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bumblebeesfromvenus · 1 month ago

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Soft Feathers, Softer Kisses 🦉

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I'm soooo excited for y'all to see this!!!!

My first time writing for Telemachus and EPIC in general so please go easy on me 🥲

This was born from my need to smooch Tele. He's so cute 🥹

*the art is not mine, I got it from pinterest, if anyone knows the artists lmk pls!*

─── ⋅ ∙ ∘ ☽ ༓ ☾ ∘ ⋅ ⋅ ────── ⋅ ∙ ∘ ☽ ༓ ☾ ∘ ⋅ ⋅ ───

─── ⋅ ∙ ∘ ☽ ༓ ☾ ∘ ⋅ ⋅ ────── ⋅ ∙ ∘ ☽ ༓ ☾ ∘ ⋅ ⋅ ───

You're betrothed to the prince of Ithaca. His father is lost at sea and 108 suitors are pushing his mother to choose a new king. When one of them insults the queen, a fight breaks loose, and you end up fiercely defending your lover with a determined owl at your side.

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The sound of your sandals on the smooth palace floor echoed off the marble walls, the fabric of your chiton that wasn't bunched up in your hands was brushing against your legs while you hurried towards the hall.

The commotion had managed to make its way through the entire building like a breeze of the salty sea air.

Still, the news reached you later than you'd have liked.

Worry and anger twisted in your chest, a feeling like countless arrows piercing your heart. Your lungs were burning, no breath managing to get enough oxygen in your blood.

You had to hurry.

They would eat him alive.

You were well aware of the suitors. The 108 men who'd grown stubborn roots in the palace and refused to leave without getting a chance.

The king had been gone for so long, leaving his throne empty and his family behind. It had been two decades since he sailed off to war.

Not many believed he was even still among the living, instead thinking he was slaving away in his place in the Underworld.

The queen managed to keep the kingdom from ruin for years, ever since her beloved left, and yet they insisted on a new a king, a new man to wear the crown and sit upon the throne.

A new man to take Penelope as his wife.

The moment they showed up at the gates you'd stared at them with disgust, boring into them with your sharp gaze.

None of them were fit to lead, let alone rule an entire kingdom.

The queen stalled and stalled, the hope of her husband's return heavy on her heart.

However, the suitors soon grew impatient. Causing havoc within the walls of the palace, pounding on Penelope's doors, threatening bloodshed if she didn't choose a new king.

And now, your betrothed, the prince of Ithaca, was caught in the middle of it all because he was cursed with a heart too big for his body.

When you turned the corner of the hallway, you were met with a sight that made your heart shatter and wrath boil in your veins.

The suitors had circled Telemachus, leaving him trapped with no way out while Antinous stood over him, broad shoulders throwing shadows on the face of your beloved.

He was beaten and bloodied, heaving while trying to fight back.

Although a small, proud smile cracked on your face when you saw some of the men limping or nursing their bruised eyes.

Even Antinous was left with crimson streaks dripping from his mouth, staining his teeth. Your feet were carrying you further in their direction, a mindless action.

Panic struck you when Antinous raised his hand to deliver another blow.

Without thinking, you called out to him, rage tinting your voice accompanied by the angry grinding of your teeth.

"Antinous!" You yelled, a scowl on your face as you forced your way through the ocean of suitors.

"Get away from him!"

The giant man lowered his hand with a deep chuckle and turned to face you with a smirk that made the previously boiling blood to freeze.

"If it isn't the little princess. Come to save your prince, have you? I swear it's the other way around."

The grin that sat on his face, his bloodstained teeth exposed, made bile rise up your throat.

The men chuckled, making Telemachus' head fall forward in shame.

You payed them no mind, rushing to your lover.

Giving Antinous a look that could kill, you kneeled down next to Telemachus and cupped his face, a worried crease forming between your brows while you gently brushed your thumb over the blooming bruise on his cheek to soothe it.

"Look at you.. you're bleeding!" You gasped, quickly using your chiton to wipe away the blood on his face.

"I'm fine, I promise."

Telemachus gave you an unconvincing smile, followed by a wince. The worried look on your face tugged at his heart.

You looked like you were about to cry, and he hated to think that he was the reason.

"You're not fine. You're bruised and-and what if you broke a bone? How did this even happen? They knew there'd be consequences if they-"

the words just spilled out of you, the concern for your lover was something you could no longer contain.

He cupped your cheek and smiled weakly.

"My love, please. I assure you, I'm alright-"

He was cut off by Antinous, a scoff falling from his split lips. You scowled again and rose from your knees, a panicked expression appearing on your beloved's face.

"No, don't-"

Telemachus grasped at your hand, only for you to gently tug it from his grip as you approached Antinous.

Only when you made your way over to the grinning man did you notice a big owl circling the suitors, flying high towards the tall ceiling.

You spared it a glance, noting the magnificent coloring of its feathers and the bright eyes filled with something you could only describe as a sense of justice.

Not once had you see such determination in an animal, but it managed to put your mind at ease a little.

"You filthy dog! Who do you think you are?! He is your prince, whether you like it or not. And you have no right-" you snarled, raising your hand to point a finger at him.

He quickly caught your wrist in his fierce grip, a deep frown sitting on his face.

Antinous glanced at Telemachus, who was holding his aching side trying to pull himself off the ground, before averting his eyes back to you.

"He doesn't look very princely to me."

The smirk he sported was enough to make the fire in your chest spread even more.

"You-" you sneered only to be interrupted by Antinous again.

"What? Hm? What will you do?"

"Stop." Telemachus heaved, supporting himself on a marble pillar.

You didn't let yourself be intimidated by him and rivaled him with a look just as sharp.

"There's a special place in Tarturus for you, Antinous. If he'd even allow it." You spoke quietly but firmly, feeling satisfaction bloom in your heart at his reaction.

Antinous scowled, tightening his grip around your wrist.

"He," he began, "is dead."

You smirked, a scoff making its way past your lips.

"You better pray to the gods. Lady Tyche is not on your side. You'll be lucky enough if he even grants you a way to the Underworld. I hope you have enough gold on hand. Because the only way you're getting across the Styx is in pieces." You spat at him, venom dripping from your tongue.

Antinous bared his teeth, fury blazing in his eyes as he raised his other hand in the air, presumably to strike you.

"Get."

Telemachus' voice boomed through the hall, a scorned look on his face.

"Your hands. Off of her." He sneered, pushing himself away from the pillar.

"Do you want another beating, boy?" The giant man roared, almost crushing your wrist in his hand.

Down came your feathered friend, swooping in with its sharp claws and a chilling screech, successfully tearing open a new scar across Antinous' eye. He cried out and dropped your wrist, clutching his face instead.

The other men quickly drew their swords, swinging at the bird, only to miss and receive a peck from its beak against any vulnerable spot.

The owl evaded the suitors' weapons with such grace and struck back with such vigor that you were almost mesmerized.

"Αγάπη μου." *(my love)

Telemachus' gentle call for you snapped you out of your haze.

"Are you hurt?" He asked, worried Antinous had caused you any harm. You stared at him, your lips parted.

"I... no. No, I'm alright. We should leave." You said hurried, supporting his weight while you dragged him down an opposite corridor.

You spared the suitors and the mysterious owl a last glance, a smirk tugging at your lips at the sight of 108 men being defeated by a bird.

Antinous caught your gaze, and he snarled at you, still holding his eye.

"Next time.." he called out after you, "you're dead."

The threat sent an unpleasant shiver down your spine, but he was quickly put back in line by the owl, who promptly delivered a peck to the top of his head.

With a small smile playing on your face, you led your beloved back to his rooms to take care of his wounds.

.·:*¨༺ ༻¨*:·.

Back in your chambers, you knelt in front of Telemachus, a worried crease between your brows while you gently held a damp linen cloth to his swollen and split knuckles.

The pure white fabric was stained with the crimson blood of your lover, a sting in your heart.

Telemachus sighed and took your chin in his hand, tilting your head to look him in the eyes.

"Λουλούδι μου, your expression pains me. I'd rather see your heartwarming smile." He spoke with a small grin, hissing when his busted lip reopnend and the blood began pouring once more. *(my flower)

Quickly, you pressed the cloth to his mouth, a deep frown on your face.

"And your state pains me. You-... You could've died. These are vicious, feral men, and as much as I don't doubt your ability to stand your ground, 108 against 1.... the odds weren't on your side." You replied, such sadness in your eyes it made Telemachus' heart ache.

"I wouldn't be able to live with myself if..." you sighed deeply, tears threatening to fall from your lashline while your head fell forward.

His gentle hands cupped your face, the rag in your grasp long forgotten.

"But I'm okay. I promise you, my love, it's barely a scratch." A smile cracked on his face and you couldn't help but chuckle, followed by a sniffle.

"You have a larger heart than all those men combined." You whispered, pressing your palm right above his beating heart.

Telemachus cupped your hand and placed a gentle kiss to your forehead. Your eyes fell shut at the sensation as you melted further into his touch.

"Besides," he broke the silence, a smirk on his lips, "I had help."

He glanced towards his balcony and you followed his line of sight, being met with the owl resting contently on the railing, curiosity in its bright eyes.

"Yes," you chuckled, rising to your feet and walking towards the creature, gently dragging Telemachus behind you by his hand, "your mysterious feathered friend. Care to introduce me?"

"Right. Her name's Ath-"

he was cut off when the owl screeched at him and furiously flapped her wings. He startled and chuckled nervously, clearing his throat.

"I-I meant A... Alena. Yes. Her name's Alena."

If an owl had shoulders and they could sag, this is what you'd imagine it'd look like.

You laughed softly, watching as the bird narrowed her sharp eyes at Telemachus. He swallowed thickly and gave her an awkward smile.

"Well, Thank you." You said sincerely, smiling when the owl bowed her head at you.

What a curious creature.

"We should get you some ointments for those cuts and bruises."

You turned back to your beloved.

"I told you, I'm totally fi- ow."

He winced, holding his side that would undoubtedly bloom with purples and blues come evening. You sighed softly and shook your head at him.

"You're too sweet for your own good sometimes."

You caressed his cheekbone and pressed your lips to his in a gentle kiss, minding his injuries. He hummed into the kiss, resting his hands on your waist.

Lost in your embrace, the owl made another sound, something closer to the typical hoot, averting your attention to her.

She ruffled her feathers and with a last glance at the both of you she took off into sky. With a content expression you watched her glisten in the afternoon sun.

Telemachus had a bright smile on his face and waved after her, watching as she flew into the sunset, disappearing behind the horizon.

─── ⋅ ∙ ∘ ☽ ༓ ☾ ∘ ⋅ ⋅ ────── ⋅ ∙ ∘ ☽ ༓ ☾ ∘ ⋅ ⋅ ───

Please let me know what you thought! <3

More of my stuff -> 💫

I think you wanna see this @withonly-sweetheart @allysunny 👀

Thank you so so so much to @vampkennedy for assisting me with the translations 🩷

#bumblebeesfromvenus #telemachus #telemachus x reader #prince of ithaca #telemachus of ithaca #epic x reader #epic the musical #epic the musical x reader #epic antinous #epic athena #epic penelope #telemachus of ithaca x reader #prince of ithaca x reader

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nereidprinc3ss · 29 days ago

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mojave ghost

in which spencer reid spends the night with fem!reader—a total stranger—because she just feels so familiar. based on the song "my life in art" by Mojave 3.

