#I can smile now while talking about you

[wickmitz]

I decided to start talking about Wick and Rocky's relationship because I like their dynamics too, I like seeing Wick scared of Rocky and Rocky being aggressive with him, which is unusual because Rocky is rarely aggressive with anyone, but of course Wick is an exception to rule

Also my mini opinion about their possible relationship, I think that if Rocky didn't have to fight for his place, then he and Wick could become friends, or at least tolerate each other a little, I also see some superficial similarities, their gentlemanly and romantic natures, and their common love for explosions (remembering the quarrymen chapter), but this is my assumption, I think that I don't understand the characters' personalities well, so I can be wrong in this assumption, something like that. So, what do you think about their relationship?

for starters, i cannot thank you enough for this ask! as i’ve said previously, i have many thoughts on these two, so it’s nice to finally be able to share some of them. although given the extent to which i think about them, i apologize in advance if this is sloppy and sort of everywhere … while i’ll try to structure things the best i can, i cannot promise i’ll succeed! but hopefully this is an enjoyable reply nonetheless.

one of my favorite things about rocky and wick’s relationship is absolutely how aggressive rocky is towards the aristocrat ; he is prone to glares and cruel jokes and borderline hissing whenever the man is within his line of sight, or can be brought to a wailing-fit over the mere mention of his name from miss m’s mouth. there is a childishness to it, but a very prominent threat as well in spite of rocky’s usual incompetence. so he goes out of his way to posture around wick, readily lying and adorning himself with the gangster drapes he so badly wants to wear, in the hopes that it intimidates … will even badmouth wick’s family and make fun of his name and rock related obsession to mitzi, and so on so forth! yet all of this is very reminiscent of schoolyard bullying rather than anything too severe, though we as the audience understand rather quickly that rocky would bash wick’s head in with a tire iron if he could. ( translation : if it wouldn’t earn the tears or hate of a certain beloved mitzi may ) and it’s all very intense despite the absence of actual violence! and i understand why many fans see this as unusual for rocky and believe that it’s only wick who makes him act so aggressively, but i’d argue it isn’t really wick at all that prompts such scary reactions from him … and that rocky is a deeply angry character who’s a.) been boiling quietly for a long, long time and b.) has turned wick into a punching bag of sorts for this inner world of resentment and hurt. basically, when he’s judging the well-to-do or poking fun, his eyes don’t look at wick and actually acknowledge him as sedgewick sable ; instead this is a being, something vague and metaphorical, who threatens to upseat rocky’s permanence in the lackadaisy and steal away his savior, and he’s had a hand in the violinist’s misfortune for a long time.

