#but nearly 10 years later I still don't know HOW or WHY

[dahairoman]

I'm at a new gig, one of my coworkers is an absolute bombshell of curly hair and today she confessed to have a crush on one of our trainers that legit looks like Alfalfa from Little Rascals 10 years later. Every girl in the group agreed, and 1 hour later she proceeded to fall asleep in his lesson.

The point of this post is, those dudes that say "hot girls will only go for alpha macho assholes" have 0 idea what women are actually attracted to, but tbh, the whole thing is pretty flabbergastling...

[wavesoutbeingtossed]

re: your tags in your reblog about how taylor hasn't felt the need to fly back to the states during the euro leg and how travis was the one to go to her during his off season and the surprise pikachu of it all for her. think there are several things that have elicited that reaction from her where she's realized no, it didn't have to be the way it was despite maybe being made to feel the opposite at the time

Yup.

Again this is probably veering close to territory I don't/shouldn't get into on main because ultimately I don't think there's anything to add and it's all stuff we'll never know.

That being said, lol, I think there's been a lot in the last year that Taylor's discovered that has made her wonder about why she felt she needed to do things the way she did, and I don't even just mean in terms of her relationship. We've all kind of seen her blossoming in ways I suspect surprised even her.

But relationship-wise, I wouldn't be surprised if the way things seem to have felt easy and secure from the start with Travis made her wonder why it couldn't have been with other people in the past (ahem) and more than a little angry for a bit about how easy it is for her current partner to be supportive in a way that comes naturally when her previous one(s)... was(were) not. Obviously I can't speak for Taylor, but I certainly would have a moment of Petty Betty-ness for a little bit.

[personnage-neutre]

"Tintin, quel âge as-tu ?"

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

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

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

This is a long post.

I. Intent

Official sources

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

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

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

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

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

Responses to reader questions in the Journal Tintin

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

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

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

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

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

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

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

Real-life incarnations of Tintin

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

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

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

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

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

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

Comparisons with contemporary characters

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

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

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

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

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

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

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

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

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

Textual evidence

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

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

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

(Les Bijoux de la Castafiore, p. 37)

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

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

(L'Île Noire, p. 29)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(Destination New-York, p. 41)

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

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

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

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

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

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

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

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

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

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

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

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

II. Interpretation

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

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

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

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

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

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

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

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

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

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

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

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

[shiplessoceans]

Moments in House MD that made me absolutely feral as an O.G fan that watched it as it aired back in the naughties, shipping House/Wilson hardcore and not realising I was queer:

1. Wilson loudly reciting a poem to House as he enters the hospital lobby which contains the line: "His manly chest, his stubbled jaw, everything about him leaves me raw.'

2. The look on Wilson's face when a random clinic patient gives House advice about his date with Cameron.

"Do her....or you're gay."

*cue Wilson looking to the side like...wait a minute...*

3. House: "They were not Prada! you wouldn't know Prada if it stepped on your scrotum."

4. Wilson: "House I believe you're a romantic, you didn't just believe him, you believed IN him! Wanna come over tonight, watch old movies and cry?"

5. House (yelling across a crowded lobby to Wilson): "How long can you go without sex?"

6. The look on Wilson's face when he gets a masseuse for House (!) and she massages his hand, causing him to begin moaning orgasmically.

7. Stacey: "What are you hiding?"

House: "I'm gay... Oh that's not what you meant! But it does explain a lot thought. No girlfriend, always with Wilson..."

8. House watching Wilson sleep on the couch in his apartment, then quietly erasing a voicemail from a real estate agent saying Wilson's apartment application for a new place went through.

9. Wilson, explaining his infidelity during his previous marriage, to Cameron when she's feeling awful because she considered cheating on her husband while he was dying:

"Well my wife wasn't dying, she wasn't even sick. But I met someone who made me feel...funny. Good. And I... didn't wanna let that feeling go."

The lack of pronoun haunts me to this day.

10. Gay male patient harassing House and questioning why he won't treat him:

Patient: "Because you're a closet case?" (Eyeing House and Wilson who have just emerged from House's apartment)

Wilson: "Uh...we're not...together..."

House: "He is so self-loathing."

