#I spent the whole fucking day posting this

[r-eatyourfriends-n]

SMOKED | l.hs 이희승 | Collide pt. 2

bestfriend!heesung x bestfriend!reader

READ PT 1 HERE.

warnings: smut (mdni), pwp (plot's there if you look hard enough), unprotected sex, overstimulation (sort of?), no use of "y/n", light switch!dynamics from both reader and heesung, car sex, unsafe driving lowkey, dryhumping, minor argument, heesung is down bad honestly.

wc: 3.8k

synopsis: days have passed after your first hook up with Heesung, though neither of you have said anything about it. Instead, you continue your search for a good one night stand somewhere else, but your mind and body know where you should be.

a/n: wow! the moral obligation I had to finish this before posting anything else was crazy, but after a huge block it's finally here. If you think this is better than pt1 it's because it is, but it's also because it has been approved by the one and only @molloygendered !!!!! my bestfriend and editor. he wanted to review this again before posting it but I'm a kid on sugar so I held him at gunpoint to approve this. any feedback is appreciated !!! hope you enjoy.

4 unread messages.

sorry to bother u so late

can u pick m up? pls

[Address]

idk if ure awake sorry

Heesung's screen lit up on his desk, breaking his focus from the heated game in front of him. He unlocked his phone, the other hand still gripping the controller tightly. His eyes moved quickly from the texts popping up and then back to the screen, which nearly got him killed. 

The team won eventually, but just barely. Heesung logged out as soon as it was over. He spent the whole time wanting to check his phone.

“Dude, what the fuck are you doing?”Jake yelled at him through the call. “We almost lost."

“My bad. Gotta go,” he said in a monotone voice, showing no remorse as he hung up the call despite Jake's groans.

He looked back down at his phone and texted back a short "omw" before getting up from his chair, stretching his arms. His bones cracked, so loud it made him wince at the sound.

With quick steps, he changed into something a bit more decent, just a plain white t-shirt on top of his cargo pants, which had been slowly losing their black tone after each wash. The chains on his thick belt dangled as he walked out of his room and began to head out of his apartment, taking his keys from the cat-shaped key holder you had put on his wall. He had been surprised the first time he hung his keys and a white cat popped up. It was supposed to be a prank, but Heesung never found it in him to take it off despite the fact that it didn't match with the overall vibe of his room one bit. The kitten disappeared inside the box as he left.

The distance to your location was short, or perhaps Heesung was driving a little too fast. Either way, he arrived about fifteen minutes after telling you that he was on his way to pick you up. He parked in front of a small, black gate which led to some stairs. The complex seemed fairly little, but somewhat cozy, with small balconies filled with pots and all kinds of houseplants. Although it was past midnight and dark, he could still make out the colors of the flowers that were placed by the edges of the windows, leaves moving along with the wind.

Leaving the car on, he hopped out, leaning back against  the driver's door to wait for you. Admittedly, it was ill-intended. He hoped your date would see him and would be thrown off. 

The wait felt like eternity. When the door opened, your figure finally appeared in a white dress with black dots, just a bit above the knee. The cleavage allowed for the black choker to stand out, your name's initial dangling softly. Heesung had always wished it was an H instead.

You smiled at Heesung when you saw him, tilting your head in confusion because why was he out of the car? Heesung smiled back at you, a soft beam on his lips. Then looked to your side when a boy appeared next to you.

He eyed your guy up and down as he said goodbye to you. He was tall like you liked them, with flawlessly tan skin and a face that was nothing short of charming, with a sort of boyish appeal to him, and it was obvious why you had said yes to a date in the first place. Heesung swallowed hard, his own jealousy burning down his throat.

You didn't seem too enchanted by the guy, though, looking almost uncomfortable as he leaned in to kiss your cheek. You fake-giggled (at least, he thought you did) and grinned at him politely before making your way to Heesung. The guy appeared to be a little turned off by you getting picked up by another man, for he did not take his eyes off of Heesung as he walked to the passenger's seat to open the door for you, a gesture that you were used to. Before hopping back in, Heesung winked at him, a smug grin forming. After that, you two were off speeding down the road. He'll take the long way home, he decided.

“Thanks for picking me up,” you broke the silence after a few minutes of driving. “You didn't have to wait outside though, it's freezing.” 

"I was trying to scare him off,” Heesung chuckled, a half joke that managed to pass as just something playful, making you laugh and hit his arm.

“I don't think he liked that,” you said after your laugh subsided.

“I think it was you who didn't like him.” 

You went silent for a bit, sulking on your seat.

“So, how was it?” 

“I liked him,” you mumbled, biting your lip in thought. “It was good, yeah.”

“But?” Heesung inquired, raising an eyebrow.

“I guess I was hoping for something more... intense?”

Heesung turned his face, pretending to check something on the rearview mirror so that you wouldn't notice him biting his lip. He hoped you were referring to him, about the intimate moment you two had shared a few nights before, about the bite that was still decorating your shoulder so beautifully. A purple light enough to resemble a bruise; poor clumsy you, tripped and hit yourself with his mouth.

“Intense how?” he asked.

“To hell if I know,” you shrugged.

He furrowed his eyebrows, glancing your way quickly. 

“You clearly do know.” 

“I don't. If I did I would tell you, Hee,” you said, confused.

“Like how you told me you were off to see another douchebag?” Heesung spat. 

His words made you quickly turn your head. And although he wasn't looking at you, you knew he could feel your glare burning through his skin. The sudden change in attitude had been nothing short of baffling. He seemed to keep his eyes on the road to avoid your stare rather than for safety. You couldn't tell if bouncing his leg was anger, anxiety, both, or something entirely different.

“How do you know he was a douchebag?! I told you it was fine!” you whined.

“Did he even make you come?” he asked. 

You opened your mouth to fight back, but the only sound that came out was your breath hitching. It had been such a simple question, but it ignited the memories of your one time affair with him. The soft promises, the surpassed expectations, the sweet, sweet release. Your body began to tingle in the places where his hands had lingered, and you found yourself shuddering on the seat. Of course Heesung had asked that, while knowing your answer, too.

“Sex is not all about that.” you said finally, voice low with uncertainty. 

“Oh, so that's why you fuck every idiot with a mushroom cut.” Heesung mumbled.

“What the hell is your problem? You don't even know him!” your ears rang as your voice raised in pitch.

“Oh I know him; clerk job moron who thinks sticking it in is enough.”

You tried to ignore the fact that he was a receptionist at your esthetician’s clinic who you happened to make conversation with during a long wait. He had been bold enough to ask you to grab dinner and two days later you were kissing in the elevator of his one-bedroom apartment. 

That kiss had set your expectations through the roof, hoping that you had landed your perfect match. And it had been nice, sort of, but not like you had wished for, or had imagined. The way you had envisioned things and the way said things happened were complete opposites. Maybe it had been your fault for already having something in mind.

The conflict his words caused reflected in your face, a turmoil evident as you stumbled out your next words.

“I still don't understand why it bothers you so much. I know I'm sleeping with a bunch of idiots.” 

“You're hellbent on letting these assholes touch you.” he grunted.“ I can't stand it, I don't get it. It's pointless, it's…”

You were barely able to make out the words; he was just rambling, or so you concluded.

“How is that your problem?” you cut him off, bringing him back from his thoughts.