obviously, rocky doesn’t think wick robbed him of his family twice over and made him homeless, but he is channeling the fear and anguish of those events into his loathing for wick, if that makes sense? it’s easier that way -- to finally have an outlet for everything bleeding inside of you, to be able to bite and claw at something without feeling conflicted or having to take personal accountability for your own mistakes … which is something that i think rocky does struggle with to a degree. he is sort of a finger pointer! his pain has to be worth something, it has to be for someone else ; spending years homeless and losing his last bit of family was for freckle, and the scrambling of his literal brain was for mitzi, and that means he can’t ever be angry with them! well, except that he is, somewhat, but he buries it deep down instead of feeling it. with freckle there is a sense of strain between them -- an air of ‘you owe me’ from rocky to freckle as he uses freckle to appease miss m, and he constantly pokes fun at his cousin too. it’s lighter than his jabs at wick, but there’s a constant pestering, a reminder of how good freckle has it : how he’s got the mom and the house and the job and the girl most notably. i don’t think rocky is intending to come across as mean, and to his credit he hardly does! but it’s rather clear to me that some part of him, some hidden and deeply hurt part, is rather indignant about taking the fall for freckle all those years ago. which he can’t understand, because how could he? he made that choice, he decided to take accountability for something he didn’t do because he loves freckle and knows it’d be so easy to believe this family tragedy was roark’s fault ; the devilish child he was, all troublesome and too broken to properly fit anywhere. so there is a disconnect born here, where rocky can’t comprehend that he’d be angry at freckle, so instead these not so great feelings are placed elsewhere and silently boil over time. and with mitzi … i don’t think he’s angry at her per se, but there is a frustrated and desperate chorus of : why him and why not me, when i’m the one out here dying for you? which is certainly unpleasant. of course, rather than allowing those feelings to be more aimed at miss m, whom he feels unloved by, he ( again! ) represses these emotions and allows them to fester into his greatest fears and fantastical complexes. i think there is a lot of other miscellaneous anger he could have towards others too … perhaps some part of him is sore upon seeing ivy’s normal lifestyle, watching her go to university and knowing that’s been taken from him. or an ache felt when hearing stories from zib and the band and how they used to travel successfully, living as nomads, and rocky is all too reminded of his similar lifestyle and how he couldn’t make it work as effortlessly. people with immense trauma are more prone to irrational anger and jealousy, to viewing everything around them as unfair and believing it’s even more unjust that so many people get to live comfortably while they’ve suffered. a situation that gets more messy when you’re someone like rocky, a man who’s willingly made choices that have harmed himself and wants to continue on with his smiling, bumbling fool of an act. he does not want to be angry, does not want to see it within himself, i think, which leads to an accidental increase of it.

all of this is to reiterate that wick is a scapegoat for rocky and nothing more. it’s why he’s rather hypocritical whenever it concerns the man. for example, it was stated by tracy that he looks down upon wick for his excessive presence at the bar, yet he appears to enjoy hanging out with zib -- who drinks just as often! he makes fun of how all wick ever talks about is rocks, when he himself is prone to poetry rambles that people find irritating or boring, and etc etc. this is also just a human nature thing, to critique someone you heavily dislike and even going as far as to belittle things you love or do in your own day to day because you just hate them that bad! but given rocky’s willingness to befriend anyone, it more so reeks of a dehumanization element. wick is every obstacle in his way, every divine force that threatens to send him packing again, so he is equal parts unnerved by wick’s presence and angry about it. it is mostly a fear response we are seeing, an emotion that’s morphed into long held resentment and anger. so his actions are extremely defensive, with him trying to push wick far away and keep him and mitzi separate, like some sort of animal attempting to ward off a threat that’s come too close to their home. despite the loaded animosity there, this hate has hardly reached its peak … but it shall only grow more intense as things continue onward i’m afraid, since as it stands ( in the comic at least ) rocky is at an all time low … and is ten times more desperate. i’d honestly say wick has become so warped in his mind’s eye that he can only strive towards ‘winning’ over the other man, because that’s all he can see anymore. i think mitzi implying that wick willingly helped her out, the intense head injury, and rocky’s fragile emotional state is exactly what pushes him towards premeditated murder in look-see. i don’t know how people perceive that arc, but to me it’s very clear that rocky actively sought to see the deaths of wes and fish that night. going as far as to lament that he’d be, “very disappointed if ( he ) dreamed them,” and purposefully luring the marigold duo away to have freckle pick them off. while you could argue that this was a smart move, in a gangster sort of sense, there’s still no denying that rocky is oddly chipper about the whole thing and is now seeking death out ; whereas before his methods of vengeance were just, well, ruining people’s livelihood but ultimately leaving them alive. this isn’t to discredit the fact that rocky is going through something! he is in a very muddled and dark place, mentally and physically, but even tracy has said that the head injury hasn’t changed rocky’s personality -- it’s only brought things to the surface.

source : q&a with tracy .

which, yeah! makes sense! head trauma can cause a person to become a wreck emotionally ( think mood swings, irritability, etc ) but it doesn’t completely morph someone either. personality changes may occur, but it’s not like you’re being rewritten entirely, you know? and given tracy’s old statement, it’s clear that ‘personality changes’ aren’t a side effect he’s suffering from. something that adds to my beginning statement, which is that rocky is a deeply angry and troubled person, more so than fans give him any credit for.