11. House nearly kills himself to attempt to prove there is no afterlife, Wilson waits over his bedside and then calls him an idiot and orders him extra pain medication. House's response is:

"I love you."

12. House: "Big romantic weekend in the Poconos could change everything."

13. Wilson refusing to participate in a board vote to oust House from the hospital and consequently losing him job for House. Wilson's furious with him over being put in that position but forgives House easily.

14. Wilson (speaking to House about dating a woman eerily similar to House): "Why not? Why not date you? It's perfect! We've known each other for years, we put up with all kinds of crap from each other and we keep coming back. We're a couple!"

House: "Are we still speaking metaphorically?"

15. (Less than a minute later when House keeps trying to convince Wilson he and Amber are a bad idea).

Wilson: "Wait a minute, every time I agree with you, you come up with a new argument. What are you trying to avoid?"

House: *Stares at Wilson with the most meaningful eye contact to ever eye contact*

Wilson: "Oh! Well if you'd looked at me with those flashing eyes before I was involved (clicks tongue)."

16. To Wilson's new girlfriend in a threatening, 'stay away from my man' voice:

House: "Give him back his sweatshirt... Pit stains don't become you."

17. House: "This isn't just about the sex! You like her personality! You like that she's conniving. You like that she can humiliate someone if it serves..."

*tense pause*

House: "Oh my god. You're sleeping with me."

*flees restaurant*

18. House: "I have really gotta get you laid. If I have to plough that furrow myself, so be it."

19. Wilson: "I have a headache."

House: "We don't have to have sex, sometimes it's nice just to cuddle and talk."

20. (To a bellboy at a hotel House is staying at, while gesturing to Wilson)

House: "After he and I have sex, I'm gonna slit his throat and disembowel him in the bathtub."

21. House going to interview all of Wilson's ex wives to figure out how best to break him and Cuddy up when they aren't even dating. The look on his face when Bonnie explains how good at sex Wilson is? Priceless.

22. House: "Probably my deep and very unconscious desire to get Wilson into my bedroom."

22. House: "If you're coming back because you're attracted to the shine of my neediness. I'd be fine with that."

23. House borrowing money off Wilson in increasing amounts to test the limits of their friendship. He later admits to Wilson that: "Maybe I don't want to push this til it breaks".

24. House being convinced the male CIA agent who approaches him in season 4 is a stripper and sitting on a bench saying:

House: "You wanna close that door?"

CIA agent: "Why?"

House: "Well I assume you're gonna drop trou at some point during the dance, I don't see why I should share."

25. Wilson: "I want a threesome"

House: "Shouldn't we try a twosome first?"

26. All of that episode where House is talking to Dr Nolan and says Wilson is not a consolation prize. Legit became convinced halfway through that this was going to be House realising he's in love with Wilson and wants to keep living with him.

27. House hiring a P.I. to stalk Wilson after they've had a falling out to see if he misses him. The P.I. clocks this immediately and treats the case like that of a scorned lover needing to know if the other party is pining and if theres anything that can make him come back.

28. Wilson proposing to House in a restaurant to throw a wrench in his plans to date their neighbour.

29. Wilson got mad that Cuddy hurt House. So he bought her dream apartment out from under her in sheer spite and moved into said apartment with House.

30. Wilson being indecisive and unable to buy furniture for himself because of a flimsy sense of self and an inability to figure out who he is and what he wants. House teases him about this and challenges him to buy one peice of furniture that says something about who Wilson is.

The peice of furniture Wilson buys?

A piano organ for House.

31. House: "You were thinking about Wilson while were were having sex? That's cool so was I."

32. Wilson: "If things go wrong, I just want you to know..."

House: "If you're gonna say that you've always been secretly gay for me? Everyone just kind of assumed it."

33. Cameron: "Where do you put the cane?"

House: (referring to Wilson) "If he buys me dinner he can find out."

34. That gay as fuck ending, fuck I'll never be over it.

[krisantium]

I know that season 2 is all about build-up but I still disappointed at how little we got about the Hwang Brothers so I entertain (and bully) myself with headcanons I made up inside my head.