Only then, Heesung realized the slip up. Yes, you were right, and regardless of how close the two of you were, it was ultimately your call who you slept with, which bothered Heesung to no end. Why were you so against calling him again? Why didn't you ask to have sex again? Why did he finally have you, only for you to slip through his fingers? 

He hoped you hadn't caught onto it, but you knew him too well not to. Everything made sense after; his seemingly sudden offer, waiting for you outside of the car, this angry fit.

“I said, how's that your problem? What about it?” you pushed, in response to Heesung's answer, which had been silence.

“You can do so much better than that.” he finally said.

“So,” you smiled at him. “Think you can be my better?”

Heesung pulled the car over, so quickly your body flew towards the door, and he almost hit his chest with the steering wheel. His grip on it was tight, and he began panting. You thanked god about the empty, dark road, otherwise it could've ended in a nasty crash.

Both of your eyes meet, his pupils blown out with a hint of a gleam in them. There was hope, a tad bit of anger, and an undeniable desire. His hands were twitching, itching to touch you, and you didn't remember ever feeling so wanted.

Heesung's gaze slowly drifted to your lips, almost involuntarily. Your mouth fell open to breath, uneven and quick. The car was cold, but your temperature went up like a fever.

“Are you going to kiss me?” 

His gaze met yours once more. “Can I?”

You nodded. It was all he needed to pull you in, holding your face with both hands as gently but firmly as he could. Afraid, in a weird way, that you would disappear if he let go. That this was all a sick dream from his hungry mind and that he was soon to wake up alone, in bed, with you far away from his grasp.

Despite how much he wanted to keep it slow, the kiss was just plainly instinctual. It had started soft, as if he wanted it to last forever, which he did. Then it was relentless, like nothing was enough, with your faces pressed so tightly together that you almost felt you couldn't breathe properly. Heesung allowed you a few seconds of air before he was onto you again.

It was hard to keep up with him, but you managed, because this was what you wanted anyway. It was hard to tell if you would ever get to feel something like this again; the desperation, your blood pounding in your ears from the anticipation before he made the move, and your whole body shaking in excitement as if it had a memory of its own, and could recognize the touch. 

“Backseat,” you muttered between kisses. 

He heard you, loud and clear, he just couldn't stop himself. He wanted more. Heesung wanted to do so much with you, and to you, that he was unable to do anything at all. He couldn't bring himself to separate his mouth from yours despite needing the air, and his hands roamed mindlessly and only for the sake of getting a feel. The once deliberate and calculated Heesung was now a wreck in your hands, melting in the heat like a popsicle. Sweet.

But you really had to pull him off, otherwise you'd turn blue. Your nails scratched his scalp as you yanked him back, making him whimper in the process. The way he looked burned in your memory; eyes half-lidded, lips pink and swollen, parted, panting. Even with his eyes nearly closed, you could see his darkened eyes.

“I said backseat, Heesung,” you repeated, letting go of his hair. “Do you want to fuck me or not?” 

In every single position there was. Fingers, tongue, cock, he wanted to give you everything and more, so he scrambled to the backseat as you had ordered. 

This is who you were; demanding and controlling. That one time he manhandled you? Only that, a one time thing, now you wouldn't give in so easily. Not after the little jealousy number he pulled, at least. You weren't all that resilient yourself, but you would drag it as far as you could.

Heesung thought that he had chosen the worst type of clothing possible. Had he kept the sweatpants instead of changing into something else, then maybe the friction would've been more bearable. The rough material of his pants brushing against his cock made him groan whenever he slightly shifted. And when he finally found comfort, you seated yourself on his lap and grinded, hard. 

“Ohfuck,” he whined, his hands flying to your hips to find some leverage. His nails dug into your sides. “You're gonna— I'm not gonna last.” 

You grinded down again. And again, until you set your pace, ignoring his cries. The nails trying to claw at your skin drove you further despite the sting. As much as he tried to slow you down in the name of ‘lasting longer', he still thrusted his hips up to meet you halfway, though his eyes were tightly shut, and lips pressed in a straight line.

“Please, please baby, I don't wanna come yet, please.” 

“Did I just hear The Lee Heesung begging?” 

He looked up at you, teary eyed. His bangs were stuck to his forehead, as sweat had already begun to drip from his hair. That had been enough of an answer.

Yes, you had. It had been about the hottest thing you had ever heard as well. Usually confident Lee Heesung, always took the lead Lee Heesung, would rather die than humiliate himself Lee Heesung, whining and whimpering about coming too fast after some kissing and humping. That same Heesung that had been able to get not one, but three orgasms out of you before even getting close. It was a sight to see.

You stopped, and Heesung sighed in relief, although the calm didn't last long. As a smirk formed on your lips, his eyes grew panicked. 

“If you come, I'll leave this car,” you said, rolling your hips again.

“No, no, no, no, no,” he whimpered. He squeezed his eyes shut again, the shape of his fingers imprinting onto your skin. Back then, when the two of you first had sex, this was the reality of what Heesung felt, even when he did a good job at not letting himself seem so desperate. 

He'd be damned if he looked like a loser in front of you, or so he thought. Because now that your wet underwear was soaking his pants, he was a mess. A hard, pathetic mess, desperately trying not to burst in his jeans from having you on top of him.

You yourself didn't believe you could keep torturing him, only because you were also torturing yourself in the process. His hard length along with the rough fabric of his pants brushed against your clit in a way that sent jolts through your body. It was harsh and uncomfortable while still feeling good enough not to stop.

Heesung's hips twitched with a mind of their own, searching for release against his wishes. You halted, leaning your body back to unbuckle his belt. He groaned at the loss of contact though didn't complain any further, and instead helped you get rid of his restraintments quicker. His breath ghosted over your skin as he sighed in relief, which made you shudder. 

His fingers went down to tease you under your dress, rubbing over the wetness seeping through your panties, and even with the layer in between, he could feel his fingers dampen. Heesung continued until you were left whining and attempting to grind your hips harder onto his hand. Only then did you feel him push the fabric to the side, and the tip of his cock pressed against your cunt.

After Heesung had you the first time, he knew that he couldn't let you go. Days went by where he would still feel your lips against his; the skin of your thighs, hot and sweaty, burning his cheeks as you closed your legs around his head while you came on his tongue. Not one day went by where he didn't fantasize about pushing himself inside you, and in some dreams, he would just stay there. 

But nothing was able to prepare him for when it actually happened. He thought the desperate way in which you lowered yourself on his cock might be too much for you. In reality, it was almost too much for him, as it forced a deep moan from his throat.

It was a little painful, walls tightening and loosening around him to accommodate the quick stretch, though the sting was worth Heesung's debauched expression. You wondered why,despite the uncomfortable, small space, it felt so much better than the first time. Maybe it was how much both of you had seemed to crave it, or the car forcing even more proximity between you two, as the things you could do were limited. Regardless, you could feel your lower region sticky and warm with the slick that had, apparently, dripped out of you and spread around your thighs and ass. 

You could barely hear your over breathing over Heesung's heavy one. His hands massaged the skin of your waist where he held himself, mostly to ground himself to earth, or so you guessed, because he looked completely gone. His cheeks cherry red and his lips a peach pink, and you succumbed to the urge to kiss him. 

This time, it was slow and calculated. He took the time to feel the rest of you, from threading his fingers in your hair, to ghosting his fingers over your spine from under the dress. You didn't fall behind, though, raising his shirt as much as you could to run your nails over your stomach, stopping to feel his muscles tense beneath your hands as you began to move your hips.