however, to touch upon your mini opinion about these two, i actually wholeheartedly agree that rocky and wick could become friends if circumstances were different. they do in fact have many superficial similarities, but one of the more prominent things they deeply share is never really belonging in the groups they frequent. this is more overt with rocky’s character, yet wick faces it too in subtle ways. the well-to-do crowd, seen through the investors, find the gentleman to be lacking in about every place imaginable ; to them he is an obsessive freak who cares too deeply for meager rocks, something they constantly mock him for, while he’s also being noticeably set apart from the rest of them … he seems younger than the investors, more excitable, passionate, and a little less experienced, and doesn’t seem to care for money or reputation as much as them either. there is a constant rubbing between him and them, where what he enjoys is seen as wrong, such as his love for the lackadaisy and his choice in paramor, a grieving widow with extremely dangerous ties. we also know that wick doesn’t have many friends at all, with the only two he has being lacy and church ( church is listed as such on his character profile, in a sort of tongue-in-cheek way ), both of whom work for or with him. they are obliged to hang around, and while they care in varying ways, they are prone to judging him just as much. honestly, it’s not shocking that wick seeks refuge at his chosen speakeasy! but even there he is rather distant from everyone else. he doesn’t speak to zib ever in the comics, nor seems all too close with viktor, ivy, or horatio … it is merely mitzi he is close to, even if he knows of the other people who work there. and, once again, wick very obviously doesn’t fit in. he is not gangster material, could never be an atlas may replacement, much less someone who could get his paws dirty in such an active way. so he has his feet in two different worlds and doesn’t know how to fit into either of them, or which one he actually wants to fit into more. i think in many ways rocky could relate -- these are two very lonely people who wish to belong somewhere and be accepted by some group or another but go about it in all the wrong ways. wick, who is too hesitant to fully commit to what he wants and is worse off for it, and then rocky, who obsessively throws himself against what he wants until he breaks every bone in his body. they also have explosives to bond over, lol, and other miscellaneous things like their taste in women i suppose … but this potential bond adds to the tragedy of lackadaisy, where we see two people who on every level should get along but we’re burdened with the knowledge that it’s an impossibility anyway, because there’s no removing the circumstance of which they’re in.

though i like to believe that despite wick’s fear of rocky, he maintains a kindness towards him regardless. i think his worries about rocky are rather surface level … he doesn’t know the boy at all, really, and thus can’t make heads or tails of him, hence him believing the lie in balderdash. so when i’m feeling particularly self indulgent, i like imagining a world where they’re forced together and sort of ‘stuck’ together ; to which rocky finally breaks and exposes his wounds to wick, in every sense of the word, and wick finally gets him. the aggression, the possessiveness of mitzi … it is all fear and desperation and a profound sadness, things he’d sympathize with. if rocky was able to explain that he loathes wick because if he saves the lackadaisy then mitzi won’t need him anymore and that it’s not fair that wick gets to so easily fix things when rocky would give his soul for his home, for her, and how wick could render every sacrifice he’s already made for naught by smoothing things over with some greenbacks and he can’t lose this, he just can’t --! … which, well, wick is too kind of a man to be able to do anything except feel awful, even though it’s not his fault at all. here we have two people who could coexist! and they should, since rocky logically can’t do every speakeasy job ( band member, rumrunner, mitzi’s shadow, also the guy who gets the money for the hooch ) by himself, just like how wick can’t save the lackadaisy with only his cash and limited booze stash. it’d be a joint cooperation, a collaboration between them, both equally important in the grand scheme of crime’s every turning wheel … but rocky’s rage and fear won’t let him see that, and likely never will. still, in scenarios where everything ends up alright for the lackadaisy and the people involved in it ( which is not how canon will go, by the way ), i fancy wick and rocky getting better within their relationship. rocky will always be prickly and quick to upset around the other man sadly, but perhaps he could see wick in a softer kind of light. or at least understand vaguely enough that he isn’t out to get rocky, so to speak. and then maybe wick learns that pancakes soothe rocky’s ire and poorly makes them anytime he wishes to talk to the man, and other fun things like that! but you should have more confidence in your character analysis skills, because you were spot on ( at least in my eyes ) about them potentially getting along if things were different. it’s certainly a fun aspect to play around with, and is important to note when discussing their relationship so you can fully understand just how warped rocky’s perspective on things are. and how unstable and traumatized he is too, of course </3 sidenote, but i also hope that throughout everything i’ve said here, or anything i’ve said before on my blog, that my love for rocky and my own sympathy for him comes across well enough. while he’s deeply flawed and i have no qualms discussing said flaws in depth, i also don’t think of him as some insane freak who’s evil at his core or anything like that. honestly, i adore analyzing him so much as a character because of how far down his issues go! he’s very well written, i’ll say, as is wick and many of the other characters, but i digress.