18+ (implied intimacy) warnings/tags: based on a song about a stripper who runs away from her abusive boyfriend. tws for mentions of physical abuse. r has bruises from pole dancing. a little ooc bc Spencer hooks up with someone he just met but that's the point and if u know him like I do u know its not completely impossible. mentions of typical cm violence/murder. one brief mention of spencer's addiction. spencer's childhood trauma and abandonment. it's kind of just a heavy one, lmk if i'm missing anything a/n: I doooo suggest you listen to the song first just to feel the vibe of the piece and also how it is literally about Spencer Reid. and also bc its gorjus. anyways its been a while and this is not my most standard content but pls lmk what u think and if u liked it <3

He shouldn’t have done it.

But when he saw you, sitting in a metal folding chair next to some peeling veneered-desk, his breath caught. Something primal deep in his stomach tugged the way it does when he finds little external fragments of himself, calling out to him—usually nonhuman objects. He’s seen himself in books, still warm from the hands that held them but ultimately forgotten on a bench or in the airport, needles in alleys or in between tiles on his bathroom counter, in shards of glass, in a hundred open wounds and dead animals, abstractly gutted on the side of the street.

When he does see himself in a person, it’s in alarming glimpses. The man in the sleeping bag on the corner who talks to people that aren’t there. The lost child crying on the subway platform, rooted to the spot and still gripping the straps of their little backpack with responsible fists. It’s never anything he wants to know about himself, but this identification, this taxonomy and recognition of sameness—it’s so strong it stops him in his tracks, every time. He never really relates to the people he’s supposed to. Not Hotch. Not Gideon. Not even Maeve, in the way he’d so naively hoped for. Three people, all incredibly intelligent, at times standoffish. Used to being on the outside. All still possessing things and redemptive qualities he doesn’t. And what Spencer has secretly believed about himself for what has recently become a very long time, is that he is defined by his lack. The shape of him is made of negative space. He feels like whatever is in your lungs when you’ve pushed all the air out.

And then, you.

Physically, you look nothing alike. And he stops and lurches and does a double take like he’s seen his doppelgänger or been startled by his own reflection in a passing window anyway. Maybe it’s the way you hold yourself—hunched, foot tapping, head hung but still scanning the room, ever vigilant as you pick at your nails. You want to be small. You want to fold in yourself so many times you become a black hole. Spencer knows this.

Something calls out from deep inside him, from all around him, that is not quite in his voice, but feels like grasping and reaching.

I know you, I know you.

He doesn’t catch himself in time before he’s walking toward you like he’s been waiting for you.

Of course your head snaps up at the same time as he stops, and your eyes are shiny but not teary—frozen over with a layer of thick, dark ice like you’d carried the cold inside with you. You look caught. He searches for some sort of recognition in your eyes, anything to betray the fact that you have met before, because he never forgets a face but he knows what familiarity feels like and he can’t remember meeting you.

His throat forms around something but the wrong word comes out. Halting, like he’s trying to lasso it and pull it back in.

“Hi.”

You pull your scarf down—a deep Roman purple—to reveal a pretty mouth, lips chapped by the unforgiving freeze outside.

“Hello,” you say, politely, considering his probably strange behavior. He gives you a proprietary scan. Utility coat over a thick grey sweater. Jeans, cuffed at the bottom but still nearly too long, probably belted, although he can’t tell from the posture and the sweater. Brown boots. Your bag is a frayed tapestry of neutrals and patches. Fingerless knit gloves. You’ve given yourself false density, let the clothes swallow you up. Shapeless. Nearly faceless, magnet eyes framed between the scarf and the hat. But you’ve got a name. Everyone has a name. There’s yet to be anything humanity has discovered and not bothered to name.

He forgets to ask. You clear your throat.

“Um, I spoke to someone on the phone—Aaron, I think? We’re supposed to talk.”

Spencer tries to pick his jaw up off the floor.

“Yeah, um, I can—I’ll… go get him.”

He turns away and breathes for the first time since he saw you, but he feels you behind him. He’s aware of exactly where you are in relation to the back of his head, he can feel you, like a hot spot, all the way to Hotch’s door. He lets himself in, slipping between as small a gap as he can manage and shutting the door gently behind him. Hotch looks up, not noticeably displeased at having been interrupted in his endless paperwork.

What Spencer learns from his boss is this: you live in DC. You heard about a murder in Kansas—a girl, her hair still a fine, pale cornsilk. Barely not a child. You heard the details, and you called the cops, because you swear to god you know who did it, and they told you there was nothing they could do and gave you the number of someone who might be able to help, and so you followed a bureaucratic trail of phone numbers designed to discourage until you got to the BAU. Hotch says he’s going to interview you, but it’s probably nothing.

“Actually, I’d like to do it if that’s okay.”

Hotch frowns deeper than usual.

“Why?”

Spencer swallows. Hesitates.

“I finished my incident report early.”

Though he clearly has his reservations about Spencer’s sudden interest, Hotch is knee-deep in paperwork. So that’s how Spencer ends up in the round table room with you.

You look too young, too raw to have been married, but you’re rubbing at your ring finger with the adjacent thumb like something is bothering you there. An absence that has become a presence. Negative space. You see things that aren’t there. Spencer knows that, too. Maybe you’re the kind of person who could look at him and see something.

That is his most intimate fantasy. He imagines it with you and feels the same kind of illicit shame and bloodied, starving hunger other people feel when they imagine sex or drugs or ravaging power; the way anyone imagines anything they want and can’t have.

But he can’t put that kind of pressure on you. He can’t hold expectations like that. You’re a stranger.

“Do you always do that?”

He points to your fiddling and gets that sour feeling in his throat he always does when he says something and wishes he hadn’t said it. That probably doesn’t show on his face. Most things don’t show on his face. Or maybe they do and nobody has bothered to tell him.

You flex your pretty hand and then make a fist like you’ve been burned, probably to stop the compulsion. When you give a self-deprecating laugh, Spencer feels incredibly guilty for having pointed it out. But he doesn’t know how to talk to you. And at the same time, he almost expects it’ll be like talking to himself. Only nobody will give him odd looks.

“Uh… old habit. I used to spin my wedding ring around when I was nervous.”

Used to. You’re especially too young to have been divorced.

“You’re nervous?”

Your eyes flash as you look up to him. With what, he doesn’t know. Lightning, maybe. Electrical impulses that are a little less well insulated in you than in everyone else.

But maybe he’s projecting.

“Yeah. I feel crazy. But I was with a guy for a while who—and he was from Kansas—who would always, like, talk about… about hurting people. And I thought it was a joke at first, but… he laughed, at other people’s pain. He liked to hurt people. And animals. His dad had a farm, so I thought it was maybe he was just cavalier about life and death, but it was more than that. And he lived… he lived in that town. Where that girl died. He probably knew her. I… I probably knew her.”

Spencer’s heart sinks and he clears his throat like the force could bring it back up the right level again.

You’re not his soulmate. You’re just paranoid. Looking for answers and resolution, like everybody else.

The piece of himself he saw in you was just free radical damage. Instability.

“Did he ever kill anyone before?”

“Wh—not that I know of. But I don’t really think he would’ve told me.”

But you would’ve known. You’re here because you’re lost.

“Did he ever seriously injure anyone?”

You swallow and sit up a little straighter. Heat lightning in your eyes, again. It makes him feel something. He sits up too, despite your indignance, because it’s entrancing.

“Yes.”

“How so?”

“He… he…” you melt as quickly as you inflated and go back to spinning a ring that’s not there. It’s like watching technicolor go to black and white. “He’d beat people up. He cut them with broken beer bottles and… yeah. A lot of other shit. He was just… he was crazy. He wasn’t… okay.”

The way your gaze flickers back and forth like you’re reading pages of a book or perhaps in REM as you recount in vague detail what your ex had done clues Spencer into the fact that you’re extremely traumatized. The way you make sure to emphasize that your clearly abusive ex wasn’t okay clues him into the fact that you care too much. That you’re too quick to excuse people’s bad behavior, or dismiss it, because you know how it feels to be dismissed entirely and you don’t want to make anyone else feel the way you’ve felt.

Or maybe he’s still projecting. Maybe he’s idealized you in these few short minutes since you met and he’s too far gone. Maybe he should’ve let Hotch do this interview after all. In fact, he absolutely should’ve.

But the worst thing by far he did was ask to walk you to your car after all was said and done.

The interview went on for over two hours, and he’d learned things about you he suspects you’ve never told anyone before, and thus has learned about himself, and the building is mostly empty when you finally leave. The work day is over. So he selfishly asks you to wait while he gathers his things—buttons his coat, wraps his scarf, packs his bag—and then he soaks in the silence on the elevator because it’s that terrible, beautiful space between where you first cross the line and when you do something unforgivable. Asking to walk you to your car was crossing the line.

Sleeping with you was unforgivable.

And he didn’t care. Maybe he knew he was going to do this from the moment he saw you. Spencer never does this. The knowing that it was going to happen is quite a distinct flavor of intuitive knowledge and it was always on the back of his tongue.

You’re silver and purple, a streak, a blur, you move too fast to keep up with and even when you’re perfectly still the atoms around you scramble like they’re jonesing. You inspire movement. You are movement. But he gets to see you slow, and despite having known you only a few hours, he knows this is nothing short of a natural phenomenon. A once in a lifetime sort of shooting star. That’s where the silver comes in.

The purple, though—it’s in strange places. Around your upper arm. Between your thighs. On your knees and shins and hips. The first time he noticed it he couldn’t ignore it, but he couldn’t very well ask what’s hurting you while he was touching you in a way that was decidedly not painful, if he wanted to keep it that way. And he did. He wanted to keep you looking at him through half-lidded eyes like he was something to see.

Still, he can’t notice it and then fuck you without saying something—or maybe he could, and you desperately want him to and you ask for it and maybe most people would, but he won’t—so he brings it up.

“I lead a very active life,” is your whispered excuse, shaped by a smile that is something like mischievous. And then you’re kissing his flushed neck and making your descent and so he can’t ask very many questions.

It’s only in the precarious after that he can fit his questions in, which is dumb and he knows that, because you’re a dizzying contradiction of cagey and flighty and really the slightest thing will send you running. It’s funny how he knows that after a few hours and sex. Sex can tell you so much about a person. Spencer has compiled all the data from his experiences and decided sex is radically more effective a profiling tool than interview.

You’re on his pillow, lying on your stomach, and his hand is in your hair. Falling in love is quite a distinctive taste as well. Or at least, the recognition that if you spend enough time around a person you will, beyond a shadow of a doubt, fall in love with them. It is almost the same thing. It aches because it’s there and the proper thing to do is pretend it’s not.

And his hand is in your hair. And your eyes are closed, and you look like you might fall asleep, and he should be beyond grateful for all of these things. He is.

But that pesky desire to ameliorate, to improve and make better, and fix and heal, is too strong. Probably it’s the only way he thinks anyone will love him, is if he makes himself useful. That’s no revelation to him. The thought is not shocking whatsoever. It’s just true.

So he asks again. You blink your eyes a quarter of the way open.

“Hazard of the job.”