“Slow, baby, please,” he breathed out, it came out way more high pitched than he intended to. 

As much as you wanted to keep messing with him, the world had seemed to fade away, leaving you two alone with the car and the small piece of road that you were parked in, and you didn't feel like breaking the moment just yet. You placed your hands on his shoulders for better stability, and rested your forehead on the crook of his neck.

Whispers of praises poured from his lips. You're beautiful, you're amazing, could stay here forever, and another handful that got lost between all the shit's and fuck’s that also came nonstop. He followed all of his words and phrases by kissing your neck, sometimes even biting. You might find a mark when you look in the mirror, but you cared little about that. Instead, you decided to leave a mark of your own, sucking and biting on the most visible place that you could think of. That's when he began to meet your movements, thrusting up messily in an attempt to pick up a pace. 

“Say you're—,” he gulped, interrupting himself. “You're mine.”

“Always have been,” you smiled against the light red bite mark. 

Your voice as you rode his cock kept driving him closer to the edge. Every moan and whine just made him go faster, having already been close to his orgasm from the grinding before. And as you grew tired, it felt as if he was regaining some form of control. Heesung smirked when you laid, practically limp, against him, allowing him to set the speed that he wanted. He remembered that he loved being in control as much as he had loved giving it to you.

“F-faster,” you pleaded lowly.

Heesung pouted, even when you couldn't see him. “No manners, sweetheart?” 

Most likely, you were about to pay a small price for threatening him to leave. 

You swallowed, so loud you were sure he had heard. “Please.” 

“What? I didn't hear you.” 

“Go faster, Hee, please!” you nearly yelled. It had been hard to get the words out after getting him where you wanted.

“There we go!” 

Were you being pushed down on his cock or was he pushing up into you? By this point, you weren't really sure. What you were certain about, though, was that he reached wherever you needed him to, and the squelching sounds were at its loudest.

“Was he good like me?” Heesung asked, grunting through his teeth. “Were you thinking about me while he fucked you?”

He wasn't expecting to get answers, and he didn't. You were too focused on the feeling of your body overheating from the inside out, and all of your muscles tensing. Your walls clamped around him involuntarily as pushed you closer to the orgasm that you had been chasing since the beginning of your date a few hours ago.

Heesung wanted you to finish first, he truly tried, but there was no way to stop the waves of pure pleasure that hit as he came, and the fact that he got to come inside of you just made it hit harder, and you had to help him ride out his climax because he really couldn't move, just kept himself there with his brows furrowed.

You were close as well, so you didn't really stop despite Heesung reaching his orgasm first. Even through his over sensitivity, he helped you reach your own high. He sneaked his hand between your bodies to rub messy circles on your clit. You kept it slow on him, but he went fast. 

It didn't take long for you after that. Feeling you on his cock as you orgasmed almost made him hard again, if it wasn't so late and you hadn't been going at it for what felt like forever—not that he was complaining—. He got to watch your face contort into pure pleasure, better than any daydreams.

Heesung pressed his forehead against yours, unable to do anything other than show you something, whatever that something was. It lingered in the air, in the way he looked at you through his teary gaze. He kissed you, slower than ever before.

Whatever was going through his mind was deeper than lust, you could feel it in the way his lips moved so softly against yours, holding your face with both hands. You wondered if he knew that you didn't plan on slipping away again.

[combefier]

the thing that really gets me about how bad the writing for rook in particular is is that it would take so little effort to make it better. and it would probably make the writers' jobs a lot more interesting, too. you should be able to piss off your companions. in every other dragon age, you can piss off your companions. you can piss them off so badly that they try to kill you. if you just sort of fail to impress people one way or another in da2, you can end up having to fight your best friends to the death, or have one of them peace out after prompting an invasion of your city. the ability to have conflict with your companions wasn't always handled WELL (trying to talk to cullen about mage rights in dai comes to mind, as does trying to talk to dorian about slavery beyond the one conversation), but the option was there. it seems like the only way you can piss off your companions here is by making tactical disagreements they don't like. there's no room to have a personality some of your companions find off-putting, even though there are multiple points where your companions are put off by one another. purple hawke we're so not back. and the reason can't be "well you had to be someone varric would choose," because varric's best friend was hawke and there can be very many different kinds of hawke.

you're given a fascinating backstory and it will not come up beyond occasional comments relevant to your faction. mourn watch rook why does your backstory almost never come up i would tell people that story all the time. it's like dming for a player who came up with the most rich backstory you've ever seen and then watching them ignore it every time you dangle plot hooks in front of them. bioware do you remember what you wrote. bioware u good???? the sanitization of various factions aside because that's its whole own post, it would be so easy to give a dialogue here and there where rook could show more of what sort of rook they are by letting them reflect on their backstory. it would be so easy to write aggressive answers that are actually aggressive.

i've spent enough time in editing that i've just been trying to figure out if there's any possible motivation beyond a lack of investment in their own story, or a shocking paucity of good editors in their work environment. is it because the way they designed the game necessitates that everyone be there at the end? but you can still fuck up the ending by making the wrong choices there, à la me2, and you were allowed to piss people off in me2. if you can get people killed at the end anyway, why not let the choices you made and the responses you chose matter beyond "did you do enough sidequests?"

at a certain point, it's just confusing. they know how to do this, even if they don't always do it well. the lack of any real room for agency or personality or conflict is just... odd. this is also leaving aside how easy it would have been to incorporate SOME past choices from past games per their previous work. bioware i just want to talk

[racingliners]

Had a slagclaren vision. Mainly inspired by Jenson's race day suit. very much not properly edited.

Jenson/Lewis, 1.5k, T but with implied sexual content. Featuring wingmen Bono and Shov. Set Las Vegas GP 2024.

For Old Time's Sake

It’s always been quite unfair just how handsome Jenson Button is. Even way back in 2015 when he grew that awful moustache. When Lewis had first seen Jenson with it, his eyes had widened and he had to work incredibly hard to bury his snicker when he said good morning to his old teammate in the hotel corridor in Melbourne.

Maybe, it was because deep down Lewis still found Jenson painfully gorgeous, but he wasn’t going to admit just how down bad he was to anyone but himself.

Even now, on a cold Saturday night in Las Vegas, with streaks of grey in his sandy blond hair and beard he looks good in a brown velvet suit jacket. Which no one has any business doing.

In the three years Lewis and Jenson had been teammates, their liaisons had been so few that they could both count them on one hand. The first, in a soaking wet Montreal in 2011, Lewis had come to Jenson still carrying some residual anger about their collision wish put Lewis half into the wall and out of the race. Instead of shouting at each other they just spent the whole night fucking each other instead.

Jenson, being Jenson, had been a perfect gentleman with Lewis the whole time. A tiny part of Lewis had always been in love with Jenson ever since.

“Well done today mate.” Jenson said quietly, leaning against the large black plinth behind them while George, Carlos and Max all chattered away about something Lewis couldn’t make out. He got a whiff of Jenson’s cologne and it had immediately gone to his head.

“Thanks man.” Lewis said to his boots. If he looked at Jenson for longer than a second his mouth would probably say something incredibly stupid that he wouldn’t be able to take back without Jenson flashing one of his charming crooked smiles as he laughed.

(So what if more than a tiny part of Lewis was still in love with Jenson? No one actually knew… apart from Shov and Bono. And they didn’t count because they only said so with knowing glances).

