

an: thank you so much for the love on my recent publishings!!

over the next few weeks, spencer became a constant presence in your life. he would come over every time he got off work, his eyes searching yours for any signs of fear or trauma. his visits grew longer, his smiles more genuine, and the quiet chess games evolved into deep, late-night conversations about everything and nothing at all.

you found yourself drawn to his world—the complex puzzles of human behavior that he solved every day, the quiet strength that allowed him to face such horrors and still come home to a quiet apartment. he spoke rarely of his cases, but the few details he shared painted a picture of a man who cared deeply for the people he was sworn to protect.

his visits grew more frequent, and with each one, the tension between you grew stronger. it was as if the danger had drawn you closer together, the shared experience of fear and adrenaline forging a bond that neither of you could ignore. you began to crave the sound of his footsteps in the hallway, the gentle knock on your door that signaled his arrival.

spencer noticed the change in you, the way you leaned into him when he spoke, the way your eyes searched his for reassurance. he offered comfort without words, his presence a silent promise that you weren't alone. he would sit with you, not saying much, just being there—a steady anchor in the storm of your thoughts.

one evening, as you sat side by side on your couch, the air grew thick with something unspoken. the tension was palpable, a live wire connecting you both. spencer reached for your hand, his touch sending a jolt through your body. your eyes met, and for a moment, you could see the weight of his job, the toll it took on him, the loneliness he carried like an invisible shield.

you leaned into him, your head resting on his shoulder, feeling the steady beat of his heart beneath your cheek. "thank you," you murmured, the words feeling inadequate for the comfort he brought.

spencer squeezed your hand gently. "for what?" he asked, his voice a soft rumble in the quiet room.

you tilted your head to look at him, his eyes searching yours. "for being here," you said, your voice barely a whisper. "for… everything."

his gaze softened, and for a moment, the weight of his job, the intensity of his world, seemed to fade away. "you don't have to thank me," he said, his voice gentle. "i just want to make sure you're okay."

you felt a warmth spread through you, his simple words resonating deep within. "i know," you whispered. "but i do. i don't know what i would have done without you."

spencer's eyes searched yours, and you could see the conflict within him—his desire to keep you safe at arm's length and the growing bond that was drawing him closer. "you're strong," he murmured. "you're much stronger than you think."

his words were like a warm embrace, and you found yourself leaning into him, craving the connection that had been building between you. "i'm scared," you admitted, the vulnerability in your voice surprising you.

spencer's gaze never wavered. "i know," he said softly. "but you're not alone."

his hand cupped your cheek, his thumb gently wiping away the tears that had begun to fall. his touch was tender, a stark contrast to the world he lived in. you leaned into his palm, feeling the warmth of his skin, the solidity of his presence. without thinking, you leaned forward, your lips brushing against his.

for a moment, time stood still. then, with a groan, spencer deepened the kiss, his arms wrapping around you. you melted into him, the fear and confusion of the past weeks coalescing into something warm and comforting. his kiss was urgent, hungry, as if he had been holding back for so long, afraid to let himself feel.

you responded in kind, your hands sliding up his chest, tangling in his hair. the world outside the apartment faded away, leaving only the two of you, entwined in a dance of passion and relief. his touch was gentle but firm, his body heat seeping into yours, chasing away the chill that had taken up residence in your bones.

the kiss grew more intense, your breaths mingling as you explored each other's mouths with a desperation that was both thrilling and terrifying. the line between friend and protector had been crossed, and you weren't sure if there was any going back. but in that moment, you didn't care. all that mattered was the feel of his arms around you, the warmth of his embrace.

spencer's hands roamed your body, his touch sending waves of heat through you. you felt his need, his desire, and it matched your own. you had never been so alive, so present in the moment. the chaos of the recent past faded away, replaced by the rhythm of your hearts beating in sync.

his hands found the hem of your shirt, and with trembling fingers, he began to lift it. you helped him, eager to feel his skin against yours. as the fabric was peeled away, you felt a sense of exposure, but also of liberation. there was no room for fear in the face of such raw passion.

his touch was gentle yet firm as he traced the lines of your body, his eyes drinking in every inch of you. you felt the warmth of his breath against your neck, his lips following the path of his fingers. a soft moan escaped your lips, and you knew that you were lost to this feeling, to him.

you straddled him on the couch, your legs wrapping around his waist. your bodies fit together perfectly, as if you had been made for this moment. his hands found your hips, guiding you closer, the heat between you building. the fabric of your clothes seemed to be the only thing separating you, a barrier that was quickly becoming unbearable.

his kisses grew more urgent, his teeth grazing your neck, sending shivers down your spine. your own hands explored his chest, feeling the hard planes of muscle beneath his shirt. you could feel his heart pounding in time with yours, a symphony of need and want.