once more, thank you for the ask! i’ll end this here because i fear if i don’t i’ll start going in circles, since their relationship is so vast and very important for rocky in a character sense. hopefully i shed some more light on it though! i love these two to bits and pieces and i wouldn’t be half as invested in lackadaisy if their dynamic wasn’t so monumental -- at least to me.

[grimbeak]

i don't even really care about the possibility of never hearing from kevin again im mostly just mad about 250. like i never got the sense of loss from losing kevin i mainly got that from lauren. also the shock of that stupid ass abuse dialogue. but like. if we get an episode of kevin by himself without one of his partners (lauren / charles & donovan / cecil & carlos) then what's even the point.

[fear-no-mort]

slams fists down on beautifully crafted oak desk

[longagoitwastuesday]

So so indebted to u for posting those lovely illustrations from Cyrano <333 & even more so for yr tags!! I'm completely in love w yr analysis, please feel free to ramble as long as u wish! Browsing through yr Cyrano de Bergerac tag has given me glimpses of so many adaptations & translations I'd never heard of before! I'll be watching the Solès version next, which I have only discovered today through u ^_^ As for translations, have u read many/all of them? I've only encountered the Renauld & Burgess translations in the wild, & I was curious to hear yr translation thoughts that they might guide my decision on which one I buy first (not necessarily Renauld or Burgess ofc). Have a splendid day & sorry for the likespam! 💙

Sorry for the delay. Don't mind the likespam, I'm glad you enjoyed my tags about Cyrano, and that they could contribute a bit to a further appreciation of the play. I loved it a lot, I got obsessed with it for months. It's always nice to know other people deeply love too that which is loved haha I hope you enjoy the Solès version, it may well be my favourite one!

About translations, I'm touched you're asking me, but I don't really know whether mine is the best opinion to ask. I have read... four or five English translations iirc, the ones I could find online, and I do (and especially did, back when I was reading them) have a lot of opinions about them. However, nor English nor French are my first languages (they are third and fourth respectively, so not even close). I just read and compare translations because that's one of my favourite things to do.

The fact is that no translation is perfect, of course. I barely remember Renauld's, but I think it was quite literal; that's good for understanding the basics of the text, concepts and characters, but form is subject, and there's always something that escapes too literal translations. Thomas and Guillemard's if I recall correctly is similar to Hooker's in cadence. It had some beautiful fragments, some I preferred over Hooker's, but overall I think to recall I liked Hooker's more. If memory serves, Hooker's was the most traditionally poetic and beautiful in my opinion. Burgess' is a whole different thing, with its perks and drawbacks.