“What job?”

You make a noncommittal noise of reluctance—a discontented puppy’s whine, half-asleep.

“I’m a circus freak.”

He laughs and remembers to keep scratching your scalp. The way you smile, eyes closed, is infectious.

“Yeah? What’s your act?”

“Guess,” you challenge through the remnants of a smile, oozing satisfaction and glowing like a star.

When he pauses to regard you, to seriously consider, studying the curve of your cheek and the color of your lips, you open your eyes again.

“Tightrope walker,” he finally says, earnestly, so soft it could tear down the middle like gauze.

Your answer is a smile into the dark. “How’d you know?”

The corner of his mouth vies higher.

“I sensed a kindred spirit.”

Silence floods the room again, slowly, thickly, like molasses. It’s pleasant. You’re still here, in his bed, and he’s still measuring time with the pendulum of his hand in your hair.

“What do you really do?”

He expects you to be asleep.

“Dancer.” Your lips hardly move as you say it, inflectionless, immediate. If his hand falters, it’s only momentarily. That explains the bruising, and so is a relief, as far as he’s concerned. But perhaps his silence is misconstrued. “Do you want me to go?”

It certainly doesn’t seem like you want to go. Your eyes aren’t even open.

He keeps his voice low and gentle like maybe you really are asleep.

“Why would I want you to go?”

“Don’t… do that.”

“What?”

“Don’t act like you’re not judging me.”

“I’m not judging you. I’m from Vegas. Your job is not a novelty to me.”

This time when your eyes slide open, there is a new, curious light behind them.

“Really?”

He nods, distracted by a freckle just beneath your eye.

“When I was ten I ran into my bus driver wearing two quarters as a shirt. And we weren’t even on the strip. We were in a Texas Roadhouse parking lot.”

You snort with laughter and it’s melodic, like twinkling crystals, like running water. Even as you hide your face behind your hand, he’s transfixed. God, he’s never cared about being funny before. Now he wants to make you laugh over and over again. He wants to keep you softer than you’ve ever been. The laughter fades slowly and he grieves it—but your hand sliding away from your face like the sun coming up from behind a mountain eases the ache.

You reach out as if in a trance and run your thumb gently beneath his eye. He holds his breath as you make contact, butterfly light. Nobody has ever touched him like this before.

“You’re gorgeous,” you murmur. A thoughtless observation. A truth cast to the breeze. Knuckles carefully follow the dip of his cheekbone—a cartographer, learning her way by touch. Marking her territory. He’d let you do it. His eye stings, ready to spring forth a river just so you can have the pleasure of discovering it. “Breathe,” you laugh, softly, and he does.

“Sorry.”

You don’t say a thing. You let your fingers trace borders into his skin and follow them with soft eyes and he wonders what he’s ever done to deserve this kind of magic. He wonders if he’ll ever feel as good as he does right now, when it’s all over. Nobody has ever paid this much attention to him—but you’re intent, focused, like he’s art.

“Tell me about Vegas.”

It takes him a moment to reply.

“Hm?”

He feels bewitched. Warm. Foggy. A thumb brushes over his lips, but it’s only a pass, thank god, because he can hardly stand how you’re touching him already, at the high point of his cheek, beneath his brow. Finally getting enough sometimes feels awfully close to too much. He’s already almost cried once.

“I wanna hear about Vegas. I’ve always wanted to go. Is it hot?”

Spencer will say whatever you want him to say, but he has to focus a little—like he’s speaking through honey.

“In the summer, during the day. In the winter at night it drops to below freezing.”

“Desert-y,” you hum.

“Very.”

“Tell me more.”

There’s a rousing hunger in your voice and it reminds Spencer to want you again. He finds your waist and tugs you closer. Who is he with you?

Is he better?

“There are 175 casinos in the city, but only thirty on the strip. There are 15,000 miles of neon tubing on the strip alone. It’s the brightest place on earth. You can see it from space.”

“Not that.”

Petulant. He loves it.

His lips find the softness of your shoulder. “Then what?”

The only clue that you can feel what he’s doing to you is the twitch of your fingers on his cheek.

“Tell me something… tell me exactly how it feels to stand in the middle of the desert. With nobody else around. Tell me things and details I couldn’t know about unless I’ve been there.”

At the junction of your neck, he pauses. This beautiful girl, and her beautiful brain—you are so disarming. So perfect.

You shiver into him as his fingers brush up the back of your neck, gently pushing away hair so he can learn you everywhere. So he can remember your landscape, just like he’s doing as he closes his eyes and falls into memory.

A gas station, off the side of the road—seemingly in the middle of nowhere. Desert all around. His dad’s ’79 Ford Fiesta—the one he didn’t take with him when he left. The driver’s door is open. Spencer’s dad has been inside for minutes. Spencer is watching from the middle of the road, because he looked out from the backseat of the Fiesta, and saw that dark, unassuming spot, and thought—how would it feel to be the darkness? What would I see if I were nothing at all?

When he gets there, and he stands on the sun bleached pavement, veined with spiderwebs of tar, and he sees this all from a distance—he realizes he feels exactly the same as he always does. So he pivots his head to the left. The road goes on until it disappears into the smudgy horizon. To the right, it does the same. The earth swells, far away, so many miles, so coal black, so impossible. Hardly even real. But there is something out there, he thinks. There is something, even if nobody else has ever been there, and I want to stand in the middle of it and I will learn how it feels to be nothing. I will not observe—I will become apart of the landscape, with the Joshua trees that have been there for a thousand years, and the rocks that haven’t moved in millennia.

So he begins to walk.

The rocks crunch under his feet, and that is the only noise.

He walks for minutes. He walks until he knows the gas station will be small. He walks until he can feel the emptiness on the back of his neck, until it feels like an embrace.

“It’s silent,” he hears himself say to you, in some other universe, decades in the future. “At night, it’s completely silent. You can hear yourself breathe. If you throw a pebble ten feet away, you’ll hear it hit the ground.”

Little Spencer takes a deep breath of inky air.

“It smells like… geosmin.”

“What?”

Perfect. Your voice is perfect.

“Dirt. But it’s not the same as dirt anywhere else. It’s… drier, like it’s smelled the same way for a really long time.”

Spencer’s cheeks burn. He’s doing a terrible job explaining.

But he feels your breath on his cheek—eager. Your hand at his shoulder as you lean closer, enraptured. Reverent, almost.

“What else?”

What else?

Dry brush snags on the hem of the corduroys his mother had picked out for him. They’re a little too short. She’s going to try to take him shopping again tomorrow. It’ll work this time—they’ll get to the store. Mom’s just been having some trouble leaving the house lately.

Rustling leaves skim the tips of his fingers as he reaches out for them, and keeps walking. When was the last time someone touched that shrub?

“There’s vegetation. Creosote, mostly, if you’re in the scrubland. Larrea tridentada. It’s dry—kind of twiggy, with green leaves and yellow flowers in the spring. The smell is bad, like asphalt, but you only notice if you get close.”

He hears his dad calling his name. It fades in and out.

It’s dizzying, hearing his father’s voice. His father saying his name.

It’s been a long time.

“It’s so flat that things don’t echo. But because of the extreme variations in temperature the air pressure sometimes forces the sound waves to the ground and makes it impossible for them to propagate. They’re called the Santa Ana winds. Someone could be standing right next to you and if the wind blows at just the right angle, you won’t be able to hear them. But when it’s still, sound carries far.”

His father is angry. Or is he worried?

Spencer can make out his dad, pacing frantically back and forth across the gas station pad, white button-up a glowing beacon even from this far away beneath the lone yellow street light. He looks so small. So very far away. Ant-like.

Santa Ana comes slow—warmer than the night air around him, to ruffle his hair and rustle the dry leaves and blow soft clouds of fragrant sienna dirt around at his knees. It blows through him. For a moment, it wakes the desert up.

Then it’s passed. It moves further down the desert and leaves Spencer behind. Things settle into silence again. He’s alone again.

Spencer’s stomach flips as he realizes his father can’t see him this far away, this deep into the dark nothing.

As he finally feels the enormity of the distance on all sides.

Suddenly the void behind him is massive. Suddenly it is everything, and it is sucking him deeper. Nobody can see him. He could just disappear into 25,000 square miles of desert. He’s already, what—a thousand feet gone? More? The weight of all the infinite space behind him presses, and he thought it’d feel interesting but it feels like dying and there has never been so much regret or dread curdling in his stomach before. His face crumples, eyes stinging in the dry air, and he takes one step forward, and then another, and then he runs like he’s running for his life. But he doesn’t feel chased—no, that’s the worst part. He is running from an infinite, vacuous, nothing. Dad! He screams, but even this young he knows how sound waves work in the desert and he can tell his dad can’t hear him and he’s running and screaming until his lungs burn, and the scrub lashes at his ankles, and it has been the same for a thousand years and it will stay the same for a thousand more with or without him. Dad, I’m right here! He sobs, the words ripping up his throat with desperation as they go.

Finally, finally, he’s heard, and he’s close enough to see his dad seeing him, he stops pacing and stares dumbfounded at the little boy appearing from the desert, sneakers slapping cracked asphalt. He gets closer and closer until he can see the lines on his father’s face and the color of his eyes and he sobs as he crashes into him. His dad’s hands are vice-tight around his arms, as Spencer cries and can’t breathe and thrashes like a fish out of water.

What? Is all his father can manage, tight and baffled and afraid and the first word of a question he doesn’t even know how to ask. He says it again and again, like a skipping record; what—what? What?

On the drive home, Spencer sits in the backseat, a bottle of Bug Juice in his lap. His ankles sting, whipped and bloodied and punished for wearing too-short pants.

The silence is cloistering and at the same time, completely par for the course. He does not expect his father to speak to him, but he sort of thinks maybe another father would.

Outside, the black spine of distant mountains rolls on forever and stays impossibly far away. He peers out into the nothing, past what the moonlight can illuminate—and now, he doesn’t have to wonder. He knows how it feels. Imagines another little boy made of shadows, as far away from the road as he’d been, and feels sick from all that fruit juice. He won’t ask his dad to pull over—all he wants is to get rid of that feeling on the back of his neck, like he’s dissolving into space. Like he’s the only thing for miles and miles.

But the problem is—the feeling doesn’t go away.

Not in the driveway. Not in the bath. Not in bed, later that night.

Spencer did a bad thing and he wishes he could go back to normal. He wishes he didn’t get that desert feeling when he was surrounded by other people. But it comes back, again and again. At school. When he tentatively asks for new pants and his mom throws a vase at the wall and then sobs on the floor for forty minutes. When a few weeks later, his dad leaves, and doesn’t take the Ford with him—so it sits under the carport, greets him on his way to school every morning, and over the course of years the windshield turns opaque with dust.

He hasn’t stopped feeling that way since.

“You okay?”

A long, soft breath draws him back into his body. Into his bed.

Not creosote. Not geosmin. Not the Santa Ana winds, coming from the deepest parts of the desert and carrying their desolation to him. Shampoo. Warmth. A girl who smells sort of like him, now—a girl whose perfume is all over his neck and chest and pillow.

You’re there. You, a stranger. You, a girl he’s going to fall in love with. You—the only person he ever brought into the desert with him. The only person who ever brought him back.