his fingers deftly unhooked your bra, and with a sigh, you let it fall away. his eyes searched yours for permission, and with a nod, you gave it. he cupped your breasts, his thumbs teasing the sensitive peaks. a gasp escaped your lips, and you leaned into his touch, feeling more alive than you had in months.

spencer's mouth found yours again, his kisses deepening as his hands continued to explore. you could feel the tension in his body, the coiled energy of a man who held the weight of the world on his shoulders finally letting go. you mirrored his urgency, needing to feel him, to connect in the most primal way possible.

you reached for the buttons of his shirt, fumbling slightly with trembling hands. he took over, his movements swift and sure as he undid the last button and shrugged the shirt off, revealing the expanse of his chest. your eyes took in the sight of him, the muscles honed from years of training, the scars that told a silent story of battles won and lost.

spencer flipped you around so that your back was pressed to his chest, his arms wrapping around you protectively. you gasped as his skin met yours, the heat of his body searing into you, his chest a wall of warmth and strength at your back. his lips trailed down your neck, his teeth grazing the sensitive skin, sending delicious shivers down your spine.

his hands roamed over your body, his fingers deftly sliding under the waistband of your panties. with a gentle tug, he removed the last barrier between you, tossing the fabric aside. you could feel his breath, hot and ragged, against your ear as he whispered sweet nothings, praising your beauty, your strength. his words were a gentle caress, a balm to your frayed nerves.

his fingers found their way to your cunt, the softness of his touch making you gasp. you were wet, slick with desire, and he took note of it with a soft groan, his praise turning into a murmur of wonder. "you're so beautiful," he whispered, his fingertips tracing your folds with a feather-light touch. "so wet for me."

his words sent a shiver through you, and you arched your back, pushing your ass against his hardening cock. he took the hint, sliding a single digit inside you with a gentle pressure that had you moaning his name. "yes," you breathed.

spencer's hand moved with the rhythm of your hips, his finger curling inside you, hitting that spot that made your eyes roll back in your head. you could feel your walls tightening around him, desperate for release. "you're so wet," he murmured, his voice a dark promise in your ear. "you want me, don't you?"

you nodded, unable to form words as he added another finger, stretching you deliciously. "yes," you gasped, the sound barely audible. "more."

his strokes grew more deliberate, his thumb finding your clit and beginning to circle it with a firm pressure that had you panting. "you're so perfect," he whispered, his breath hot against your neck. "so responsive."

your hips began to rock in time with his hand, the tension inside you building. "spencer," you moaned, his name a plea for more. "yes," he murmured, his voice low and urgent. "let me make you feel good."

his fingers worked you with a skill that left you trembling, his touch both gentle and insistent. your body responded to his every command, your slickness dripping down your thighs. "you're so wet for me," he said, his voice thick with lust. "so fucking perfect."

his words were a catalyst, sending you hurtling towards climax. your eyes squeezed shut, your head thrown back, your mouth open in a silent scream as the orgasm crashed over you. your muscles tightened around his fingers, pulsing with the intensity of your release.

spencer held you through it, his arms tight around your waist, his mouth moving from your neck to your ear, whispering sweet nothings that only served to prolong the pleasure. when the tremors finally subsided, you collapsed against him, your breaths coming in gasps.

his hands remained gentle on your body, the urgency of the moment giving way to a tender care. he turned you in his arms, so you faced him, and kissed you softly, the passion of moments ago now a gentle warmth that wrapped around you like a blanket. "are you okay?" he asked, his voice hoarse with emotion.

you nodded, your eyes never leaving his. "yes," you whispered, feeling a blush creep up your cheeks. "more than okay."

spencer's smile grew, his eyes filled with warmth. "good," he murmured, his thumb brushing over your lower lip. "because i've wanted to do this for a long time."

his kiss was gentle, a stark contrast to the passionate maelstrom of moments before. it was as if he was memorizing the taste of you, savoring every second. your hands slid up his arms, feeling the muscles flex beneath your fingertips. you felt cherished, protected—like he was trying to erase the fear that had taken up residence in your soul.

spencer laid you back on the couch, his body hovering over yours. the cushions sank beneath your weight, the fabric warm and welcoming. his eyes searched yours, making sure you were ready, that you wanted this as much as he did. your nod was all the invitation he needed.

his hands moved to the button of his pants, his eyes never leaving yours. with a slow, deliberate movement, he unzipped them, the sound of his zipper echoing in the quiet room. he slid the fabric down his legs, revealing his erection, straining against the fabric of his boxers. your eyes widened, taking in the sight of him.

his cock was thick and hard, a testament to his desire for you. you felt a thrill of power, knowing that you had elicited such a response from this man who faced horrors on a daily basis. "spencer," you murmured, your voice thick with want.