Something noticeable in the other translations is that they are too... "epic". They do well the poetic, sorrowful, grief stricken, crushed by regrets aspects of Cyrano and the play in general, but they fall quite short in the funny and even pathetic aspects, and that too is key in Cyrano, both character and play. Given the characteristics of both languages, following the cadence of the French too literally, with those long verses, makes an English version sound far too solemn at times when the French text isn't. Thus Burgess changes the very cadence of the text, adapting it more to the English language. This translation is the one that best sets the different moods in the play, and as I said before form is subject, and that too is key: after all, the poetic aspect of Cyrano is as much true as his angry facet and his goofy one. If Cyrano isn't funny he isn't Cyrano, just as he wouldn't be Cyrano without his devotion to Roxane or his insecurities; Cyrano is who he is precisely because he has all these facets, because one side covers the other, because one trait is born from another, because one facet is used as weapon to protect the others, like a game of mirrors and smoke. We see them at different points through the play, often converging. Burgess' enhances that. He plays with the language itself in form and musicality, with words and absences, with truths masking other truths, with things stated but untold, much like Cyrano does. And the stage directions, poetic and with literary value in their own right in a way that reminded me of Valle Inclán and Oscar Wilde, interact with the text at times in an almost metatextual dimension that enhances that bond Cyrano has with words, giving them a sort of liminal air and strengthening that constant in the play: that words both conceal and unveil Cyrano, that in words he hides and words give him away.

But not all is good, at all. Unlike Hooker, Burgess reads to me as not entirely understanding every facet of the characters, and as if he didn't even like the play all that much, as if he had a bit of a disdainful attitude towards it, and found it too mushy. Which I can understand, but then why do you translate it? In my opinion the Burgess' translation does well bending English to transmit the different moods the French text does, and does pretty well understanding the more solemn, cool, funny, angry, poetic aspects of Cyrano, but less so his devotion, vulnerability, insecurities and his pathetism. It doesn't seem to get Roxane at all, how similar she is to Cyrano, nor why she has so many admirers. It does a very poor job at understanding Christian and his value, and writes him off as stupid imo. While I enjoyed the language aspect of the Burgess translation, I remember being quite angry at certain points reading it because of what it did to the characters and some changes he introduces. I think he did something very questionable with Le Bret and Castel-Jaloux, and I remember being incensed because of Roxane at times (for instance, she doesn't go to Arras in his version, which is a key scene to show just how much fire Roxane has, and that establishes several parallels with Cyrano, in attitude and words, but even in act since she does a bit what Cyrano later does with the nuns in the last act), and being very angry at several choices about Christian too. While not explicitly stated, I think the McAvoy production and the musical both follow this translation, because they too introduce these changes, and they make Christian as a character, and to an extent the entire play, not make sense.

For instance, once such change is that Christian is afraid that Roxane will be cultured (McAvoy's version has that infamous "shit"/"fuck" that I detest), when in the original French it's literally the opposite. He is not afraid she will be cultured, he is afraid she won't, because he does love and appreciate and admires those aspects of her, as he appreciates and admires them in Cyrano. That's key! Just as Cyrano longs to have what Christian has, Christian wants the same! That words escape him doesn't mean he doesn't understand or appreciate them. The dynamics make no sense without this aspect, and Burgess (and the productions that directly or indirectly follow him) constantly erases this core trait of Christian.

Another key moment of Christian Burgess butchers is the scene in Arras in which Christian discovers the truth. Burgess writes their discussion masterfully in form, it's both funny and poignant, but it falls short in concept: when Cyrano tells him the whole discussion about who does Roxane love and what will happen, what they'll do, is academic because they're both going to die, Christian states that dying is his role now. This destroys entirely the thing with Christian wanting Roxane to have the right to know, and the freedom to choose, or to refuse them both. As much as Cyrano proclaims his love for truth and not mincing words even in the face of authority, Cyrano is constantly drunk on lies and mirages, masks and metaphors. It's Christian who wants it all to end, the one who wants real things, the one who wants to risk his own happiness for the chance of his friend's, as well as for the woman he loves to stop living in a lie. That is a very interesting aspect of Christian, and another aspect in which he is written as both paralleling and contrasting Cyrano. It's interesting from a moral perspective and how that works with the characters, but it's also interesting from a conceptual point of view, both in text and metatextually: what they hold most dear, what they most want, what most fulfills them, what they most fear, their different approaches to life, but also metatextually another instance of that tears/blood motif and its ramifications constant through the whole text. Erasing that climatic decision and making him just simply suicidal erases those aspects of Christian and his place in the Christian/Cyrano/Roxane dynamic, all for plain superficial angst, that perhaps hits more in the moment, but holds less meaning.