By the time their father married Junho's mom, Inho was already a teenager (probably around 15-17 yo). Junho was born shortly after that so that explains the huge age gap between these two (we know Inho was born in 1976 from his player databook so it makes him 48 last season while Junho is probably still in his early 30s considering the actor's age).

Inho spent years being an only child and the prospect of having a sibling when he is already a big boy scares and excites him at the same time. When he knew that the sibling is a boy, his excitement grew and he instantly fell in love with his baby brother since the first time he came into this world

Their father passed away when Junho was still too young to remember and understand what and how a father is like. The situation only makes Inho's sense of love and protectiveness towards his brother grew bigger. He can't let his baby brother grows up without a father figure to guide him, so he became one. Inho was not only a brother but a father figure to Junho

When Junho was about 10 years old, he suffered from a chronic kidney disease. He is intolerant to hemodyalisis and someday his peritoneal dialysis machine didn't work anymore and it nearly took him. Inho was already a policeman by that time. On his graduation day, the sick Junho once told him that he will become a policeman too in the future, just like his brother. When he got a call from home telling him that his brother is in the hospital again and is very sick because his machine failed, he rushes as soon as he can. He find a very pale, nearly lifeless Junho still able to smile at him when he's at his door. Inho already made a choice by then. "I'll do anything to watch you become a policeman," he said while hugging his baby brother. Months later the transplantation took place.

The very young Junho nearly got a panick attack before they both get into the operation room. He was still a child after all. Inho did everything he can to calm him. Junho was first to get sedated and his last memory before shutting down was his brother's hand reaching for his.

Life is good again, and as he promised, he wacthed Junho grows and become a policeman, just like him. Junho's whole world really revolves around his brother.

If only we get their backstory more (hope we will in S3), because, everything, the story in whole would have been much more simpler, less complicated if they don't love each other that much. Junho went through hell to find his brother, only to get shot by the said brother and have a near death experience. Would have been easier if he just let go after that. While for Inho, why didn't you just shot your brother in the head? Even a non fatal shot to your brother makes your hands trembling and haunts you in your sleep. Where is the merciless phsyco with records of mass murder?

The backstory is so needed. To some people, their actions towards each other may not make sense.

[simp-ly-writes]

The Comment's Section (pt.10)

─────── · ·

Pairing: Spencer Agnew x gn!Reader

─ · · SUMMARY: an epilogue (no spoilers here!).

─ · · TAGS: gender-neutral pronouns, slowburn, fluff, light angst, cheesiness, friends that act like lovers, friends to lovers, mutual pining, attempt at humour, social media au, officially lovers.

─ · · MASTERLIST | TAGLIST REQUEST | PART SEVEN | PART EIGHT

─ · · A/N: my last smosh fic! thank you all seriously for all the support. I wouldn't have written as much as I did for the fandom without the comments, reblogs and tags I have had the pleasure of receiving. I may come back once I get through the creative burnout i'm feeling for smosh but who knows! Anways-uh... enjoy!

─────── · ·

A few years later...

🔔 (name)s_username just posted for the first time in awhile, check it out!

─────── · ·

Liked by phatchance, spennser, glen_powell, and others

(name)s_username Never really been much of a secret just how much I love my best friend that I can now, officially, call my husband 🫶

Thank you, Spencer, for dealing with my bullshit, for calling me out, letting me cry on your shoulder, yell in your face, eat everything in your fridge and yet still find ways to love me, all of me, and never make me question it for a moment. Thank you, my love, for showing me what love can feel like, what it can look like, and how it can be practiced.

It does not feel like twenty years have gone by but then again, I see you everyday and now I get that with the promise of forever. I love you and that is something I will never take for granted.

*No pictures from the wedding, sorry everyone but I'm keeping those for myself, friends, and family :-) Have roadtrip pictures instead!

View all 11,301 comments

spennser gosh, I didn't know we were hard-launching already?!