Point Nemo is not in the middle of the Pacific Ocean. Asphodel is not in the underworld. It’s a little less than half a mile out across from an old gas station on the I-15 in the middle of the Mojave desert.

Spencer nods because he can’t bring himself to speak just yet.

You smile and take the time to find his hand in the dark.

“Felt like I was out there with you. Thanks.”

And he squeezes your hand—because for the first time, it feels like someone is going to come looking for him.

lyrics from my life in art <3

#spencer reid x reader #spencer reid fanfiction #spencer reid fic #spencer reid smut #spencer reid fluff #spencer reid angst #spencer reid fanfic #spencer reid x fem!reader #spencer reid #criminal minds x reader #criminal minds imagine #criminal minds smut #criminal minds fic #criminal minds fanfic

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artdcnaldson · 8 months ago

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need Olympics!au reader to be a little insane. a little bonkers. bouncing on arts cock and asking him to say things like he loves you and how you're the best hes ever had and that hes going to leave tashi, always when hes about to cum so he doesn't have time to think about it - just says whatever if it means you'll let him cum inside. not knowing you're taking it all to heart in your delusional little head. smiling when you nuzzle into his chest and play with his cum, pushing it back in your pussy, thinking about how art is loyal - he just needs a little push - and then he'll be yours, surely.

Rating: E (18+)

Warnings: Toxic!Reader, infidelity, SMUT, Tashi catches strays but that’s only bc reader is respectfully insane <3

A/N: okay this was supposed to be a lot shorter but it ended up getting long so if anyone wants more of this AU lmk and I’ll keep going. Okayyyy thank you bye <3

If he was really devoted to his marriage, he wouldn’t be fucking you. A loyal husband wouldn’t have been seeking out a younger woman, wouldn’t have been seeking out you.

You figured that Rio had been your shot— you’d fucked him, planted the seed of infidelity there. You had freed him— you gave him a back door to escape out of.

If nothing else, you gave yourself a fantasy to touch yourself to for the rest of your fucking life. That was something.

Two weeks after Rio, you saw a message from Art in your Instagram DMs. Somewhere safe, hidden from his wife’s prying eyes, you supposed. Even if she saw it, you didn’t really care. Maybe it’d start a fight, send him careening heartbroken into your bed, into your arms.

Can I see you again?

You opened it, left it on read for a couple of hours to make him sweat. When you responded, you played at regret. We shouldn’t see each other… you’re married.

Art was quick to respond. Please?

You smiled. It was just so easy that he had to have wanted out of the marriage. You were just the first one to throw him a rope.

Your home was modest compared to what he shared with his wife, but you figured being in your early twenties and being able to buy a home with cash was impressive on its own. He parked in your garage, had you pinned against the wall the second he crossed the threshold into your home.

Each kiss was hungry, desperate. Tongue licking into your mouth, moaning as he ground his already hard cock against your clothed cunt. I mean, Jesus, you were wearing tiny little shorts, a big Team USA tee shirt. When his hands slipped beneath it, you gasped and arched into his touch. No bra beneath it— nothing between his large hands and your tits.

Every nerve in your body was thrumming, begging for you to reach out and take. His lips never parted from yours as you led him deeper inside your house, kissing you hungrily, like he wouldn’t mind if you just stopped and let him fuck you on the floor.

Someday. You’d like to see him that desperate, that animalistic. But that wasn’t what you needed them, so you just pushed him down onto your couch. The hardwood dug against your knees as you settled between his thighs. He was so hard that you could see the imprint of him against his jeans— long and thick and mouthwatering.

You licked your lips, rubbed him through the thick fabric. He hissed at that first contact and looked down at you with half-lidded eyes.

He could hardly let himself look at you as you pulled his pants down, peeled them off and tossed them to the side. Wet, soft kisses peppered up his thighs as you brought yourself closer and closer to what you really wanted. You nudged his thighs apart, pulse thrumming at the sight of him laid out before you like a feast.

Your hand looked so small wrapped around him, pumping him slowly. His cock twitched in your grip as you spit onto it so each pass of your hand was slick and smooth. He swallowed hard, already panting.

His balls rested between his thighs— full and heavy, carrying loads you needed him to spill inside of your cunt. Your lips met the soft pink flesh and he fucking whined, a broken, needy sort of sound that made heat bloom in your stomach.

You peered up at him as you placed open mouthed kisses to his sack, continuing to pump his length in your hand. You took one of his balls into your mouth and laved it with your tongue, moaning around him. His fingers scratched against the leather of your couch, seeking some sort of grip to tether him, so you took one of his hands and moved it to your hair.

And, really, you could have spent all day between his legs with his balls in your mouth, feeling them pulse on your tongue as you sucked each between your lips. His balls felt so full, so heavy against your tongue. It made you wonder how often Tashi drained them for him— if she took care of him the way you would.

You kissed up his shaft, kitten-licked the head of his cock, sighing contentedly at the salty taste of precum. He moaned, bucking into your grip, towards the wet heat of your mouth.

The fingers he had tangled in your hair tightened as you took him into your mouth. You fought your gag reflex as you relaxed your throat, took him deeper until your nose pressed against the soft skin just above the base of his cock.

It was cute that he was hairless everywhere, all soft and smooth, but you wondered what he’d look like hairier. Maybe you could convince him to ease up on the grooming, just so you could see if you liked it. You moaned just thinking about that tiny bit of control over him as you ground down against your heel for friction.

His hand guided your movements as you began bobbing your head, almost reverent. Almost loving. You gave a contented hum as you looked up at him, meeting his gaze as you swallowed him down to the base again and again and again.

When you finally came up for air after god knows how long, your lips were slick with spit. His cock was shiny from how you drooled on it, messy with spit bubbles around the base. He rubbed his thumb along your jaw, holding your face in his hand.

“God, you’re something else,” He sighed, a pleased smile playing at his lips.

You tilted your head to the side, leaning into the warmth and comfort of his touch. Your eyes fluttered shut, a seraphic smile played at your lips. “Does your wife suck your cock as good as I do?” You asked, almost sweetly.

He took a shaky breath, and you could see the hesitation, the loyalty, the devotion in him fighting against what he really wanted. He wanted you— your perfect mouth, your tight pussy, your willingness to give him anything he wanted, anything Tashi wouldn’t let him have.

“Bend over the sofa,” he said suddenly. You didn’t argue— you accepted the redirection easily, because you knew what he was avoiding. He didn’t want to admit the truth. He tugged your shorts and panties around your ankles, exposing your wet, sticky cunt.

He manhandled you, rough and punishing, like he wanted to work out his guilt inside of your cunt. You were dripping down your thighs, onto the leather beneath your hips. Fuck it, you’d buy a new couch.

“Fuck me,” you gasped, reaching back to claw at his arm, to leave pretty nail marks, to stake your claim. He pushed your head down into the cushions, bullied his fat cock into you again and again and again.

His thumb circled your asshole like he wanted to test the waters. A soft moan escaped you, you pushed back against him as an invitation to keep going. He spat down onto your hole before he pressed his thumb inside, just past the tight ring of muscle. Your toes curled, your eyes rolled back— you were fucking game.

“You’re so fucking tight,” he groaned. His pace was punishing, brutal. From the angle you could’ve sworn you felt him punching at your fucking diaphragm, knocking out your breaths in weak, whiny pants. “You were fucking made to take this dick, huh?”

You couldn’t help but smile at his words. You were. You were you were you were. “Tell me—“ you cried out at a particularly deep thrust, eyes fluttering, rolling back. He continued to tease your ass with his thumb, pushing in, letting you feel full just to pull it out and leave you empty again. “Tell me I— oh, god— that I feel better than her.”

The couch scraped against the floor as he fucked into you, rough and relentless. His thumb pressed even deeper and you fucking keened. “Will that make you happy?” He repositioned your hips, made room to slide a hand beneath you and rub fast on your clit. “Even if I can’t mean it?”

Can’t, not don’t. You fucking sobbed at the sensation and nodded desperately as he played with your body like a toy. “So happy,” you practically babbled, panting onto the leather. Because he did mean it. You knew it, that he was there, bullying his cock into your right pussy instead of at home, for a reason. “Just tell me.”

A beat. Then another. He bent over you, so his chest pressed against your back, so he was crushing you beneath his weight. “You feel so much fucking better,” he said, practically panting in your ear as he fucked you. He was so deep that you felt whole, wished he would just stay there forever. “You’re tighter, and wetter— god— your pussy’s so, so, sweet, it’s fucking soaking me right now.”

You came when he said it, eyes rolling back, practically drooling onto the couch. Your cunt squeezed him, gushing as he bullied his cock inside your spasming walls. He made a weak noise in the back of his throat, like he knew you got off on him praising you and he fucking liked it.

“Are you gonna let me cum inside?” His voice sounded strained with thinly held restraint.

You nodded, whimpered weakly with the intense need for it. “Pleasepleasepleaseplease.” The words fell pathetically from your lips, over an over as he drilled into your sensitive cunt.

He came buried deep inside of you, so you felt the pulse of him, the flood of warmth. You whined as he pulled out and grabbed his clothes off the floor.

“You’re just leaving?” You asked with a frown, with big fat crocodile tears in your eyes as you stood up and pulled your clothes back up.

“Tashi thinks I’m visiting a friend from Stanford,” he said, looking at you with guilt plain on his face. For what he had done to you, or what he had done to her? You couldn’t even tell. It made annoyance sit hot in your stomach. “I can’t stay.”

“I thought…” you swallowed, played up your disappointment. “I thought you’d stay, maybe we could watch a movie, or order takeout. Did you… did you only come here to fuck me?”

He swallowed, looked at the floor. “I didn’t… it’s not that.” His gaze softened and he stepped closer, putting his hands on your shoulders. Touching you almost clinically until you blinked pretty, pathetic tears from your eyes. He pulled you into his arms, and you felt a thrill of victory.

His lips pressed against the crown of your head and you pulled back, peering up at him with glossy eyes. He sighed, let a soft smile spread across his lips. “Takeout sounds great.”

You smiled wide, stood on your tiptoes and pressed your lips to his cheek. “Yeah? Okay, just get comfy and I’ll order something for us.”

Art looked right at home in your living room, flipping through your TV for something to watch. You rejoined him on the couch, curled up sweetly against his side. It felt so right; the two of you happy and content and freshly fucked.

You tangled your fingers with his, gave his hand a small squeeze. He smiled over at you, kissed your forehead sweetly.

“Will you kiss me?” You asked softly, meeting his gaze. “Please?”

He leaned in, pressed his lips to yours softly, tenderly. You smiled into the kiss, keeping it sweet and chaste before you pulled back and squeezed his hand.

Yeah, you got your takeout and a movie. It was the least he could do.

@poppy-metal your mind is so amazing <3 I’m going to write the rest of this request also I prommy it’s just too good.