“It’s funny,” Bono said, louder than what he usually spoke, to Shov once the bulk of the engineers had cleared out after the post-race debrief. “I had no idea Jenson was staying at our hotel.”

“Yeah I ran into him this morning.” Shov even glanced out of the corner of his eye to see if Lewis was listening. They really were two of the most insufferable engineers Lewis had ever met.

Lewis logged out of his laptop, and deliberately took a very long time to shut it down, pretending not to care. Bono slowly walked over to Lewis with his hands in his pockets, and a very rare but noticeable glint in his eyes. He opened his mouth to speak, while Lewis cut him off with a glare. Bono adjusted his glasses instead.

“You joining us then?” He asked with a small smile, his hands still in his pockets as he leaned against the table and crossed one ankle over the other.

“I’ll see how I feel when I get back to the hotel.” Lewis nodded slowly. “But you guys can have some champagne on me.”

Instead of joking that at their age and at the start of the triple header champagne wasn’t the wisest of ideas, Shov just smiled and said thank you as he clapped Lewis on the shoulder. They even hugged, which had been an increasing occurrence over the course of the past year. Like every time they said goodbye it was getting ever closer to their final one as teammates.

“Get home safe.” Lewis said softly as he grabbed his bag from under the table and went to leave the engineer’s office.

“You too mate.” Bono smiled and he and Lewis patted each other on the shoulder as Lewis left. He met his security detail at the entrance to hospitality and Lewis managed to leave the circuit without too much fanfare, and before he knew it he was in the car and on the way back to the hotel where Jenson may or may not be.

Lewis closed his eyes and leaned his head against the headrest, and let out a slow exhale.

Fuck.

It was either fate, co-incidence, or the universe choosing to laugh at him that Jenson was in the foyer of the hotel when Lewis walked in through the main doors. They both stopped on their own distant spots and looked at each other, their eyes wide and mouths slightly agape.

Lewis took the first step forward as Jenson hung up his phone call and quickly forced it into his pocket. He was still wearing that damn turtleneck and suit jacket.

“Hi.”

“Hey.” Jenson sounded the more breathless of the two. “I thought you and Bono would be tearing up the strip by now.”

Lewis snickered and briefly threw his head back before shaking his head.

“Nah man, we’re both too old for that shit now.”

“Are you too old for a drink in the bar?” Jenson asked sounding half-hopeful. It was almost identical to how their last time together started, back in Sao Paulo in 2012. Lewis had assumed that it was meant to be them saying goodbye.

“We could go up to my suite, I don’t leave until tomorrow.” Lewis slowly scratched at a spot behind his ear and looked around. The foyer was quiet, and anyone currently milling around wasn’t from the paddock. It all felt so temptingly easy. “For old time’s sake?”

Jenson chuckled, and looked down at the ground with his hands in his pockets. He let out a small sigh as his eyes remained stuck on his dress shoes, before he finally looked up at Lewis with his steely blue eyes. Like the sky after a rainstorm.

“Yes.” They both headed for the nearest lift without a word, and were thankfully the only two people in it when it rose to the 12th floor.

They said nothing the whole walk down the corridor, and they didn’t even look at each other. The only sign Jenson gave was when he took one hand out of his pocket, and tightly wound his pinkie finger around Lewis’.

When they finally walked one after the other into Lewis suite they immediately fell into each other’s arms with a long, deep kiss. It was like a routine, Jenson remembered that Lewis liked it when he brushed his thumbs across Lewis’ jaw and Lewis knew that Jenson liked it when Lewis slowly wrapped his arms around Jenson’s waist. Routine. Muscle memory. Definitely not love.

(Though if Jenson did, strangely, ask Lewis to marry him then and there, Lewis’ gut reaction would have been to say yes).

Lewis took his time in unbuttoning Jenson’s suit jacket and insisted he be the one to gently fold it and lay it on the back of the sofa. Velvet needed to be looked after.

Jenson then grabbed Lewis by the hand, and pulled him back in for a messier, more frantic kiss. In case it would be another twelve years before they did this again. Lewis managed to yank Jenson’s turtleneck off his torso and onto the floor.

“Don’t you dare say that you’ve missed me.” Lewis said with a hitched breath as Jenson littered his bare chest with kisses.

“Don’t worry, I have no intention of ruining this for anyone.” Jenson’s voice was low and almost gravelly as he carefully peeled Lewis’ boxers off his thighs.

“Just…” Like so many times before, Lewis was rendered breathless by the sigh of Jenson shifting up the bed towards him. “Be gentle with me.”

Jenson brushed the tips of their noses together, before he kissed Lewis slowly, deeply. Almost as if he was saying I love you.

“Anything for you, Lewis.”

Lewis woke to the sun on his skin and Jenson’s face buried into his shoulder. It was exactly like the last time 12 years ago. Lewis woke first and had a hideous knot form in his stomach at the sight of Jenson sleeping peacefully and Lewis was probably going to ruin it with another goodbye that never said what he really meant.

He could say it now, quietly under his breath, and no one would hear. And Lewis would carry it with him for the rest of his days and Jenson wouldn’t even know… which felt awfully unfair.

But life so often was awfully unfair.

So Lewis gently ran the tips of his fingers through Jenson’s hair, and planted a long kiss on his forehead as the sun made Jenson’s eyelashes look like they were made from solid gold.

Perhaps in another life Jenson wakes up first, and calls Lewis darling before opening the bedroom door to let their silly number of dogs in. And they’re both happy. Maybe it could happen if Lewis was brave enough to say what he meant, but he knew today wasn’t going to be that day.

He buried his nose into Jenson’s hair and told himself that if he fell asleep and woke up again, that maybe it would be that day after all.

[vidavalor]

re: modern day flashback: That would be so fun! I'm a bit confused, though-- the trip to Edinburgh was to go to The Resurrectionist for the Everyday mystery (& for Aziraphale to go to the graveyard to work on his PTSD)? I do think we're probably going to briefly flash back to *very* modern days-- to after Aziraphale blew up his halo and The Metatron got on the circle floor zoom thing, as Aziraphale seemed to be saying happened the prior night during the morning of the end of 2.06.

We're going to see that Aziraphale told The Metatron to go fuck himself the night before right around the time that Aziraphale gets off the elevator in Heaven and is brought to... The Metatron. Because the one who took on that appearance and showed up with the coffee in The Final 15 is Satan. Hell doing Heaven's punishing for them a la the Job minisode, as Furfur brought up again just before The Final 15. Then, the actual falling part of Aziraphale's fall happens.

Our angel's a demon now but he's about to become the last angel to fall because the concept of Aziraphale being seen as evil is going to be enough to break the brains of every other character in this show enough that it's going to wind up toppling Heaven and Hell by them challenging The Metatron over it. That would be needed to help some people see what they just watched in The Final 15 differently and set us off running for The Finale.

If they want to show us another era that is closer to modern (by comparison to others lol), didn't they want to do the 1980s at one point? That would be fun. Like with anything, it'd have to be short and critical to the story to make it into The Finale but we don't know what else they have in store for us.

re: Bad Omen... Funny you should mention that... *dark snerk* I do think there was a plan for a Bad Omen-- not within the story but the show itself...