↳ (name)s_username babe, we did that nearly five years ago... 😬

username01 I will NEVER get over these two! 😭 I want a love like this! Its been so incredibly beautiful and fulfilling watching you two interact on screen together, congratulations! You both deserve nothing but happiness! #(yourshipname)isforever

username31 why is nobody else commenting about that last picture 🤣

co_mill you have me inspired to re-new my vows! Gosh, I remember meeting you both for the first time and seeing that initial re-spark and to see it, to celebrate it now, gosh-bestie you have my crying. I'm so happy for you both 🫶 #(yourshipname)isforever

↳ (name)s_username you have me sobbing now too! and I told myself I wouldn't cry anymore today! 😭 thank you for always believing in us (even when we didn't lol) ↳ co_mill of course! some people are just meant to be, just at a different time. ❤️❤️ ↳ (name)s_username couldn't have said it better myself ❤️❤️ ↳ username24 okay but why is this thread the most wholesome thing on the interweb??? ↳ username00 who tf says "interweb?"

username69 still don't understand why anyone would care about such a terrible person like yourself. The biggest liar is here and everyone knows it- you lie to yourself too.

username31 congratulations!!! 🎉

username12 OMG THEY GOT MARRIED????? 🥳 YESSSS #(yourshipname)isforever

shayne_topp woah! you got married? OMG I did that too!

↳ (name)s_username oh shit really? I'm still trying to figure out if I like this whole marriage thing or not... /sarcasm ↳ shayne_topp ehhh, I mean, I don't know about you but I have a pretty killer marriage. You and Spencer can try... ↳ (name)s_username SPENCER!! 👺 ↳ spennser yes, love? ❤️ ↳ (name)s_username do we have a better marriage than shourtney? 🥹 ↳ spennser I-uh... 😬 ↳ anthony_padilla (psst, just say yes!) ↳ spennser yes! 😄 ↳ (name)s_username see shanye! take that! 😄 ↳ username88 "yes, love" AHHHHHHHHHHH 💞

username33 #(yourshipname)isforever #(yourshipname)isforever #(yourshipname)isforever #(yourshipname)isforever

username29 YESSS LET"S GOOOOO BOYSSSSS!!!!!!

filmingamanda does this mean I can't make anymore "spencer is attractive jokes, now?"

↳ (name)s_username I mean... you're not wrong so I won't stop you 😉

username90 this all feels surreal... but congrats!! 👏

ianhecox proud of you both, truly ❤️

chickenshopdate and here goes another ex of mine getting married. WHEN WILL IT BE MY TIME GOD??? PLEASEEE

phatchance you both looked so beautiful today 🫶

tomeybones wishing you both years of happiness to come!!

username12 I hate you, so much now.

─────── · ·

🔔 spennser just posted for the first time in awhile, check it out!

─────── · ·

Liked by (name)s_username, filmingamanda, and others

spennser today and everyday from now, I get the pleasure of waking up in my spouses arms. if you would have asked me in college that I would be dating a movie star, comedian, writer, and director as talented, smart, and gorgeous as (name); I would have, quite frankly, told you to shut up and fuck off.

Funny how things change, huh? I now cannot think of a singular day without you in it and cannot remember a day without you in my life. I am so incredibly thankful that you fell in love with me, trusted me with your heart up until now and for forever.

You will always have my love and support. My arms to welcome you back home and I will make sure you never question how much I love you, my love and show you everyday just how much you mean to me.

*No pictures from the wedding! Keeping that private, please do not go looking for pictures.

View all 4,220 comments

(name)s_username I love you, so much. 🫶

↳ spennser I love you. 🫶

username01 AHHHHH. 😭 No but like- AHHHHH you GUYsss are killing me here. After years of waiting im now dying here. My heart cannot take this level of sweetness 🫶 #(yourshipname)isforever

smosh #(yourshipname)isforever

smoshgames #(yourshipname)isforever

smoshpit #(yourshipname)isforever

↳ username99 not all the smosh channels coming together LMAO 😂

username24 "So this is love, mhmm, mhmm, so this is what makes like divine~" - (name) x Spencer

username68 babe, wake up! (name) and Spencer actually got married! #(yourshipname)isforever

damienhass you guys are so stinkin' cute 😊

username77 eh. I bet it'll last a year or two before Spencer gets sick of em.

anthonypadilla with everyone getting married im beginning to feel left out...