#olympics au #my writing #art donaldson #art donaldson x reader #art donaldson fanfic #challengers x reader #challengers fanfic

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murcielagatito · 9 months ago

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lets talk abt the stylization of danny phantom

so ive been an observer of phandom for a reaaallly long time now and ive noticed something thats had me thinking about this for a while. a lot of artists have mentioned they dont really know how to translate some of the characters into their own styles. this is something ive mostly noticed be said about tucker so i thought id make a little reference sheet type situation comparing the style of the show with a toned down version of my own

and its the fucking cheekbones!!! thats the part thats tripping yall up

-paulina has a slender face with high but soft cheekbones. shes a latina character so she translates to me as someone whose indigenous features are more prominent

-meanwhile sam has a rounder face and lower cheekbones than paulina does. the pic i chose honestly wasnt the best bc sams hairstyle covers their face a bit but moving on c i gotta to to sleep lmao

-valerie is NOT SKINNY and yet ppl stay drawing her that way. the show had its own issues with that itself but if you look at these characters by their faces alone it provides the necessary information to know that valerie has chubby cheeks

-dannys cheekbones are sharp and high but not as high as paulina's

-meanwhile tuckers cheekbones are sharp and low pero tambien el es un cachetón so he would have chubby cheeks as well. also it might not look like it but tucker wears a beret! id love to see more art of him wearing it :(

tucker danny and sam have natural eyebrows!! they dont do anything with them so if you wanna get more fun with it give em stray lil hairs n stuff!

and now the word cheek looks wierd to me ANYWAYS I REALLY HOPE THIS HELPS if yall want more facial breakdowns of any of the other dp characters lmk!

#im not even gonna start to say its kinda fucked up yall cant figure iut how to draw tucker but then are so easy to draw danny #like okay..... maybe look into that huh?#mi arte #danny phantom #dphantom #paulina sanchez #sam manson #valerie gray #danny fenton #tucker foley #art

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fawnforevergone · 1 year ago

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The Ultimate List of Dante References in Hozier's "Unreal Unearth" !!

Hello and welcome to my new-and-updated ultimate compilation of all 'Inferno' references I found in Hozier's new album! If I think of anything else, or if anyone else suggests something, I will be sure to add it, but, for now, enjoy this ridiculously long (you've been warned) list I made!

Since I didn't wanna make a post for every individual song and spam you all, the songs are separated by their respective circles! I hope that organises stuff a bit more :]

Usual disclaimer: I could be wrong about some stuff! I've read 'Inferno' and try to stick to the objective references, but sometimes I let subjective interpretation bleed through. If anyone has any corrections for anything, just lmk!! Okay, cool <3

DESCENT:

"De Selby (Part 1)"

We start the album not in the circles, but instead at the Gates of Hell. One of the main themes of Inferno is darkness, and these first two songs are embodiments of that.

The lyrics mention the idea of this being a "new empty space", suggesting that Hozier is being introduced to the feeling of Inferno through the relationship he's singing about, and, so, we begin the descent.

"The likes of a darkness so deep that God at the start couldn't bear." God is obviously a large theme of Inferno and is, biblically, the creator of light, hence the absence of it in Inferno. In fact, the first three stanzas all reference the heavy darkness of the threshold and its estrangement from God.

The Irish/Gaeilge lyrics roughly translate to: "Although you're bright and light, you arrive to me like night fall. You and I, together. You and I, metamorphized. Although you're bright and light, you arrive to me like night fall. The art of transformation is a dark art." The imagery of light and dark mixing together mimics the idea of walking from the brightness of Earth into the darkness of Inferno.

This entire album appears to be the recounting of a relationship and how it feels like walking through Inferno. Here we see the beginning of this relationship, of Hozier losing himself to the threshold.

"De Selby (Part 2)"

Part one appeared to be the step through the gates, whereas part two seems to be Hozier being enveloped by the threshold. In 'Inferno', Dante says the entrance to Hell is a darkness that no stars could shine in. We hear this shift from Earth to Unearth through the production alone; the weightlessness of part one falling into the heavy grunge of part two.

"Your heart, love, has such darkness, I feel it in the corners of the room." The theme of dark continues, as it will through the entire album, but, this time, Hozier feels it radiating from within his lover rather than the space around them. Though, him saying his lover carries darkness is not an insult. This extra depth to his lover is something more to know, something more to love. This idea actually differs from Dante, who sees the darkness as deceitful.

"I want to be so far from sight and mind." Inferno is a lawless place. He would be far from sight due to the darkness, and far from mind due to the insanity that persists within the circles.

"Let all time slow, let all light go." This lyric shows me that he has been submerged in the threshold. Again, the lack of light, but also the slowing of time. Punishment after death is eternal, something that time has no grasp on. Hozier is willing to let these aspects take a hold of him.

"I'd still know you not being shown you, I'd only need the workin' of my hands." Christianity is a heavy theme of Inferno, and this lyric plays on the proverb 'Idle hands are the devil's workshop', a proverb Hozier also hinted at in his song "No Plan" (from 'Wasteland, Baby!') - "My heart is thrilled by the still of your hand."

Now, though, Hozier's hands aren't idle, instead the opposite, his hands are working as God intended. Drawing us back to that idea we were given at the end of part one, we get the feeling that Hozier is bringing something light/Godly to Inferno, and he and his lover are fusing the ideas of Heaven/Earth and Hell.

FIRST (LIMBO):

"First Time"

We now enter circle number one, 'Limbo'. Limbo is an uneventful circle for those not worthy of punishment but also not fit for Heaven. It is mainly for those who do not believe in God, the unbaptised.

Firstly, to get to circles, Dante and his guide, Virgil, must be chaperoned by the Greek Psychopomp Charon down the river Acheron, and we see that in Hozier's first couple stanzas.

"And the soul - if that's what you'd call it, uneasy ally of the body - felt nameless as a river, undiscovered underground." This appears to be Hozier mentioning the river Acheron, one of the five rivers of the Underworld that surround Hades, and, in 'Inferno', are used to transport the souls of the dead to their respective circles.

"The first time that you kissed me, I drank dry the river Lethe." The river Lethe is another one of the five rivers, and is one that causes anyone who drinks from it to forget everything they know. Hozier is simply saying that kissing this person wiped his mind clean, similar to the end of "De Selby (Part 1)" where he mentions partaking in a transformation.

"Some part of me died / Some part of me came alive the first time that you called me 'Baby'." Relating to the previous quote, souls that drink from the river Lethe usually do so before being reincarnated, so they forget their past life. Hozier seems to experiment with the idea of being reborn by his partner's love for him - an idea prevalent throughout his entire discography.

"To share the space with simple living things, infinitely suffering, but fighting off - like all creation - the absence of itself." This lyric tells us that we should not ignore the privilege of living just out of the fear of dying. This lyric is reminiscent of "All Things End" and the circle of Heresy. Since Limbo is home to those who don't believe in God, the theme of Heresy is a very fitting one.

SECOND (LUST):

"When I was young, I used to guess 'Are there limits to any emptiness?'" The punishment for those in Limbo is to exist eternally with the curse of a hollow, empty feeling meant to represent the lack of God in their lives. This punishment seems referenced in this lyric.

[ i ended up thinking about this song more so if you want even more "first time" content, here ya go: "first time dante references." ]

"Francesca"

Into circle number two, 'Lust', we have the story of Francesca Da Rimini, a woman Dante spoke to during his visit to circle two. Francesca fell in love with her husband's brother, Paolo, and when her husband discovered the affair he murdered them both.

Hozier seems to be singing from the perspective of Francesca/Paolo but throughout the album we see Hozier liken his lover to aspects of Inferno - darkness in "De Selby (Part 2)" or Lucifer in "Unknown / Nth" - so the story of Francesca and Paolo is fitting as another metaphor here.

"Do you think I'd give up? That this might've shook the love from me?" Even in Hell, Paolo and Francesca physically cling onto another. They do not let their death affect their love.

"My life was a storm since I was born. How could I fear any hurricane?" The punishment in Lust is an eternal storm meant to replicate the throws of passionate love - a storm also depicted in the production of the end of this song. Hozier/Francesca/Paolo says that it's impossible for them to care about this punishment when life was already as treacherous as it was.

The whole chorus emphasises the imagery of Francesca and Paolo not being able to let go of each other.

"When the heart would cease, ours never knew peace. What good what it be on the far side of things?" Francesca and Paolo lived their love secretly and anxiously, so what good would peace be in the afterlife when they've already become accustomed to difficulty?

"Heaven is not fit to house a love like you and I." In the opening songs of the album, Hozier describes his lover as darkness, akin to something God cannot bear. Due to the depth of his lover, the mix of light and dark they've made, he believes Heaven would crumble beneath the weight of their relationship. That something as corrupt as Inferno is the only place suitable for them to live.

"I, Carrion (Icarian)"

Still in circle two, Hozier plays on Dante's own metaphor. In Canto 17, Dante refers to his own dread of descending Inferno to the same dread that the 'ill-fated Icarus' must've felt on his fall from the sky.

Hozier twists this, instead comparing his love to the hope Icarus must've felt as he flew towards the sun. He said, during a live show, this song is based on the idea hat Icarus never realised he fell, and woke up dead, too clouded by joy to realise what had happened.

"If the wind turns, if i hit a squall, allow the ground to find its brutal way to me." Again, we mention the storm of circle two. Lust is also said to have treacherous terrain - sharp rocks and jagged stone - that seems to be hinted at in the second half of this lyric.

"While you're as heavy as the world that you hold your hands beneath." This imagery seems reminiscent of the Greek Titan, Atlas, who holds up the Earth on his back. Dante talks about seeing Titans and Biblical Giants at the transition point of circle eight to circle nine, 'Fraud' to 'Treachery', which makes this lyric a sad hint to where Hozier will end up finding his lover; Taking the place of Lucifer in the deepest part of Inferno.

THIRD (GLUTTONY):

"Eat Your Young"

We enter the third circle of Inferno, 'Gluttony'. There are no specific references to Inferno, but the concept of gluttony is apparent. Hozier does what he frequently does throughout this album; He refuses to see the sin as "right or wrong" as Dante so stubbornly implies.

Hozier often divulges in a grey area, a spectrum or sale of severity, when it comes to the sin. Hozier's perspective seems more nuanced than Dante's, seeing sin as layered rather than objectively bad. In this specific song, he displays the different sources of hunger in humans, and where the line should be drawn.

"I'm starvin', darlin', let me put my lips to something, let me wrap my teeth around the world." We start, and reference back to in verse two, a sexual hunger, a harmless passion between two people. This is an innocent side of the sin, not deserving of the punishment of Lust which is to be ripped apart by Cerberus (the three-headed dog from Greek mythology) for all eternity.

However, Hozier moves onto the hunger of politics.

"Pull up the ladder when the flood comes." The government refusing to help the people when the sea levels rise.

"Throw enough rope until the legs have swung." When you don't have a ladder, you use a rope. This lyric plays on the notion of when governments give the impression they are helping, but are only making things worse - a take on the saying 'Give someone enough rope and they'll hang themselves', since what else are they meant to do with it?

"Skinnin' the children for a war drum, puttin' food on the table selling bombs and guns." The hunger for power manifests in war.

"It's quicker and easier to eat your young." Here, Hozier uses the common saying in a more literal sense, saying that if these politicians are hungry enough to destroy the world, they may as well physically eat their young, since it'll have the same effect.

FOURTH (GREED):

"Damage Gets Done"

This song takes place in circle four, 'Greed'! The title of the song alone is already very meaningful. In circle four, the main punishment is that the inhabitants are split into two groups and are forever forced to charged into each other and fight. Dante describes them are being so injured and damaged that they have become 'unrecognisable'.