Didja notice how damn neat and tidy what I laid out in that post is? Like, suspiciously neat and tidy? I've had the thought that S2 was done in such a way intentionally that it would be possible for it to be concluded as a season or a movie. The asshole was always a ticking time bomb. I'm sure it was planned with options and I'm glad we get an ending but I've plotted story before and this was left in S2 in a perfect place to go either way with a season or a movie. I don't think that was sheer dumb luck.

S2 went deeper and slower in a way the story needed and it might have seemed like nothing was happening at times but everything really was. People mistake fast, action-oriented scenes for story. It's one of the reasons why the Armageddon threat being over so quickly in 1.06 throws some people. They don't realize that all the legwork to build to that quick dispatching of the threat was the slower-paced stuff they were watching the whole season through. The Finale is going to be the same way. People are freaking out about there not being enough time for flashbacks and it's just like... get Crowley & Gabriel to see what's going on and rally the other characters together and once that's in place within the first third of The Finale? They can end the fascist Mr. Potato Head in the length of time of a commercial break because we already spent S2 watching them get to that place.

Would I want more? Sure. Always. I love this show. Since the news of the film broke, though, have I ever been concerned that the film is too short to handle the main story points left and conclude it in a way that people will love? Not for a single second. It's going to be great.

<<The F15 was essentially the end of act 2. We only have the final act to uncover.>>

Exactly. I think people are concerned because they think that S3 was going to be about Jesus judging humanity and it's not. In a lot of Christian traditions, The Second Coming and Armageddon are more two parts of a whole rather than being the same thing. In order to get to the Jesus part, the war of Armageddon has to already be fought and won. In Good Omens, that would mean Earth would be destroyed and Heaven would defeat Hell. That's not happening. We may well see Jesus again before it's all over but, if we do, it's going to be briefly in some quirky capacity, not because The Second Coming in the Biblical sense was successful.

The Metatron's end goal is to get through Armageddon to The Second Coming but the plot is really Armageddon: Round Two. It's the same as it was in S1-- they have to stop Armageddon. They can do that by coming together and getting rid of The Metatron. That's very do-able with the time that's left because it's really now just a matter of needing something that pulls the characters back together and motivates them to do this-- i.e., needing to help Aziraphale.

The Finale is really more like not having a S3 but, instead, having a bonus, two episode finale to S2. I think it helps to think of it all more like we've only seen six of the eight episodes of S2, which is the final season, because The Finale isn't a separate plot with a new starting place. It's going to pick up where S2 left off.

<<If I was running the show I would hit us up with the flashbacks back to back like in S1, ending on their new arrangement which would feed right into the final 15. Recontextualise everything, and then hit the ground running...>>

Oh, you're a dastardly writer. *grins* I like your style! Just come in hot, flip everything on its head, leave everyone reeling and riveted through to the end. I think it could very well be like that and that would be a lot of fun.

I have a pretty big suspicion that the first scene of The Finale is The Vavoom. Whether that's a one-off scene that flips the kiss in The Final 15 on its head for some people and then goes into the opening title sequence and we're back in the present or whether it's the start of a second cold open, I don't know.

I tend to agree with you that doing a flashback sequence cold open to start The Finale would be pretty amazing. Structurally, I think this is the best place for it to go... in large part because of what could happen immediately in the present on the other side of it.

Imagine they cold open for, like, 25 minutes straight like they did in 1.03 and we go through time with Crowley & Aziraphale again in a half-dozen scenes and now, since they're past the point of needing to duck and weave in order to pull off the S2 twist, these are all pretty openly romantic scenes. The ancient times first kiss, a story around the cottage making us unable to wait for them to go live there, the origins of "A Nightingale Sang in Berkeley Square", the last part of 1941, etc...

...and then, while we're all trying to come up for air? Boom, we're back in the present, where Aziraphale gets off the elevator and is taken to the The Metatron to fall-- and Saraqael takes his memories before he does.

Everything we just finally watched is, for the moment, now gone in the story. We saw it to set up its existence being temporarily erased. Aziraphale goes into the pit of boiling sulphur and... cue the opening title sequence.

They should definitely do that. 😂 People would be screaming.

Ok,Since the Good Omens Finale is only going to be 90 minutes,I have a feeling we might not get a flashback sequence.

Hi there, @rougeside4 💕 I made an apple pie, if you want some. 😊Allow me to offer a different take? I wouldn't worry about this. There will be flashbacks. It's not the show without them.

Short thing on why we're definitely getting flashbacks and on which ones we can maybe see as being very likely still in The Finale.

The secret sauce of Good Omens, imho, is that the real juice of the story is actually always in the flashbacks. The flashbacks that we see are not random; they're always written to support the story in the present. There's a point to why it is these flashbacks we are seeing-- and when and in what order we are seeing them--when Crowley and Aziraphale have been on Earth for over 6,000 years and we could see any of their adventures. They're designed to inform our understanding of the story in the present. The real beating heart of the story is in the scenes set in the past and the story in the present would lack... *searches for words* emotional resonance? thematic weight? general, dramatic oomph? all of these?... if they were to cut the past. Put more plainly: it would suck 😂, and they're smart enough not to do that.

I think some of the most exciting parts of The Finale are actually going to be the flashbacks, just like how they were always the biggest treats in S1 and S2. In the way that they roll those out to us, piece by piece, they're changing our understanding of what we're watching in the present. The meaning of the story in the present is driven by the flashbacks in the past to a point that you cannot have one without the other.

Good Omens is actually driving all of its suspense and anticipation through the story in the past and that's what makes its non-linear storytelling clever. After all, right now, most people know this thing has a happy ending and aren't worried about that, right? We know Crowley and Aziraphale will get back together and be fine and no one is stressing over that. (And if you are... really? Guys. Honestly?! It's called Good Omens. It's a romance. It's a sweet, cuddly show. It's going to be fine. 💕)

So, what are we curious about, if not where it's going in the present?

1941, Part 3, right? Whether or not there's an ancient times vavoom coming our way? What the deal is with Jane Austen and/or 1650? Whether or not we might be surprised with a flashback that hasn't already been set up earlier in the story and what that might be?

Our biggest questions in the story aren't about what will happen in the future but about what we might get to see that has already happened in the past.

There is actually no conceivable way to do The Finale without flashbacks because the entire story is built towards having at least a couple of essential ones happen in its end game. I would not be surprised if at least somewhere around a third of The Finale is set in the past. Are there ones that we would have had with a full season that will be cut? Yes, but, are there also ones, though, that are too essential to cut because the entire story for two seasons has been building towards eventually revealing them to the audience in the final part of the story? Oh, yeah. 😉

Guaranteed: 1941, Part 3. There is no chance that they cut this-- none. They have built the ending of this trilogy of flashbacks to support the ending of the story in the present so it has to happen. It doesn't need to be an entire minisode in length. Part 2 really did all the heavy-lifting with plot and themes here, and Part 1 was a single, brilliant, not terribly long scene. If Amazon reduced The Finale to 15 minutes long, I think the show would still find a way to put 1941, Part 3 in there. The first two parts were so pivotal to the themes and parallels of the story in the present and it's the only flashback that we keep getting installments of throughout the story so its Part 3 is going somewhere massive. If there's one flashback that's in The Finale, it's this one.

Extremely, extremely likely: the ancient times vavoom to which they have been building in clues and hints for two seasons that is going to flip the entire show on its head by going back to The Flood. It would parallel and add extra weight to all the conflicts we have in the story in The Finale that were set into motion by the end of S2-- the kiss, one of them leaving/them being separated, the threat of an apocalyptic-like event, etc.. It would, in almost no time at all, complete the narrative magic trick of the show by turning it inside out for the audience.