↳ ianhecox I mean... we could always get married?

username33 I love that this whole post is about Spence being both genuinely so happy the get to call (name) there's but also wondering how on earth he managed to get with (name) too XD

username90 wishing the couple nothing but happiness and respect 🫡

─────── · ·

─ · · A/N: and holy shit! the comments section is finally over! thank you all again for reading this far, I hope you all have enjoyed reading this series as much as I did writing it. 🫶 - I will always think about this lol

─ · · SPENCER AGNEW TAGLIST: @lisiliely @missflufffanfics @little-stitious-studios @thejourneyneverendsx @sibsteria @lizzylynch1 @babble2 @delaneyburghardt @thevintagefangirl @uniquely-haunting @maricarorp @sarahskywalker-amidala @laurasdrey

[fanaticsnail]

Every day I wake up and think "Why is there no Childhood Friends Doflamingo x Reader fics?" and every day one of my Discord friends tell me "because Kid Doffy would literally treat Kid Reader like someone beneath him cus everything is still fresh for him" but I bring you counterarguments for the Childhood Friends Doflamingo x Reader story:

1. He meets Reader after his house gets burned down. Reader is Rosinante's age, so eight years old. It's when DQ brothers are being beaten by the thugs; kid Reader gets a bat and protects him and Rosinante from the thugs who were beating on them over bread

2. she brings them food from the restaurant her parents own - home cooked - and meets Homing & Mrs Donquixote, who encourage Doffy & Rosi to befriend her but Doffy remains careful

3. Doffy has confused feelings about Reader but she's only ever treated his injuries (the first human not to hurt him) so he decides Reader is "his human to protect" not "human to enslave" yep he has groups in his mind, little crazy baby flamingo boy

4. Reader teaches Doffy & Rosinante to climb trees. Doffy comments that's what monkeys do, but Reader teases him that whether it is what monkeys do, he still can't reach her if he doesn't climb. Doffy accepts the challenge. He doesn't take long to get the hang of it. Right when he is nearly at the top, he nearly falls but Reader grabs his hand and pulls him onto the branch. I think this is where Doffy starts having a little crush on Reader. He doesn't realise that's what it is.

5. I don't know Ace, Sabo, Luffy I know Doffy, Rosi & Reader. Sure they would not be as wild as ASL since the thugs in North Blue are probably much more deadlier than in East Blue, but they'd be good thieves.

6. Reader is so gentle with Rosi and Doffy gets jealous and says his brother is a crybaby and Reader shouldn't help him, he needs to learn on his own. Reader just blows Doffy a raspberry which makes Rosinante giggle - the first time Rosinante has laughed since their house burned down

I just think if we just put in some thought, it can be plausible for Kid Doffy to have Kid Reader as a friend in his childhood days. He'd feel challenged by a "human", someone younger than him, and want to prove his heavenly status, why he's better. Reader just nods along with it and is kind to them both. They don't do any sort of competitions, they just co-exist.

Kid Doffy is like a street cat. He bites and scratches, and tries to claw your face off, but it's cause he's been through terrible shit and he doesn't trust strangers. He needs patience and kindness.

The fic would require just some patience and kindness I think, for the childhood part of their story, so Doflamingo by the end of it considers Reader precious to him to the point he thinks he is the best person to protect her. That it's his duty. He'd probably call himself her heavenly guardian or sth in his mind when he reaches that point.

Of course, that then can turn into him becoming very possessive of Reader as they grow up (Doffy even when becoming the young 10-11 year old leader seems to stick to one headquarters in that timeframe) and his crush from childhood evolving through time from protectiveness into a wish for a romantic relationship.

Anyway, kid Doffy & kid Rosinante deserve to have a friend during that terrible time, and they both latch onto that little amount of kindness, they appreciate it a lot. Doflamingo only realises it later down the line how much it meant for him Reader supported him.

They show appreciation for that differently later. Doffy comes into the restaurant Reader inherited from her parents all the time and makes sure everyone in the North Blue knows that's his territory, and the place where his crew gathers to celebrate things. He always sends Reader gifts such as jewelry, and kisses her on both cheeks whenever he sees her, using the excuse of it being a custom in Dressrosa to his advantage. Rosinante shows his love with hugs. When he sees Reader when he's Corazon he just hugs her. He doesn't give a shit.