his boxers followed the path of his pants, and he positioned himself between your legs. his cock nudged against your entrance, the heat of him making you ache for more. you reached down, wrapping your hand around him, feeling the pulse of his desire. "you're so beautiful," he murmured, his eyes never leaving yours.

you guided him inside you, his thickness stretching you deliciously. he pushed in slowly, giving you time to adjust, his eyes never leaving yours. when he was fully seated, he stilled, his chest heaving with the effort to hold back. "are you okay?" he asked, his voice a gentle rumble.

you nodded, your eyes never leaving his. "yes," you whispered, the single word a declaration of trust. spencer's gaze searched yours, his expression a mix of concern and desire. with a gentle nod, he began to move, his strokes long and slow, as if he was savoring every moment.

you gripped the couch cushions, your body responding to his rhythm, your hips rising to meet his. the friction was exquisite, the fullness of him inside you filling you in a way nothing else ever had. his eyes remained locked on yours, the intensity of his gaze making your heart race.

his strokes grew deeper, his pace increasing, as if he couldn't get enough of you. you felt your second orgasm building, a slow burn that started in your core and spread through your body like wildfire. "spencer," you moaned, his name a prayer on your lips.

his eyes searched yours, the concern in them morphing into something more primal, something that told you he needed this just as much as you did. he leaned down, capturing your mouth with his, his tongue delving deep as he thrust harder, faster. you could feel the tension in his body, the way his muscles tensed with each stroke, the way his breathing grew ragged.

his hand slid down your body, finding your clit once more, his thumb circling it with just the right amount of pressure. the sensation was overwhelming, the pleasure building to a crescendo that threatened to consume you. you wrapped your legs around his waist, pulling him closer, needing more.

spencer's movements grew more urgent, his hips driving into you with a force that had you seeing stars. your moans grew louder, filling the room, echoing off the walls. his own breathing grew ragged, his eyes never leaving yours as he claimed you, as if he was trying to memorize every line of your face in the throes of passion.

his thumb circled your clit, the pressure increasing, and you felt yourself teetering on the edge. "spencer," you gasped, your nails digging into his back. "I'm going to—"

"come for me," he murmured, his voice a command that sent you spiraling over the edge. your body arched off the couch, your orgasm ripping through you with a force that left you trembling. he watched you intently, his eyes dark with desire as he felt your cunt pulse around him.

spencer's own release followed quickly, his hips stuttering as he buried himself deep inside you, his warmth filling you completely. his eyes never left yours, the connection between you unbroken even as the world around you spun away. your bodies remained joined, the aftershocks of pleasure rippling through you both.

for a moment, you simply lay there, panting, your hearts racing in sync. the quiet of the room was a stark contrast to the tumult of emotions inside you. spencer's weight was a comfort, a reminder that you weren't alone in this. that despite the chaos that had entered your life, there was still warmth, still passion.

but reality had a way of intruding, and the sudden buzz of his phone on the coffee table was like a cold shower. he pulled away with a groan, his eyes filled with regret. "i have to go," he murmured, his voice thick with reluctance. "work."

you nodded, understanding all too well the demands of his job. "be safe," you whispered, the words carrying a weight that seemed to hang in the air.

spencer kissed you gently, his hand lingering on your cheek before he reluctantly pulled away. with a sigh, he began to gather his clothes, his movements efficient and methodical. you watched him dress, the sight of his muscles rippling beneath his shirt as he buttoned it up. his eyes met yours, the warmth of the moment before replaced by the cool detachment of a man preparing to face the world.

you sat up, feeling the ache of his absence as he stepped away. your own clothes lay scattered around the room, a testament to the passion that had consumed you both. with trembling hands, you began to dress, the fabric of your clothes feeling almost foreign against your sensitive skin. the cotton of your shirt was rough against your nipples, still sensitive from his touch.

spencer watched you, his eyes lingering on your body before he turned away, focusing on his own clothes. you could see the struggle in his movements—the desire to stay, to hold you close, warring with the duty that called him away. it was a dance you were both too familiar with, the push and pull of your newfound intimacy and the cold reality of his work.

once dressed, he turned back to you, his expression one of deep apology. "i'm sorry," he said, his voice low and filled with regret.

you took a deep breath, trying to still the racing of your heart. "it's okay," you assured him, knowing he had no control over the demands of his job. "you have to go."

spencer nodded, his eyes searching yours one last time before he bent down to kiss you—a kiss that was at once gentle and filled with the promise of more to come. it was a kiss that said 'i'll be back' without uttering the words. his hand lingered on your cheek, his thumb brushing away the last of your tears. "i'll check on you later," he murmured, his voice thick with emotion.

you watched him go, the sound of the door closing behind him like a final punctuation on the intensity of the past few minutes. your body still hummed with the aftermath of pleasure, but your mind was a whirlwind of confusion. what had just happened between you? was this a one-time thing, a product of the fear and tension of the past weeks? or was it the beginning of something more?

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