Being more literal, and more solemn, Hooker's translation (or any of the others, but Hooker's seems to love the characters and understand them) doesn't make these conceptual mistakes. Now, would I not recommend reading Burgess' translation? I can't also say that. I had a lot of fun reading it, despite the occasional anger and indignation haha Would I recommend buying it? I recommend you give an eye to it first, if you're tempted and can initially only buy one.

You can read Burgess' translation entirely in archive.com. You can also find online the complete translations of Renauld, Hooker and Thomas and Guillemard. I also found a fifth one, iirc, but I can't recall it right now (I could give a look). You could read them before choosing, or read your favourite scenes and fragments in the different translations, and choose the one in which you like them better. That's often what I do.

Edit: I've checked to make sure and Roxane does appear in Arras in the translation. It's in the introduction in which it is stated that she doesn't appear in the production for which the translation was made. The conceptualisation of Roxane I criticise and that in my opinion is constant through the text does stay, though.

[klanced]

from aroace yoi pfp user to lesbian voltron pfp user, can we all eat ice cream after this war is over

x

[hauntingblue]

LUFFY!!!!!!!!! I HAVE BEEN CONVERTED!!!! LUFFY BELIEVER FULL TIME!!!!! LET US WORSHIP THE SUN!!!!

[qqqqqqqqqqq0]

i did a thing

[cosmicdenro]

hope u guys don't mind me being a little queer sometimes and talking to myself in the tags, it helps clear my head since people can filter out rant posts easily

[todayisafridaynight]

can I see a picture of your dad 👉👈

yeah of course here you go

[teruthecreator]

trying so hard to be normal but i really don’t think i could survive going to the psych ward and i’m rlly like. bothered my siblings are pushing it so hard

[space-coupe]

-

[becca-alexa]

as someone who spent three years working a retail job if i ever hear someone complain about retail workers not smiling while working they are getting a punch to the throat

[puppmeo]

Have you ever been assumed to be romantically attracted to someone and even just the thought of that makes you want to throw up . Anybody

[kamitv]

Getting a call while Suguru’s balls deep inside you sounds so interesting, lowkey.

"Fuck, you feel so good," Your fiancé would coo into your ear, cock dipping in and out of your sopping cunt languidly as his hot breath hit the crown of your ear.

It would all be so intimate. The way Geto has you beneath him, holding your shaky legs open for himself as his heavy balls smacked against you every time he thrusted his fat cock into you. His hips were moving slow but his dick was splitting you open.

"Sugu," You'd gasp, nails scratching at his toned back as you panted out a heavy breath of air, "Fuck-, mmh..."

"Can't get enough of this pussy, mmgh. Listen t'her talk t'me," He whispers to you, the messy slick of your cunt wetting up his shaft as he drew his hips back hitting both of your ears, "Y’like that, baby? Like bein’ stuffed like this, hm?” Geto questions.

Though, his words weren’t directed to you.

He often did that during sex— talked to your cunt, referring to it as she and baby just like how he talks to you. And it gets even worse whenever he’s giving you head.

Currently though, as Geto talks you, and your pussy, through his steady strokes, you moan his name up until your phone begins to ring.

The sound of your loud ass ring tone makes your lover groan, leaning up away from you just to catch sight of who the hell was calling you. To his surprise, none other than his best friend’s contact name was beaming across your phone screen.

“Hahh,” Geto cracks a half smile, “The fuck is Satoru callin’ you for?” He asks, sounding annoyed despite the amusement etched onto his features.