Also, Reader & Kid Law & Baby 5... Reader would feed them all the food and pamper them.

Doffy can't go without Reader's home cooked meals. Food is very important to him, I think, after experiencing starvation. He probably invites her to join the crew as their chef cook when they head for the Grand Line. If not...

Well, kidnapping you is always an option 🤣

(he would lie about what happened to Rosinante. either that or get completely drunk and cry in your lap, confessing everything. You know what, I like the latter. Let the big man cry. I love pathetic drunk Doffy.)

- Yandere Doffy Anon

Okay okay okay okay okay. This was gorgeous. I am in love, and all of the relationships with all of the kids, and the coddling of Rosi. Yes. Please. I love their relationship, the silent confusion in the "what is this feeling" -> it's addictive, and I love it. "My human to protect" WHERE DO I SIGN UP????

Here is my interpretation of what childhood friendship would look like with Doflamingo.

What about a young son of a celestial dragon having regular interactions with a contractually bound daughter of another celestial dragon? And then he's taken away from you by his father? Doflamingo x f!reader image.

Your parents schedule regular playdates with one another so your faces do not grow lost on you both over time. From toddlerhood, to childhood, your friendship grew with your betrothed spouse as you both read with one another, and made puzzles and sculptures together. He pulled your hair, you brushed off his glasses, he bit you on the hand, and you cried to your maid.

You are a bit stuffy and spoilt, but what child of the pinacle of society isn't? Similar to Doflamingo, it is your birthright to be treated with the utmost respect and worshipful adoration.

But your heart becomes kind.

When becoming lost in a crowd of unfamiliar faces, the kindness of a stranger who knew nothing of your face changes you from a prissy young miss to a girl spun in webs of charity and compassion.

It makes the young Doflamingo disgusted seeing you interact and thank his servants when they fix you and him lunch. Conversing so freely with the chaperone, asking questions about his children, it makes the eight year old sick. He'd rather trick them into being scolded and thrashed.

When Donquixote Homing defects, the ties that strung you together lay severed and desolate. The friendship between you forbidden, but your mind often wanders into what had become of him. You both had this unspoken hatred and the closest friendship with one another any two children could have.

Inseperable.

Until you were separated.

It took four adults to restrain you from running to him in the council chambers. Hearing Doflamingo had returned with Homing's head, you had nearly lost yours with glee at his return. When he was denied a rise in reinstating his former title, you were overwhelmed with a grief beyond your years in capacity.

Over the decades, you wondered what had become of him. Your heart had been broken when your father renounced your coupling. Each time a potential spouse was presented to you, you would shut it down with haste. Although you were only young, you spoke with such indignation regarding your disdain for such an alliance. What if this one was taken from you too? Nothing would ever match up to him.

They would never be Doflamingo, and you refused to be the spouse of anyone who didn't meet his equal. His insanity mirrored a darkness in your heart that you had since clothed in kindness. He was your absolute, the stop at the end of the line. He was yours, and you were his completely.

When Tsuru had invited you to the first gathering of seven warlords of the sea, you had no idea what to expect. No matter what you prepared yourself with, your readiness mattered not for the sight that was to welcome you in. Charity was your character, and your humility is what made you the chosen celestial dragon the world government asked to converse with the most.

Pink feathers, rosy glasses, blonde hair, and a sinister grin you had long since burried, had your chest swell and eyes flood with every emotion. Silence was all you offered in your shock, your face shrouded behind a veiled cloth you often travelled with.

You knew exactly who you were looking at, and he had no idea it was you. The way his presence demanded attention, his sinister playfulness with Sir Crocodile and Tsuru, the way he openly taunted the former Marine Hunter Mihawk: each motion captured your soul and held you hostage.

It was only when Tsuru had asked you to speak did you stifle the warmth in your chest. You knew Doflamingo would likely hold disgust for the Celestial Dragons due to their lack of restoration, and you chose to ignore him - just as he ignored you.

When your attendants removed the veil from your extravagant headpiece, the first sound to travel through the realm was a collective gasp. You were young, a woman, and incredibly beautiful. Nothing any of the seven warlords were expecting was anything amounting to a single scrap of you. And you chose to play coy to the slack-jawed blonde in the corner.