The song is about greed within the changing of the world. It's about growing up and losing the naivety and innocence you once had, no longer able to ignore the burden of politics and money. Hozier and Brandi sing about the excitement of being young and in love, but, with the rise of inflation, it's hard to exist like that anymore - You need greed to survive.

"Wish I had known it was just our turn being blamed for a world we had no power in." This seems to be a reference to two things. One, the idea that governments blame the people for their own poverty, and Two, the idea of arriving in circle four by no fault of your own. It's not their fault they wanted more money with the world being how it is, but, nevertheless, they're being punished for it.

"I haven't felt it since then. I don't know when the feeling ended, but I know being reckless and young is not how the damage gets done." They talk about the enjoyment of the love they're singing about fading, and how they miss that, but they know that, again, this is not their fault. They know they didn't change, the world did, and they won't take responsibility for their 'sin' when all they did was adapt.

As aforementioned, the inhabitants of the fourth circle suffer extreme injuries, so Hozier saying "I know being reckless and young is not how the damage gets done" is him saying "I know that we are not at fault for being served the punishment of Greed."

FIFTH (WRATH / ANGER):

"Who We Are"

We enter the fifth circle, 'Wrath', where the inhabitants spend their time fighting to stay at the surface of the river Styx, another one of the five rivers of the underworld.

"Falling from you drop by drop." / "To hold me like water." These lyrics obviously give the idea of water, representing the river Styx.

"Or, Christ, hold me like a knife." This lyric comes in quite loudly, Hozier's voice strengthening with it. The subtle blasphemy of "Christ" and the violent imagery of "knife" comes across as a sort of anger. Being held "like a knife" is representative of how those is Wrath must feel - like they are something particularly dangerous, but still desperate to be held.

"We're born at night, so much of our lives is just carving through the dark to get so far." Again, this theme of darkness that is so frequently displayed in Inferno is mentioned again. After this song comes "Son Of Nyx", which Hozier said was the transition into the darker half of the album, and Nyx is the Goddess of the Night. Being "born at night" would make Hozier the son of the night, the son of Nyx. This gives the impression that, if the album is following on chronologically, this is the point where the relationship portrayed in the album begins to fray as Hozier starts to be consumed by the darkness.

"And the hardest part is who we are." Those in the circle of Wrath possess a 'savage self-frustration' that Hozier seems to represent throughout this whole song - A fierce annoyance with the way he and his lover let things go: "We sacrificed, we gave our time to something undefined", "Chasing someone else's dream", Etc.

SIXTH (HERESY):

"Son Of Nyx"

We have no lyrics for this song (though you can hear him faintly saying some things, one of which is him saying "who we are...") but we know it takes place in circle six, 'Heresy'. Heresy is a belief or opinion that is contradictory to religious doctrine, especially Christianity. As aforementioned, Hozier said this track is a transition song meant to replicate a descent into the darker half of the album.

Nyx is a Greek Goddess and is often known as the personification of night. She had many children all representing different things but the title would essentially mean 'The Son Of Night', and, as dissected in the previous song, we can see that Hozier sees himself as reborn into the darkness.

Once again, darkness is a large theme of Inferno, but Hozier saying in circle six that he is the Son of Night is particularly meaningful due to the association of light with God. He has been reborn as something that could not be further from God, something that opposes the idea of God, something of a Heretic.

Nyx was feared and respected by all, including Zeus, and, though I believe there is no reference to her in Inferno, she was described as residing in the dark recesses of the Underworld, which is heavily incorporated into Inferno.

"All Things End"

This song does not have many overt references to circle six but definitely incorporates the idea of heresy. As mentioned, heresy is an idea that contradicts (especially, but not always) Christianity. In this song, Hozier talks about the ephemeral nature of all things, particularly romance.

"When people say that something is forever, either way it ends." Whether it be death or a break-up, God doesn't plan for you to be able to spend eternity with your lover.

"Movin' on in time and taking more from everything that ends." Hozier, however, argues that things still have meaning beyond their end. That, even after moving on, we will remember and learn from the things we have lost.

"Just knowin' that everything will end should not change our plans." Throws back to the idea of the second verse of "First Time". If you avoided something just because it was going to end eventually, you would never achieve anything. That's like refusing to finish a movie just because you don't want to get to the credits.

When this concept of ignoring the end comes to death, we ultimately cross the concept of God. There are many rules people follow in religion, avoiding certain things because they are against 'God's Will'. Although this practice can be kept in moderation, it can quickly become self-imprisoning.

Not living your present life out of fear for an unproven afterlife can be limiting, especially if you dictate who you love due to what supernatural punishment may or may not follow. Hozier sings that we should not let God's plan interfere with what we need from life, allowing ourselves to indulge in love even if it will end - ultimately, Heresy.

SEVENTH (VIOLENCE):

"To Someone From A Warm Climate (Uiscefhuaraithe)"

This song places in circle seven, 'Violence'. Violence is split into three subcategories, or 'rings'; Violence against others, violence against self, and violence against God. I believe this song gives an overview of all three.

With this song, we recognise that the title says "To someone..." and Hozier said this song was a gift to someone who was from a geographical warm climate, but there is also a lot of heat in circle seven.

"A joy, hard learned in winter, was the warming of the bed." Throughout this song, Hozier describes himself as cold, and his lover as warm. The idea of warming the bed is a concept Hozier mentioned in his song "Nobody" (From 'Wasteland, Baby!') where he sings that, if he had a choice between the warm bed of his lover or performing on stage, he'd go home to the bed. Since this song comes after "All Things End" (the break-up song), this call back to "Nobody" could be instead referencing a permanent distance, rather than a temporary one (like the temporary distance in "Nobody").

"And, darlin', all my dreaming has only been put to shame." This could have two meanings. One, Hozier waking from a dream about his lover to find them not here. Or, two, Hozier's expectations of his lover falling short as their relationship has finally fallen through. These expectations could be a form of violence against self, the second ring, as he set himself up for heartbreak.

"And I wish that I could say that the river of my arms have found the ocean. I wish I could say the cold lake water of my heart- Christ, it's boilin' over." As mentioned, Hozier is cold, his lover is warm. His wishes he could find something to to fill the loss of his relationship, but he still feels the heat from his lover in every part of him.

"It's boilin' over." References the river of boiling blood in the first ring, violence against others, Hozier could be talking about the way his partner loved him, how that was almost an act of violence with how hard it is to now let go.

"Butchered Tongue"

This song has less references to 'Inferno', and is more of a commentary on the act of violence itself. Hozier sings of places and cultures lost to the violence of man, and he mourns this deeply.

"To say 'Appalacicola' or 'Hushpukena', like 'Gweebara'. A promise softly sung of somewhere else." This grieving for a time when native land wasn't colonised and culture wasn't violently erased is prevalent throughout the song.

In the second verse, he sings very strongly of the brutal acts inflicted upon Irish rebels by the British forces in the Wexford Rebellion of 1789. As we know, Hozier is from Ireland, and he incorporates both the Irish language and history into this album, and recounting such violent acts for this song feeds into the grieving of what has been lost: "Between what is lost forever and what can still be known."

In the context of 'Inferno', it feels as though Hozier is listing the sort of actions that would land someone within the circle of Violence whilst also appreciating the efforts those above ground take to preserve erased culture. Altogether, the song is a very moving commentary on modern violence.

EIGHTH (FRAUD):

"Anything But"

The eighth circle is 'Fraud', split into ten subcategories that are positioned around the circle in trench-like ditches, known as 'Bolgia'.

"I wanna be loud, so loud, I'm talking seismic," follows up with, "I want to be as soft as a single rock in a rain stick." Who he wants to be fluctuates between moderation and severity. He is changing, unreliable, possibly referring to bolgia one, Panders and Seducers. Seducers tend to 'lead astray', as Hozier's unreliable narration does.

The punishment of bolgia one is to be marched backwards and forwards rapidly whilst being whipped, very much evoking the imagery of a stampede: "If I were a stampede, you wouldn't get a kick." This alludes to the fact that if Hozier were sent to hell for the various sins he commits for his lover, he wouldn't resent them for it at all.

"If I was a riptide, I wouldn't take you out." The second bolgia of Fraud is for Flatterers, 'the act of giving excessive compliments, sometimes for romantic courtship'. Obviously, the song is filled with these compliments.

"I hear He touches your hand and then you fly away together. If I had his job, you'd live forever." The imagery of "fly away" gives the idea of ascending, perhaps to Heaven, as hinted at again by the idea of the longevity of living. Bolgia three is for Simoniacs, those who would sell church roles, offices, or sacred things. This seems to fit with Hozier saying that if he had a divine role, he wouldn't follow protocol, he would allow his lover immortality.

Simoniacs were sinners because they were disobeying God's trust, because the selling of divine roles would lead to corruption in the Church. Hozier is using this hyperbolically, saying that if someone were to sell him the role of God, he would most definitely be a corrupt power.

"I'd lower the world in a flood, or better yet I'd cause a drought." In bolgia four we have Sorcerers. Although Dante used this term in a more logical sense for fraudulent sorcerers - false prophets, fortune tellers, those who lied about the plans of God - Hozier uses the term in a supernatural sense. Sorcerers were punished for trying to interrupt God's prerogative, whereas Hozier is blatantly saying he would summon another flood, usurping God's plan overtly.

"I'm talking seismic." The bridge that leads to bolgia seven was collapsed by the great earthquake and, as we know, seismic activity leads to earthquakes.

"Worry the cliff side top as a wave crashing over." There happens to be a cliff near the entrance of circle eight that a large waterfall plunges over.

"Abstract (Psychopomp)"

This song appears to be the crossover point from circle eight to circle nine that I mentioned when discussing "I, Carrion (Icarian)". Before we get to that, the title itself is significant.

A psychopomp is a chaperon of death; Someone like the Grim Reaper, or Charon from "First Time", or Dante's guide through Inferno, Virgil. Here, Hozier is describing the act of hitting an animal with your car as taking on the role of a psychopomp, whilst also relating this idea to the act of letting a relationship die, leading it from life to death.

In the crossover point from eight to nine, Dante and Virgil stand and look at the large well that leads down to circle nine, 'Treachery'. The Titians and Giants burst out of the well, to big to fit, but their feet stand stubbornly in Treachery. I believe that, at this point in the album, Hozier stands here, too. He's visited all eight circles, and has one last place to go before he leaves Inferno, and ultimately his lover, behind. This song is him realising he has to let his relationship end, he has to act as a psychopomp for his love.

"Sometimes it returns like rain that you've slept through." Circle nine, 'Treachery', is a frozen over lake, aka a memory of water, similar to the residue of rain. With viewing this song as the predecessor to "Unknown / Nth", we can take this as a hint of what's to come.

"The Earth from a distance." Since Inferno is arranged in rings (like a circular staircase), Dante could feasibly look up and still see where he started his journey. The same way Hozier could look up and see where his relationship began, "De Selby (Part 1)", The Gates.

"Streetlights in the dark blue." We have the mix of light and dark again, as mentioned in the opening track, referencing back to Hozier and his partner falling in love.