The show that shows everything backwards has been sitting on the real first kiss the entire time and saving it until the end game of the story and that end game is The Finale so expect that angel and that demon to be sheltering under a canopy from a rainstorm in the very long ago days and break the internet in the process.

If I were them, I'd even open The Finale with this flashback, just because of how much it's going to pull the rug out from under The Final 15. After all, the first two seasons opened with a canopy-and-rain-themed scene, did they not? Just one wing at a time, though... no under a canopy together yet. No gazing into each other's eyes and vavooming. That bit of the beginning of their story has always been going to be shown to us in the end of the story. It could well be the, well, beginning of the end of that story by opening The Finale. We'll have to see. Either way, it's in there.

It's also worth mentioning that both of these above flashbacks would be going back to eras we've already visited in the story so no time would need to be devoted to setting up the scenes. That would seem to make them easier to not cut, in addition to how narratively important they are.

Going To Be In There In Someway, Somehow: A flashback that sets up the South Downs Cottage ending, which is suspected to be the Jane Austen flashback because of her living in real life in the South Downs around the years that it was mentioned in S2 that Crowley and Aziraphale knew her.

When this was set up for S3 back in S2, the Jane Austen story felt juicy enough to potentially be a whole minisode in length. Maybe especially since it's probably how they are going to be build a history of the cottage between Crowley and Aziraphale to help give emotional weight to them going to live there in the present at the end of the story. I've no idea what this looks like with a shortened run time. They might abbreviate or maybe it was never even that long in the first place? They might do something different in its place? It's hard to say, since we don't know, but they've got to do something to set up the cottage, so...

Whatever this winds up being, though, we're now up to three flashbacks that have to happen because of how they connect to the story in the present in The Finale. These are three, non-negotiable ones, basically-- and we are obviously only looking at ones that we can see having been set up already.

There is also the fact that there's usually a surprise flashback that wasn't set up but which is crucial to the story, like the Job minisode was in S2. It fits in perfectly, retrospectively, but we were intentionally not really given enough in S1 to see it coming in S2 so that there was something unpredictable for us to enjoy. I'm not expecting anything as long as Job again but there could still be a scene more 1.03 Cold Open in length that we don't even know is essential at this point because we aren't meant to know at this point but, much like we did with Bildad 😊, we will see as vital to everything once we see it.

Including that as a possibility, we're now up to four flashback scenes that seem unlikely to be chopped from The Finale. What I just described, give or take and depending on the length of 1941, Part 3, is probably collectively getting within shouting distance of the run time of the 1.03 Cold Open-- and that's going really bare bones and only talking about the scenes that seem too story-essential to consider cutting. There's also one more that might meet that criteria...

Could Go Either Way: 1650. If this has nothing to do with Agnes Nutter, it's probably gone. If it's how Agnes has an appearance in the end of the story to pull stuff together, they'll probably find a way to put it in there because... Agnes. 😊

No one knows what this thing is supposed to be about but we do know that it was set up in S2 for S3 and, between Aziraphale mentioning it, the historical ties to eccles cakes to this era, the fact that it could potentially show a Whickber Street in early development and, most importantly, that it's set five years before Agnes Nutter died, whatever this thing is? It's intriguing. We don't know how long it was meant to be but if it's something that was minisode-length but could be reworked to be shorter-- or if just was always short in length-- it's probably still in there.

It's very possible to have many, quality scenes that hop throughout time in a very short period of time. The 1.03 Cold Open is about 23 minutes long and jam-packed with goodness. I have no idea if they're going to sprinkle flashbacks in throughout The Finale or if they're going to do a flashback sequence like 1.03/Ineffable Bureaucracy again but I do think that at least a third of The Finale-- so, roughly 30 minutes of it, give or take-- are likely flashbacks.

We are going into this movie a lot closer to the end of the story in the present than I think it may appear to some at this point. All the set up work to get the characters into place to overthrow The Metatron in The Finale was already done in S2. It's not going to take 90 minutes for Aziraphale to be in trouble, Crowley and Ineffable Bureaucracy to find out and rally the troops, everyone to challenge The Metatron, expose him as a fraud, and kill the threat of Armageddon by overthrowing Heaven and setting it up to be democratized. That's pretty much what everyone knows needs to happen in The Finale and what is likely going to be the main story in the present in S3.

We know what is going to happen because we know it has a happy ending and we know that we need the Armageddon threat gone for the South Downs Cottage happy ending to occur. We know the only answer is that they've got to overthrow The Metatron. Whether you think the plot is Supreme Archangel Aziraphale or whether you're like me and think the plot is that Aziraphale is in mid-fall as of the end of S2 and that's the thing that triggers the other characters to come together against Heaven, the end result is still going to be the same: The Metatron's gotta go and everyone's got to come together to make that happen if we're getting the happy ending we already know we're getting.

We are all sitting here knowing pretty much exactly what the story in the present is going to be in The Finale and that's because the story has set it up so that we do. Yes, there's going to be joy in watching that unfold but a story designed like a magic trick has to have suspense and give the audience a sense of anticipation. We feel that from this story and from where are we getting that?

The past. The flashbacks.

Everyone knows what the end of this story in the present is but no one knows for sure where, say, 1941 is going, or what new things about Crowley and Aziraphale the past will show us in The Finale. Every new thing we see in the past? Changes our view of the present. That's what makes the story clever. It's also what makes it enjoyable. They cannot cut flashbacks because they'd be cutting the most interesting parts of the story and what makes Good Omens the quirky, unique bird it is.

The present and the past are so interwoven in the story that I'm pretty sure that it is impossible to do Good Omens without flashbacks. The only question going into The Finale is which ones they're going to surprise and delight us with. Don't lose faith or sleep over it-- at minimum, we'll see Crowley's 1941 hat again and that, truly, is all any of us really need to survive.

[everydaydg]

SEGA RALLY 95' finally runs properly with Hardware rendering on PCSX2!!

This was tested on v1.7.4913 using Vulkan and partial texture preloading!

(I apologize for the lackluster gameplay, im quite bad at Sega Rally)

[sbeana]

the pool scene

[martitheevans]

Shows from the 60s/70s will always consist of the main characters going through the most insane, life-changing, traumatising experience and then having a shot of them all laughing together at the end and proceeding to never speak of it ever again

[flowerakatsuka]

a while ago, i started working on something meant to explain the lore behind this kurokara drawing i did back in may, but i never ended up finishing it. it popped back into my head again so i decided to redraw one of the panels from it to see how much my art / style imitation has improved since then. i'm pretty proud of how much my art's grown!! 😊✨

the original sketch is under the cut!

[meraki-yao]

Translation of a Bilibili Video Analysing the Paris Love Making Scene

HOLY SHIT THIS LITERALLY TOOK ME ALL DAMN DAY

Preface from me: PLEASE NOTE THAT THIS IS NOT MY ORIGINAL CONTENT! THIS IS JUST MY TRANSLATION OF THE FOLLOW VIDEO MADE BY 搭火箭都要追剧 A CHINESE RWRB FAN. I REPEAT, THE CONTENT IS NOT MINE, I'M JUST A TRANSLATOR (that being said I did a little bit of commentary, anything in brackets is my own thoughts)

All photos are unedited screenshots taken directly from the video

Preface from OP: The content of this video is very subjective and shallow, if it's different from your opinions, you're the right one (a Chinese saying which basically means "this is just my thoughts don't come at me") and it's most likely to be very different from any official BTS.