After speaking your well rehearsed speech, Tsuru thanked you with her head bowing low, encouraging the other marines to pay their respects in kind. Sir Crocodile offered you a polite bow alongside Kuma and Jinbe. Mihawk tipped his hat to you, which you nodded in kind.

Immediately rising to his feet, Doflamingo's arms hung limp as his lips lay parted and almost quivering. His hands shook, his shoes feeling like lead in lieu of leather, and he finally stood before you. Your attendants sprung up to your side, your guardians guiding their hands to the hilts of their weapons: only ceasing when you hold up your own hand to stop them.

With that same hand, you hover it in front of Doflamingo's face, guiding it in an intimate expression without ever colliding with his skin. He rises his own, mirroring your motions and causing your eyes to flutter shut. An inaudible movement of your name courses through his lips, no sounds to voice them other than a single breath.

"Time has not been kind to you, mi amor," you whisper, Doflamingo's knees buckling at the tone your voice had grown into. It was the greatest symphony he had ever heard, the voice of his childhood friend blossoming into the bloom of the most beautiful woman he had ever seen.

"Time saved all it's kindness for you, mi querida," he managed string together beneath his petrification.

The room was silent, all watching in awe as the most detestable inhabitant in the council chambers was brought to his knees with a single look from a powerful woman. The familiarity had Tsuru's stomach tighten, wondering if extending an invitation to you was in her best interest. Although, seeing Doflamingo behave with his absolute best manners had her lip twitch up at the corner.

He was yours again. A man who was once everything, became nothing, and built himself up to something again. And he was yours.

And he couldn't be happier to be in your presence once more. Why else would he have fought so hard to rise to the top? For mere power alone?

No. That is far too simple. He is far from simple. It was for the chance to be once again worthy to stand in your presence and kneel at your feet as an equal in potential matrimony. But would you still have him after all the time that had passed between you?

Only you held that answer.

Edit to add, I got distracted by the roast chicken and forgot to add the tag list. I'm sorry everyone.

Tag list: @mfreedomstuff @daydreamer-in-training @since-im-already-here @gingernut1314 @writingmysanity @sordidmusings @i-am-vita @indydonuts @feral-artistry @the-light-of-star @empirenowmp3 @racfoam @sunflowersatori @carrotsunshine @skullfacedlady

[celestialmoondragon]

On Eurylochus in Epic: the Musical

Hey, guys! I've been struggling to put this together since Thunder Saga because the amount of Eurylochus hate I saw after that saga just really stuck in my craw. Now, to be clear, I'm not pointing fingers or saying it was everyone, and a lot of it tapered off so I think it was just a gut reaction after the Saga came out but I've always identified more with Eurylochus while everyone else seems to fall over Polites. 

Not that I have a problem with Polites or anything. I just find the 'blindly optimistic sunshine character' to be rather irritatingly naive most of the time? Again, I identify with Eurylochus’s character & philosophy. I'm not trying to prove he’s better in any way. I've just been trying to put together something to articulate why I think Eury deserves more love.

So here is what I’ve been affectionately calling ‘The Eurylochus Apologist Post.’

Full Speed Ahead:

This song sets up the relationship between Ody, Eury & Poli. It's clear it's a dynamic they're used to: Eury & Poly providing seemingly opposing arguments and Ody finding a sensible middle ground between them. I've seen posts saying it's the Devil & Angel on Ody's shoulders but I don't like that argument because it assigns a moral value to their arguments that isn't there. I think the reason this has worked so far is because Ody sits between them, balancing their viewpoints as both pessimistic caution and blind optimism could be dangerous to their survival solely on their own.

Eury's argument for theft feels extreme, sure, but keep in mind these men just got out of a 10-year war. He's not arguing because he wants aggression or slaughter. Later songs show him going out of his way to avoid conflict enough that an argument could be made for his cowardice although I don't believe that to be the case. Here, he thinks a quick in-and-out is a safer, more cautious approach when dealing with the unknown residents of an unknown island.

I would argue that Poli's desire to openly trust strangers is a more unusual philosophy post-war. And maybe his blind optimism has helped the men keep their spirits up. (Everything's changed since Polites.) But Ody says 'No, let's give them a chance at a peaceful resolution.' 