"Darling, there's a part of me I'm afraid will always be trapped within an abstract of my life." Of course, Hozier is talking about the memory of the animal hit with the car here, but the way this relates to circle nine is beautiful. As we'll properly dissect with "Unknown / Nth", sat within the most central point of circle nine, the deepest part of Inferno, is Lucifer, the fallen angel. Lucifer was thrown down to Hell from Heaven, and found himself trapped in Treachery, his body too big to escape. Dante says that the more he struggles, the more stuck he becomes.

That moment he was struck down to hell is a moment he finds himself forever stuck in, just as Hozier is saying here. In the next song, Hozier relates his lover to Lucifer, but these lyrics are a gorgeous mirroring of Lucifer's experience, and another hint at the final circle we will now head to.

NINTH (TREACHERY):

"Unknown / Nth"

Okay, buckle in.

The ninth circle, 'Treachery', is also one split into subcategories, yet Hozier appears to be singing about the centre. The frozen over lake of Treachery gets more frozen the closer you get to the centre. The inhabitants start half-submerged in ice to fully plastered in it. Throughout Inferno, and the deeper we descend, a soft breeze becomes a strong wind, that, as we reach the centre, we find is caused by the violent flapping of Lucifer's wings. Here he sits, stuck and chewing on Judas, another one of God's biggest betrayers.

After "Abstract (Psychopomp)" Hozier is now exploring the final stage of his relationship. The circles of Hell had mirrored the love he once had, and Treachery is where it shall be buried. He also represents his lover as Lucifer, though not maliciously. In interviews, Hozier spoke about the song being about a heavy betrayal he suffered from someone he truly loved, and likening this to God and Lucifer is just heartbreaking.

"You know the distance never made a difference to me." The song is about knowing someone in their entirety, discovering their best and worst parts. Hozier uses Inferno to talk about the tiresome journey of finally knowing someone. He says he would've made the trip all the same, that he would've walked this far for his lover no matter what.

"I swam a lake of fire, I'd have walked across the floor of any sea." This mirrors the previous lyric, but also references specific parts of Inferno. The are many fires in Inferno, particularly in circle seven, 'Violence'. The sea floor lyric reminds me of the lake of Treachery. Though a surface, not a floor, the lake would still be below any seabed, since Inferno is geographically below the Earth.

"Funny how true colours shine in darkness and in secrecy." You guys are probably sick of hearing me say it but... Darkness is a big theme in Dante's Inferno. It is meant to represent the deceiving nature of humans when light is not being shone. Secrecy is a running thread through 'Inferno', too, as Dante finds many people he thought had done no wrong residing there. Hozier is simply saying how (sarcastically) funny it is that he only truly knows his lover in the remains of their relationship; How he only knows them after seeing them in their cruellest form.

"Where you were held frozen like an angel to me." There are many angel lyrics, but this one specifically references the ice of Treachery. The fallen angel is indicative of Hozier's experience: Seeing someone he regarded highly, even heavenly, falling from that pedestal and turning into something that couldn't be further from God's work.

"You called me angel for the first time, my heart leapt from me. You smile, now, I can see its pieces still stuck in your teeth, and, what's left of it, I listen to it tick. Every tedious beat going unknown as any angel to me." Hozier references his ex-lover chewing on his heart the way Lucifer chews on Judas. He listens to it somehow still ticking, however slowly, and at the end of the song we hear something akin to a heartbeat. The beats are "going unknown as any angel to me" since he can no longer recognise his own heartbeat after it has been mangled by another, and, since he mistook someone alike Lucifer to an angel, the idea of angels must be "unknown" to him.

"Do you know I could break beneath the weight of the goodness, love, I still carry for you? That I'd walk so far just to take the injury of finally knowing you?" We again have this imagery of walking far, referencing the journey of Inferno, and, even though he's aching with the realisation of who his lover truly is, he can't help but be grateful that he does now know them, no matter how painful that may be. That he would do this all again if it meant he at least got to the answer of who they are.

His weak heartbeat follows him through to final track as we begin the Ascent.

ASCENT:

"First Light"

The title is very meaningful for the Ascent. The song references both Dante and Virgil's ascent and the creation of light by God himself. Dante and Virgil leave Inferno through a tunnel that Lucifer left in the Earth as he was thrown down to Hell, and they emerge on the other side of the hemisphere. This song signifies Hozier stepping away from the relationship as he also makes that journey out.

"One bright morning changes all things." Dante is disorientated when he exits Inferno. He'd become so accustomed to the darkness that he asks Virgil, 'How is it that the sun progressed so rapidly from evening to day?' Hozier seems to recognise here that his relationship is no longer fit for him, that the darkness has become too encompassing, just as Dante realises on his ascent.

"The sky set to burst, the gold and the rust, the colour erupts...the sun coming up." Not only does this give the imagery of the birth of light, but it also represents Dante's view on his exit: 'Until...I saw the lovely things the sky above us bears. Now we came out, and once more saw the stars.'

"Like I lived my whole life before the first light." Hozier says that the darkness from his lover was so overbearing that it was hard to believe he'd ever felt light before - that light could not have exists with a darkness this heavy alongside it. It is a call back to "De Selby (Part 1)" - "A darkness so deep that God at the start couldn't bear."

"One bright morning comes. Darkness always finds you either way, it creeps into the corners as the moment fades." He speaks of bringing light to a moment between them, but has it quickly smothered by the darkness inherent in his partner. Another call back, this time to "De Selby (Part 2)" - "And your heart, love, has such darkness, I feel it in the corners of the room."

"After this I'm never going to be the same, and I am never going back again." This lyric is heart-breaking. Hozier states that Inferno has changed him, but he has no wishes to re-enter it. At the beginning of this album, he was begging for the likes of Inferno - "De Selby (Part 2)": "Let all time slow, let all light go." - and now he is desperate to get away from it. In "Francesca", he said, "At the end, I'd tell them, 'Put me back in it.'", yet, now, he's at the end, he's ascended, and he has no desire to go back at all.

He is letting go of his lover because he recognises that this pain was not worth it, that this love was not worth the punishment he received, so he leaves.

---

That was Hozier's Inferno !! I hope this was helpful to some people since it was very fun to make (I'm exhausted) and it's very enlightening to see how these lyrics relate to Inferno (I'm heart-broken) !! Okay, wooooo !! Enjoy !!!

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harksness · 5 months ago

Text

Distraction

A/N: i suffer from severe agatha harkness brainrot 24 hrs a day 7 days a week. i also couldnt help but make this one a little sweet too ajsadkgj im so down bad for her

the request!

Warnings: hand kink, quickie, slight mommy kink bcs im a hoe who can't write smut with agatha without working that in at least a little bit. lmk if i missed any warnings as per usual <3

WC: 3.5k

You find every little thing about Agatha to be insanely attractive. How could you not? She’s absolutely perfect. Her smooth, sultry voice and calculated words. Her pretty blue eyes that always seem to have that mischievous glint to them. Her tempting pink lips that are almost always quirked into that evil little smirk of hers. And oh God her hair, her wild hair you could play with for hours.

She's ethereal. Agatha Harkness is the definition of beauty and all of its synonyms. Alluring, lovely, heavenly, ravishing, irresistible, beauteous, divine, bewitching and as ravishing as they come. Something pulled right out of your dreams, or some grand work of art.

But something about her hands just stuck out to you. They drove you crazy.

Her long, nimble fingers.. Watching how deftly they work her magic, the fluid movements she makes with them always has you biting your lip and wondering if she’d repeat those same movements elsewhere.

As if you didn’t have a hard enough time keeping your eyes off of her hands, all of those pretty rings she found recently aren’t helping. They draw more of your attention to how skilled she is with her long digits, the soft silver, the pretty jewels and carvings into the metal always catching your attention. The problem is that once that happens, you just can’t seem to get your attention off of them.

You clear your throat, catching yourself staring at her hands… Again. Reluctantly, you refocus your attention back to the meeting at hand as you quickly cast your gaze over all of the people sitting around you, Agatha’s voice background noise.

Your lover finds your gaze as she’s speaking to the group, sending a quick wink your way.

Immediately you feel your cheeks flushing when you realize that’s her way of telling you that you’ve been caught red handed. Billy, of course, catches on right away with a little gasp as he raises his hand into the air, a sly grin overtaking his features as he interrupts Agatha.

“Can you two stop flirting with each other for five minutes? It’s so distracting for the rest of the class.”

You pinch your lips together at his words. Ever since you two became a thing and he figured out about your relationship, he’s really taken to the two of you as his “gay aunties”, loving to tease you every chance he gets about your sappy romance.

There’s a few beats of dead silence in the room as everyone waits for Agatha to say something.

“What are you talking about?”

She’s so obviously just trying to mess with the younger wiccan.

But still, even knowing this you try so hard not to smack your hand to your forehead at her response. She’s had over three hundred years to master the art of snappy comebacks and witty one liners, her charisma is off the charts. You’d personally say she’s more skilled with how she uses her words in conversation than magic itself, it’s one of her greatest weapons.. But that’s what she decided to say?

“Really.”

Billy says, less of a question and more of a statement. You release a big sigh, and you can feel Rio rolling her eyes from the spot next to you.

“I mean.. Of course I can’t go five minutes without flirting with my girl.. Have you seen how gorgeous she is? How impossibly perfect?”

Agatha says, gesturing towards you dramatically. You’re surprised that you haven’t passed out from the amount of blood rushing to your cheeks, a bashful smile crossing your lips at how outspoken and dorky she is.

“Eugh! You two are too cute.. I need to go vomit…”

Billy is smiling regardless of his teasing.

“Oh! Absolutely feel free to do so! Meet back here in ten minutes!”

Agatha claps her hands together excitedly, a puzzled look crossing the boy's features.

“I was only joking..”

No one seems to pay any attention to the words he mumbled under his breath. Agatha was just so eager to take him up on the offer.

She’s being so dramatic with her hands- waving them around and gesturing so much more than usual. Not many other people would notice, considering how dramatic Agatha just is as a person, but you do.

Rio rolls her eyes at you, the slightest smirk tugging at the corner of her lips.

“You two are worse than lovesick teenagers.. Disgusting.”

You smile softly, watching Agatha shoot you a look before she leaves the room, her gaze lingering against yours as she quirks an eyebrow at you suggestively. Slowly she presses down on the door handle and pushes it open, the door swinging closed behind her a moment later with a soft click.

“I know, it’s so disgusting…”

You’re barely paying attention as you get up to follow your witch. You cross the room, winding between the fold out chairs and the women stretching and mulling about as they take advantage of their free time. Pushing the door open, you scan the room quickly before finding her leaning on a wall across from you.

“Sooo…”

She starts as you approach, holding her hands out in front of herself, as if examining her nails. You cross your arms over your chest, pouting slightly at her incessant teasing.

“Someone seems to be fixating on my hands..”

Agatha holds them up, palms facing her as she wiggles her ringed fingers at you, and wiggling her eyebrows to match. You roll your eyes playfully.

“No..”

You simply say, once again as you feel your cheeks flush in embarrassment. She lets out a disappointed hum.

“Shame. Because if you were.. I was going to suggest that we go into the back room and take your mind off of my hands for a little bit.. And put my hands on something else…”

Agatha implies suggestively, your eyebrows shoot up and your eyes widen at her suggestion.

“With everyone in the next room?!”

You hiss at her in surprise, terrified that someone was going to walk in on your conversation, let alone catch the two of you in the act. She shrugs, indifferent.