The curve of his cock sinks deeper into you as he reaches for your cell phone and you scratch at his chest, too fucked out to render what the hell he was talking about. All you wanted was his body pressed up against yours again.

“S-Suguu, shit-, ignore it, please.” You huff out demandingly, earning nothing more than a mere glance from your fiancé as he peers down at you from the corner of his eye.

Swiping your phone up, “Why’s he calling?”

“I don’t know,” You pout, extending a hand to his neck and trying to pull him back down to you. Your attempt almost works as Geto is tugged a bit closer to you, his hips still and his eyes back on your phone buzzing in his palm.

Cocking his head to the side, he smirks, “Find out then,” Suguru says to you.

You’re confused for only a second before an explanation is given through him answering the call and pressing it to your ear. Your eyes go wide as you realize he wants you to talk to Satoru while he’s balls deep inside you.

Gulping, “Sugu-“

“Hello?” You get cut off by the connection of the phone call and the sound of Gojo’s voice in your ear.

Your fiancé smiles down at you and whispers, “Go on, talk to him, baby. Promise I won’t move,” He hums all too sweetly.

It was definitely suspicious coming from him. You’ve been down the road more times than you can count— Geto promising not to fuck you while you talk to someone but ultimately doing so anyway.

With pleading eyes, you nod, hoping he’ll keep his promise this time around. “Hi Satoru,” You say into the phone, watching your fiancé mock you through his facial expressions.

“Heyyy, how are youuu?” Gojo purrs over the phone, his tone letting you know he definitely called to ask you for something.

You take a deep breath, “M’fine, can I ask why you called?”

“Straight to the point I see,” Gojo says with that smug voice of his.

Rolling your eyes, you release a sigh, "Yeah, I guess so. I'm kinda busy right now so uh, make it quick." Your tone was a lot more put together than you expected of yourself, especially with Geto's thick inches stuffed into the hilt of your cunt.

And for a while he doesn't move, he just sit there, marinating in the warmth of your cunt and listening in on your conversation.

“Well, then," Gojo starts, his voice suddenly enthusiastic, "Remember when I came over last week?"

Geto starts to lean up again and you send him skeptical eyes, to which he flashes another innocent smile at you. Then you sigh, "Yes, why?"

"Did I uh, leave my jacket there?" The male over the phone asks.

You blink, "You could've texted me this question y'know," The end of your sentence comes off all too breathy as a thumb suddenly swats over your clit, your free hand moving down to Geto's finger and trying to swat him away.

He just smirks at you though and presses the pad of his thumb into you, watching the way your back arches a bit and your lips part.

"Yes, I could've texted you this questions buuuut, you always ignore me," Gojo argues.

You bite your lip for a moment as Geto draws small circles around your clit-- you knew he was going to do this and yet you still weren't prepared for it. "I do not," You breathe out.

On the other side of the phone, Gojo tilts his head and his borws furrow, "You alright over there? Y'sound out of breath."

"M'fine, Satoru. And n-no, I haven't seen your jacket," You stammer as Geto starts drawing his hips back his eyes locked down on your cunt and how lewdly it's spread open for his cock, smirking before he spits down on it.

"Right... Well can you ask Suguru then?" Gojo continues, "I really need it for-"

"Can I just call you back?" You say all in one breath, trying your best to keep your composure as Geto eases himself back into you, fucking you so very slowly that it's both tortuous and stimulating at the same time.

The full stretch of Geto's thick girth way driving you insane, the way he'd ease back and then push forward, thumbing your clit simultaneously as his salvia smeared and mixed with the mess you've already made of him from earlier.

"Please?" You suddenly whine, not sure if it was really directed toward Gojo or Geto as you said it.

That's when Gojo pauses, his hears practically perking up at the tone of your voice, "Hey... No need to beg me to get off the phone, y'know," He hums, his voice suddenly... lower? "I would've hung up without the please but I dunno, you sound busier than I expected."

Your brows furrow at his sudden resistance toward ending the call, "Meaning?" You question, eyes focused on your fiance's face which was twisted up and he groaned quietly due to the sudden squeeze of your cunt.