Didn't translate the first part because 1, I can't really translate it well due to cultural references 2, I... don't really agree with it, but did like 90% of the video

Also since it's about the Paris love-making scene, there's sexual content, you have been warned

For the moment when Alex slips his hand under Henry's shirt

When Alex slides his hand across Henry's naked waist, his fingertips, the most sensitive part of the hand is touching Henry's bare skin and stirring his desires, which is why Alex's body tenses: he clenches his jaw and takes a deep breath in.

In contrast, Henry is absorbed in the romance of it all. He's been in love with Alex the whole time and finally, the man of his dreams is here with him, touching him.

For the couple of shots where they stand naked with Henry touching Alex

1, Close Up Shot of Henry's hand gliding up Alex's arm

Henry told Alex that he's in good hands, therefore Henry's the one to lead this dance and set the atmosphere, so most of the light is on him, with the bright spot being shone on Henry's wrist which leads the audience to focus on that point

He starts with his fingertips running along Alex's vein, but the brightest spot doesn't follow the movement of his hand and stays focused on his wrist and the lower part of his thumb while the rest of his hand is in darker lighting. This is to strike a contrast and to put the focus on Henry's hand and therefore his movement. The reason only part of his hand is illuminated is because his entire hand is lit, the frame's lighting loses its balance and looks abnormal, and won't match the more subtle, softer tones of the romance in the movie

A highly saturated orange/golden light is chosen, which increases the feeling of content and ambiguity (I don't that sounds weird but it's the closest word I can think of, but a more accurate description… Imagine the use of steam in a shower sex scene) which also hints that this is going to be a lovely night

The use of light and the contrast of brightness on different parts also serve to convey Henry's emotions and internal thoughts. Even though their first night in Alex's room and their hook-up during the polo match were both really intense, but it was more about the surging, frantic sexual desire between the two. Now Henry doesn't actually know how Alex will react and is somewhat worried about it, which is represented by his fingers in darker lighting. But at the same time, Paris is the first time Henry can be so physically close with his long-time crush and be extremely honest/vulnerable with him, and later understand and feel each other on a spiritual level (… Woah.). He feels contentment from that, which is what the brighter area conveys.

In this single shot, the bright and dark areas are fairly equal, which also means these two emotions are in equal conflict at this moment

Then Henry's hand slides up towards Alex's shoulder and he switches to touching him with his fingertips, which, with its sensitivity, means Henry can feel any tiny change on Alex's skin. He feels Alex's excitement and comfort, which in turn makes him happy and bolder, which is also conveyed in the change of the light in the frame: the fingertips that were previously in dark lighting gradually shift into the brighter area, representing his worries fading

2, The following shot of Henry facing Alex's camera right, Alex's back against the audience, camera left

The light is still on Henry which means this shot is still conveying Henry's feelings

There's a clear contrast of light on his face which makes his face seem more 3D (again sorry for the weird translation but I can't find any other words) and attracts the audience's attention more.

The contrast is also represented in Henry's characterization. To explain this, we need to understand what a cognitive schema is: cognitive schema is a psychological concept which can be summarized as when a person is exposed to an object, event or person, they will use precious experience and knowledge to make a general judgment and description of them thus predicting their next actions. So in the case of Henry, at first since he's a prince, the audience and Alex, using their cognitive schema will assume he's prim and proper, when in reality he's horny (ha), flirtatious and adorable (so in conclusion, he's actually a babygirl)

Henry then lingers his hand on Alex, and glances at Alex with a flirtatious smile, enjoying Alex's shiver under his touch.

3, Shot of Alex facing audience camera left, Henry back against audience camera right

The light is now mostly on Henry's back, increasing the romantic atmosphere of the shot.

The light is also on Alex's torso and cheek forming a light contrast, which turns the audience's focus onto Alex. The larger dark area indicates he's being led by Henry in this situation, and he doesn't really know what Henry's gonna do, therefore his nervousness is the dominating emotion, represented by the dark area.

But he's also enjoying Henry's touches, which is why the light is still mostly on Henry but also partly on Alex now, almost like an extension of the contentment that Henry feels

The lamp that in-universe is providing the lighting is on the right side of the frame. If a similar light source isn't placed on the left side, the left side of the frame would seem too cold, which would destroy the atmosphere previously created. Therefore a mirror was placed there both for spatial balance and to create a reflection of the lamp's light, creating a small light spot on the left, balancing the coloring and lighting of the shot.

To the right of the mirror where the light can't cover is a small cupid statue. The statue not only adds to the romantic atmosphere but also indicates what's about to happen, as cupid symbolizes love and sex. Cupid is also a mischievous God who enjoys pranks, which also somewhat describe the boys' relationship: cupid shoots out the silver/lead arrow of aversion and revulsion that leads to their misunderstanding and subsequent hatred, but the shoots out the golden arrow of fall that led to them falling in love with each other and living together happily ever after.

Alex keeps watching Henry's hand as his hand slides down and looks back up when Henry touches his chest and takes a deep breath. Henry smiles brightly at Alex's reaction.

Alex then becomes intoxicated by Henry's touch as his sexual desires take over him

When Henry picks up the key that means a lot to Alex, Alex clenches his jaw. The highlight in his eyes allows the audience to immediately catch the change in his eyes that's filled up with lust.

So to conclude this part, a lot of attention was given to the placement of props and the lighting: the saturated golden creates a romantic but steamy/foggy (meraki seriously can't find the right word) setting, which is a filmmaking technique often used by Wong Kar Wai, in fact a similar lighting was used in "In the Mood for Love" (Matthew is a true fan)

For the shots of them kissing on the bed

There's a red mark on Henry's chest which OP explained in an earlier video that would have been caused by Alex grabbing there when thrusting forward

There's another possibility which is Alex getting excited when being behind Henry but he doesn't really know what to do so all he can do is grind against Henry. But Henry feels and sounds divine, and Alex gets impatient so he leaves marks on Henry's arm and chest

To prove her hypothesis op did an experiment with her own arm: she chose her arm because just like the part of Henry's chest that's marked, part of the muscle curves (into the elbow just as the chest muscle curves into the armpit) it's not a easy place for fingers to exert force, thus can draw a closer, more subjective comparison.

Experiment process: open uses her other hand to grab onto her arm and pull backwards forcefully, to 1, observe the shape of the mark and if it's identical to that of Henry's, 2, observe the time needed to create the mark in order to be the same as Henry's

As shown in the photo, the (faint) red marks are approximately the same shape, width and redness as the ones on Henry's chest. It took 28 seconds to reach this. This approximates the time taken by Alex to "do stuff" (I think she means prep?) from Henry's behind

With how loving and gentle Alex is with Henry it's not that likely that he started groping Henry's chest from the beginning, so the conclusion is when Alex was trying to "move forward" when he was behind Henry (I seriously don't know if she means prep or like, doggy style) but doesn't really know what to do and groped Henry in his nervousness, and this failed attempt lasted at least 28 seconds.