“Two rooms over.”

You watch for a moment as she slowly saunters over to the next door, leaning against it with her back to push it open and hold it ajar for a moment. She raises her wrist, shrugging down her sleeve to check her watch as two strands of her curly brown hair fall over her features, blue eyes lidded as she looks down.

“Eight minutes..”

She trails off suggestively, and that’s all you need to remind yourself this isn’t a daydream as you run after her, following her into the dingy little storage room.

The door falls shut. It’s dark, and you’re about to start groping around for a light when suddenly a warm orange glow fills the room with a little click as Agatha pulls on the string hanging from the lightbulb on the ceiling.

The room is filled with random boxes and equipment piled up and leaning on the walls, and conveniently- a worn, plush, yellow chair that used to sit out in the main room. You raise an eyebrow at Agatha as she plops herself into it, leaning back and spreading her legs as she leans one arm on the armrest, the other coming up to her mouth as she bites one of her gaudy rings.

Her hair is piled on top of her head, two strings of hair hanging in her face. Her coat is unbuttoned and fanning to the sides as the purple fabric of her nice dress pants stretch around her soft thighs perfectly.

She’s smirking around the ring she’s biting, eyebrow quirked curiously as she gazes up at you with her mischievous blue eyes. Agatha pats her thigh invitingly.

“Come have a seat, baby.”

You could’ve melted into the ground right then and there.

You’re sure you look a lot less put together and sexy as she does as you basically scramble to jump into her lap, your knees sinking into the plush cushion of the chair as you straddle her thighs. She smiles warmly up at you, humming happily as a hand comes up to rest on your waist.

“Good girl..”

Agatha praises, looking up to meet your gaze as she trails a hand up your waist lovingly. Her other hand comes up to stroke at your thigh, sliding slightly up under the hem of your skirt. Your breath hitches in your throat.

She raises the hand from your waist, fingers curling around the back of your neck as her thumb caresses your cheek… The cold of her rings digging into your skin. You lean into the feeling.

“C’mere..”

Agatha speaks softly as she pulls you down to meet her lips, your eyes fluttering closed as her soft lips move against yours. You hum into the kiss, raising your hands to rest on her shoulders.

She runs her hand further up your skirt, her soft skin smoothing over your hips and across your ass as she squeezes the plush skin lovingly. Your hands caress the exposed skin of her neck, toying with the loose hairs hanging from her bun.

Her warm hands run along the line of your lacy underwear, tracing back up over your hips, then down between your legs. Your breath hitches, breaking the kiss as a soft, breathy moan escapes your lips when her fingers trail downwards and start to grind her fingers up against your center. Gently she presses her fingers up against you, and you rock against her, little sighs of pleasure falling past your lips. Agatha’s eyes are lidded, but fixated on your features, her gaze flickering to your lips and her smile quirking upwards just the littlest bit every time you let out a desperate noise.

“You make the prettiest noises, angel..”

Agatha whispers against your skin as she starts to leave lingering kisses along the exposed skin of your neck. You raise your hand to cradle the back of her head as she presses her fingers into you more firmly, your hips rolling against her hand desperately as you toy with her hair.

“Mmm.. Ag’s, please.”

You plead into her hair, all you can focus on is the sparks of pleasure you’re receiving, just enough to keep working you up but not get you anywhere. Your features twist in frustration.

“What’s wrong baby, is this not enough?”

Leaning back, you notice the taunting smirk etched onto her lips. You narrow your eyes at her, unable to help the little pout that overtakes you.

“Please.. We don’t have a lot of time..”

Agatha hums in thought, moving her hand that was cradling your neck to wrap around your jaw. The metal of her rings have heated against your skin, and it feels good to have them bite into your cheek just a little bit as you press back against her hand.

“Oh, sweet pea, I know you can do better than that.”

She quirks an expectant brow at you and you know what you have to do.

“Please… Agatha I- I haven’t been able to stop thinking about you and how good you are with your hands... I’m so desperate for it.. Mommy, please, I need you..”

You do your best to pour your heart out, knowing you sound like a scrambling mess, but also knowing Agatha loves it when you sound that way. When you're desperate and keening for her, and she always melts when you call her Mommy. You know her weakness just like she knows yours.

You were right because you can feel the air around her shift a little bit, her lips hanging open and blue eyes clouded with desire as she looks up at you.

“Such a good girl, baby..”

Agatha says lowly, crashing her lips onto yours one more time in a desperate, frantic kiss before she pulls back, splaying her fingers out as she makes a show of taking off her rings. Your eyes drop to her hands.

She pinches her fingers around one, twisting it to the side as she slowly drags it off of her long fingers before setting it on the armrest to her right. She repeats the action over and over, until a little line of rings is forming.

Once she has her dominant hand free of rings except for one, you grab her wrist shyly.

“Here.. Let me help..”

Agatha gazes up at you curiously as she waits to see what you’re going to do.

You carefully bend her fingers so that they’re all curling in towards her palm, her pointer finger the only one sticking out. You raise her hand to your mouth, biting down softly onto the chunky metal ring pressed down to her knuckle, and using your teeth, you slowly pull it off of her finger, dragging your tongue along her soft skin as you do.

She watches you intently, eyes locked onto your movements. When it’s off of her finger, you raise your head and take it from your mouth, placing it with her other rings, completing the little line. Agatha’s staring up at you with parted lips and a wide smile.

“Well, that was insanely hot..”

She says breathlessly before pulling you down to kiss her again, your lips melding as you moan into her mouth. You don’t think you could ever get tired of how good her smooth, warm mouth feels against your own as she claims you, quickly taking control of the kiss. You also don’t think you could ever get sick of her taking what she wants from you, because you’ll gladly give her anything and everything you can.

Agatha’s hand starts to travel up the plush inside of your thigh, running her fingers over your skin lovingly as she reaches your center once again. Pulling your underwear aside, you gasp against her lips as she runs her fingers through your wet folds, softly parting you and gathering your arousal on her fingertips before finding your clit.

“Oh my poor girl.. You really were so worked up just from looking at my hands and imagining what I could do to you with them, hm?”

She asks you with such a cocky grin on her face. You moan softly, desperately as she toys with you, experimentally drawing patterns over your clit before dragging her fingers back to your soaked entrance.

“Ohhh, oh yes…”

You let out a long moan as she gently, carefully eases one finger into you. She’s smirking up at you, leaning down to press sweet, wet kisses into your neck as she starts to move, experimentally, getting you used to her touches before she can really fuck you.

“I’ve really got a hold on you, don’t I?”

She speaks against your skin, shifting forward a bit as she carefully slips another finger into you, and you moan at the stretch. She curls them with every thrust, the pads of her long fingers brushing against your sweet spot with precision. You brace yourself, mouth falling open in a silent moan as you curl your fingers around the top of the chair, gripping it tightly as you begin to feel your orgasm building, tension winding in your abdomen.

“Haa.. Oh, yes, Ag’s.. You do, more than you know.. You’re my everything..”

You pant out desperately, the rough fabric of the old chair scratching your knees but you don’t care. Being the center of Agatha’s attention, being touched by her like this, is the most important thing in your world. It’s all you want and you’ll savor every moment of it. Rugburn can be a future you problem, and you won’t regret it one bit. You know you’ll smile at your scraped up knees when the injuries remind you of how you got them.

“Am I now?”

She has that taunting tone to her voice that you fear but also adore so much at the same time. You hum in agreement, nodding your head in affirmation as your eyes pinch shut, an overwhelming amount of pleasure starting to make you slip and lose control of your senses as she keeps working at your center.

“Oh- Shit!”

You gasp out a bit louder than intended, throwing your head back when you feel the familiar sensation on your clit- her magic pressing into your sensitive nub has you digging your teeth into your bottom lip hard.

“Please, baby.. Tell me more about how much you adore me..”

She ghosts her lips against your ear, working her fingers faster, lingering her thrusts so that they can curl against that sensitive spot inside of you that has you seeing stars. You don’t know how much longer you’re going to last, you can feel your legs beginning to tremble. Agatha raises a hand under your skirt so that she can fondly caress your hip, her fingers savoring the soft feeling of your skin under her hand. You love her warm hand pressed against you, and the metal of her rings against your skin.

You’re letting out short and desperate moans of pleasure as you attempt to speak. You try to form a coherent sentence, but fail.

“You’re everything to me, Agatha… God.. Oh my God, you’re so perfect.. So beautiful… So, so good to me..”

You mumble out, your thighs tensing as you desperately try to focus your attention on keeping your balance. You can’t help it, all of the stimulation is so much, you can feel yourself tumbling towards the edge as you lean against the back of the chair. Agatha plants her lips against your neck, her free hand running over every inch of exposed skin she can reach as she speeds up her movements, your hips rocking intime with every thrust of her long fingers deep into your waiting cunt.

“Haa.. Oh, Agatha… You take such good care of me.. Ag’s.. Love you so much..”

She laughs softly against your skin, her tone laced with so much fondness and adoration.

“You can’t even form coherent sentences… I love seeing you like this.. My girl, so desperate for me and anything I’ll give… I love seeing you so wrapped around my finger..”

Agatha leans back to watch you as you become overwhelmed with the pleasure she’s giving you, to enjoy the mess she’s made of you as you desperately paw for her. You whimper out as you nod your head, feeling the pressure on your clit intensify. Your lips for a wide o, your movements becoming frantic as you rock against her hand, but her movements remain controlled and steady to guide you through your high.

“Yes! Yes I am! Yes, anything.. Anything, Ag’s..”

You babble mindlessly, your nails digging painfully hard into the soft fabric of the chair, nearly biting into the wood underneath.

“Oh! Cumming! Oooh..”

You moan out, your movements sloppy against her hand as you feel electric pleasure shoot through you. You tense up, your thighs trying to clamp shut but finding themselves unable to, so instead they just violently tremble as Agatha guides you through your orgasm, peppering sweet kisses up and down your neck, an arm wrapping around your waist to support you and a smile toying on her lips as she talks you through..

“Such a good girl for me, baby… Oh, you’re so pretty when you cum.. I could never get sick of seeing you like this.. So pretty..”

You let out a pathetic hum as you collapse and melt into her lap, your body limp and exhausted as you relax. Agatha guides you to lay against her chest as she slips her fingers out of you, wrapping her arms around your shoulders and pulling you as close to her as possible.

“Oh, sweet girl.. You did so good for me..”

She speaks into your hair, leaving little kisses along your head as she guides you to lay against her chest. You smile, burying your face into her neck, trying to take in as much of her as you can.

“Mmmm.. You also did so good for me..”

You cast her a knowing look and she grins in response.

“Happy to be of service.”

You’re desperately trying to catch your breath as Agatha lovingly runs her hands along your body, petting your hair into place, giving you little kisses wherever she can reach to help you calm down and catch your breath. You’re mushy, overflowing with love for the older woman as you wrap your arms around her middle and bury your face into her neck.

Suddenly there's an insistent knocking on the wooden door.

“Okay, lovebirds… Or horndogs.. We’ve been waiting on you two for twenty minutes. Make yourself decent and come on out.”

Rio’s familiar voice calls from the other side of the door, agitation lacing every word.. You groan out, embarrassed as Agatha laughs.

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