There's a slight scoff over the phone, "Oh nothing, just uh-, well, am I interrupting something?"

Your lashes bat in disbelief of Gojo and Geto's losing his mind at how much your pussy's throbbing around his cock. Was that his doing or his best friend's doing? What exactly was Satoru saying to you over the phone and why were you squirming so much?

Geto tears his eyes away from where the two of you are connected and he looks at your face, spotting that you're basically just as confused as he is. Tipping his head to the side, he locks eyes with you and decides that that's the perfect time to thrust every inch of himself back into you.

The way your jaw drops, a moan pouring out so clearly and obscenely-- it makes Geto smile, nearly forgetting that Gojo probably heard that...

Probably would be an understatement too because Gojo's on his end of the call with his face flushed and his eyes widened, "Did you just moan?" He questions.

And as he does so, Geto decides not to hold back anymore, working up that brutal pace of his thrust by thrust as you slap a hand over your mouth and moan into your palm.

Barely even able to utter a response to Gojo, "N-No," You gasp, "I just-, mmh. Fuck, can I please call you back?"

Gojo blinks. Then he swallows, thickly, "Where's Suguru?"

Your mouth opens to respond but the phone is suddenly taken from you. Geto places one hand to your lower abdomen and pushes down slightly on the imprint in your skin where his cock is, his hips smacking into you roughly as you body jerked and you spasm.

Then you hear Geto speaking and realize he's taken the phone, "Busy fuckin' her to tears, call you back later 'Toru," He hums out simply.

Gojo coughs and then he laughs, "Hey wait," He stalls without second thought.

Your fiance tilts his head into the phone and his hips grow a bit harsher with you, the pressure of his hand on your lower abdomen making his swollen cock hit deeper and deeper. Then there was that mean curve of his, beating into where you were sensitive and making you whimper.

"Hm?" Geto hums in response, sounding almost annoyed.

"Y'Mind if I stay on the phone and listen?"

[hauntingblue]

Can't believe I spent so much time thinking kiku and kinemon were dead... they really got me there...

[thephantomsdream]

Can't stop thinking about Captain John Price, your good friend's boyfriend, listening to you talk about how you are considering getting a guard dog, and he whole-heartedly agrees with you. John likes you, you're a fantastic friend to his dove and you're sweet, and sweet girls do need protection. So he nods along and tells you he'll look into getting you one, a big one to protect you.

Two weeks later, you're invited to your friend's house, her telling you days before that John might have gotten you a dog, so to prepare! She wasn't sure, he just hinted at it on the phone.

Tell me why, after knocking at your bestie's door, she opens kinda pale and awkward, maybe even a little bit annoyed, inviting you in. Instead of a proper, legit, literal dog, John introduces you to Simon Riley, who stands there awkwardly but tall and intimidating while your friend apologizes, calling her boyfriend an idiot. But John isn't an idiot. For a while now, he thought you'd be perfect for his Lt., this just a funny way to introduce you both. And the only thing that took Simon to agree (after a sharp yet bored no when firstly asked) was to send him a picture of you at a bar, smiling.

Extra:

"So... you come with a leash?" You joke with the tall man, whose eyes wrinkle in amusement. He has been more on the silent side although very atentive, his intense brown eyes on you all evening. Now that you were both alone at the balcony, abandoned by the two love-birds, you tried to ease the tension.

"I don't do leashes but I can pull a spiky collar." He smiles as you giggle. Hell, he felt relief that you did. Even happiness...

"Yeah, it would fit you."

"Yeah?" His voice was low and buttery. "What about a tag with your name on it?" He leans down a little, just enough in your personal bubble, and your stomach flipped. You felt your cheeks warm.

"Can it be heart shaped?" You stare prettily at him and all he can do is to snort to ease the tension.

"However you want it." His reply was quick, eager.

"Deal. But first take me on a proper date."

"Perfect." He smirks.