OP thinks the failed attempt was done in front of the window with Henry bending over, gripping the back of one of the chairs, and deduced from the DNC scene: the boys were originally chatting in bath robes on the couch with the curtain mostly closed, but when Zahra barged in, the blackout curtain was out, leaving just the mesh layer closed. There was a bathrobe on the far side of the couch and another in front of the window. So presumably after the talk, they went for another round, Henry ditched his robe on one side of the couch and pounced on Alex (similarly to how he did on Alex's couch), they tumbled around and switched position and ended up in front of the window, Alex remembered he failed attempt in Paris and wanted to make up for it so he pulled open the blackout curtain but left the mesh layer closed, and then he got to work. (...tbn personally I think this is a stretch?)

Henry thinks Alex is adorable but he's also really intoxicated and wants to get down to business asap, so he grabs Alex's neck and presses Alex towards him, kissing from Alex's lips to his neck. He kissed Alex's neck because from their first hook-up and the way Alex immediately stretched his neck to give Henry space when he kissed his neck then, that this is the quickest way to stimulate him. Which is why you can see a faint hickey on Alex's neck

As they kiss they walk towards the bed. During their first hook-up, Henry pushed Alex onto the couch, so now it's Alex's turn to pounce on Henry, which is what we see in the shot: Henry falls onto the bed first, then Alex follows. Alex is really happy and a bit proud that he can drive Henry crazy like this, while (and I quote directly) Henry can't think of anything anymore, and has "please hurry up and fuck me" painted on his face

The mark/hickey on Alex's neck takes the shape of an inverted triangle, with the vertical side and the diagonal side (left down right up, in math it's a positive slope) being more red, which means those two points experienced the largest amount of force

Red Mark on Henry's Chest

Screenshot from In the Mood for Love using a similar lighting

Red Mark Result from OP's experiment

Blackout Curtain Closed on DNC Night

Bathrobe (presumed to be Henry's) on the far side of the couch

Bathrobe (presumed to be Alex's) near the window, Blackout Curtain Open in the background

For the process, deduced with the shot of them laying in bed during the afterglow

The trajectory of sweat on Henry's temple runs downward vertically. If he was fucked lying down, the sweat should run into his ear canal horizontally. Which means he was fucked in a sitting position. For example in the polo match hookup, Henry's sweat is visible in the form of drops running vertically down his face. Also in the afterglow, the sweat also seems to be splattered, which required Henry to have vigorously moved either up and down or front and back. So yeah this further proves that there was a cut riding scene.

Alex also has sweat on his face, and his fringe is wet. So riding should have happened right before they lied down and started talking.

So the process deduced by OP is 1, they tried doggy style in front of the window and failed 2, what was shown in the movie 3, doggy style on the bed 4, riding (OP wasn't aware of the details of the extended Paris love-making scene, but all RWRB fans in China know that there's doggy style and riding that got cut, this is OP's deduction of the order)

Even without looking at the sweats and marks, from the way Henry's signet ring is turned in the movie you can tell that something's deleted, since before Alex intertwined his fingers with Henry, the letter H was facing outwards, and when their hands join the movement causes the ring to turn and for the letter to face inwards. But then the next shot with Henry's hand on Alex's shoulder shows the ring worn normally again, which means something in between was deleted or reordered.

Hickey on Alex's Neck

Henry's sweat in the afterglow

Henry's sweat during the polo hook-up

Alex's sweat in the afterglow

tagging @sanneannelies7 and @na-18dia who mentioned wanting the translation in my original post

[disaster-racing]

[dreamishsara-art]

Wip for a uni project based on TMA because I can only be passionate about school projects if it involves my hyperfixations

[imminent-danger-came]

Who you are and letting go!

[badolmen]

I wish we got more moments of the Walkers being Family like. The opening of “Brave New World” where Hesh says he let Logan sleep a bit longer because he figured he could use the rest set the bar too high for the rest of the campaign. You don’t really get anything like that line again - there’s the “Sin City” and “The Ghost Killer” cutscenes as well but those are both high tension, ‘holy shit don’t hurt my brother/I am dying son but I’m proud of you’ lines. And honestly Hesh’s “All or Nothing” Rorke File where he talks about his misplaced guilt after losing Elias…it’s almost a bit weird that he doesn’t reference how Logan is handling it at all (especially considering he was the one manhandled into shooting their father).

I guess the first unlockable Rorke File where Elias talks about taking the boys to the beach counts, and Hesh’s “Logan’s got my back, and I got his. He’s my brother.” but it just feels a bit stilted compared to the natural tenderness of the “Brave New World” opening.

[thedrotter]

not-yet-dead-person

silly comic of a conversation in-game i thought was too funny not to make something proper for instead of a doodle ww

(timelapse + wip images (thus silly process commentary in read more if you like artist commentary :3)

i think the sketch looks silly and goofy and funny so i find it important to share with you the mere presence of the faces i drew on it. i drew it on top of the boxes without staying inside its borders because i find my proportions can get wonky if i draw them cropped in a restricted space. and I feel trapped otherwise and i will draw BAD!!! give me spaceeeee to go wild!!!!

the head circles are there for emotional support

very low res speedpaint because truth is the canvas was much bigger than the space where my comic was placed. i didnt account when exporting my timelapse in 720px that that tiny space would look so pixelated ... but it's able to be percieved, so its okay.

(i will now comment on my process and it is not brief sorry)

usually i would try to clean up my sketches and figure out what goes on top before jumping into linework, but since there are multiple panels and drawings i chose to jump into inking right away for the sake of brevity. i just went in with a brush that uses pen pressure and drew what was needed. i added extra line thickness and contrast in areas around the face because it helps direct your eyes there more easily that way.

according to her equipment rei has a chain belt but i only remembered it existed once I was going to color, and i did not like that discovery... I chose to ignore it to maintain my peace. i already have the color palettes for these characters figured out, and i didnt really want to think about a new element at the moment www I tend to overthink those things a lot so i skipped it

the rest is rather straightforward! not that anything else wasn't, but in here i could turn my brain off and sing. linework and sketching require mumbling so i cannot turn my brain off. just block in the characters with a solid color so i can have a mask (something along those lines,) where the color can stay inside. then just color in !!!

Base colors just had slight cell shading on the skin, and for the hair i airbrush a bit of the skincolor in low opacity near the forehead... I'm not sure what it means, but i can look at the faces easier with it somehow. i like the gentle subtlety it adds even if you cant really tell. it makes things look nice.

background was just me blocking in the color of the wall and floor, shade the wall a bit, then slap a noise and free use wood texture on top. work smarter not harder ! yet it took a bit to make it look stylistically fitting with the characters, and even now i think bottom middle panel looks odd. whatever!!!

for the middle panel i thought itd be funny if the background was a solid silly and colorful one to contrast the next panel's sketchy black one. a contrast to how the word widow is seen. on that note my handwritting is not pointy. i gaslighted my hand into thinking that it was indeed pointy in that moment so i could write "not-yet dead person" in letters that didn't seem cute. my hand did not fall for it but it complied anyway

that's basically it! I'm not sure what else i could say that doesn't feel barebones because it really is that straightforward. if you're curious I used clip studio paint for this. only special brush used was for linework (a brush named Lemon Brush), the rest used were just the default. my computer gets the least credit. it was trying to convince me a 20mb file was going to nuke it all the time and hardly let me save multiple times so i do not appreciate it

[indiegame]

body let me sleep pls

[kingwolfie08]

short king real!!!

oh look- two drawings in one day. thats a first.