Both songs before this have shown us how tired of violence & death Ody is but some people read this as him agreeing wholesale with Poli's philosophy which is not the case as he's by far the most cautious of the two in Open Arms. It's only as a result of Poli's death that he tries to be kind to Polythemus, perhaps in honor of his friend. But also simply to spite Athena, who's been rather aggressively telling him he's wrong, and Ody is nothing if not a petty bitch.

Back to Eury tho.

Luck Runs Out:

Eury expresses his doubt after Poli's death. Yeah, they've worked together for at least 10 years and possibly grew up together, but the Polythemus incident is the first time that Ody's cleverness fails. The first time their crew actually dies as Ody's managed to keep them all safe the entire war. And their personal friend was the very first. He sees their mortality for possibly the first time. 

He expresses this throughout Storm. He was CAUTIOUS in Full Speed Ahead, yeah, but the level of defeatism in Storm is extreme. And nearly right after, while he's still struggling, Ody wants to try his tricks on a GOD? There's no indication that he knows about Ody's personal relationship with Athena. All he could see is his friend being arrogant enough to stroll right up to a GOD like it's nothing right after they lost their best friend and several others to a monster. A God is a more dangerous opponent than a monster. (Don't you know how dangerous the gods are?) 

So he tries to articulate his feelings and worries and what does Ody do? Dismisses them. Entirely. Or at least that's what it feels like to Eury. This is something he wasn't doing before. It's also here that we see Ody parrot Poli's philosophy. This is a huge out-of-character shift in their dynamic. Ody isn't playing the middle ground anymore, a mix between trust and caution, the best of both. He's now the other extreme and the dynamic doesn't work with only two points of the triangle.

Now, Eury isn't perfect. He definitely should have expressed his doubts in private where the crew couldn't hear them argue. And Ody does try to reassure him but it's coming from this place of ego & optimism. Eury feels like he doesn't get it. They're both talking at each other but not getting through. And to put the cherry on top, after Ody pulls him aside, all Eury hears is that his concerns don't matter. It isn't necessarily what Ody means. Ody, I think, just wants to caution him about making the crew doubt his leadership but, to Eury, Ody's words come across as 'I'm going to keep doing what I'm doing and you're just going to have to deal.' Which, again, is not how their dynamic works before. Ody fully hears him out in Full Speed Ahead and incorporates his advice into the final plan.

But he isn't doing that here. Eury's final okay is him giving up on trying to get through to Ody right now. Without other events, they might have had a chance to talk about it later and actually reconcile but neither of them are in a state to do so right now.

Keep Your Friends Close:

The captain comes back from an ill-advised talk with a GOD with a mysterious bag that he claims has to stay closed. The crew is agitated by the winions claiming its treasure and the harrowing events of the cave and storm. Remember, Eury's backing vocals are the crew. He speaks for them. While there might have been members who think Ody was lying about the contents, I don't think Eury opened the bag out of a sense of greed. There's been no indication that he's greedy at all. But the crew is growing increasingly agitated and the Captain is obsessing over the bag to the point that he stays awake for 9 days. That's weird. That's out of character. 

People act like the wind bag reveal and his 'sudden' distrust came out of nowhere but the entire first half of the Storm Saga shows their relationship deteriorating. Should Eury have given him the benefit of the doubt considering their years of friendship a trust? Probably. I'm not saying Eury is perfect.

Maybe I'm assigning a thought process that isn't there, but if I were in that position? I'd be worried. Not just about the captain's judgment being impaired from lack of sleep but also there's no telling if the God told Ody the truth about the contents of the bag. I think Eury still trusts Ody but what if Ody's the one being tricked? The crew is agitated, his captain & friend is acting strange, they've got a mysterious bag with unknown contents... 

Of course, he opened the bag.

One argument I've seen the most is that if he hadn't opened the bag, Poseidon wouldn't have caught them and the 557 men wouldn't have died before they got to Ithaca. Well, I would argue that there's no indication Poseidon couldn't get them on Ithaca even if they had made it, but that's not really relevant.

Eury has always, always been worried about the safety of the crew.

He just wanted to check. Be able to reassure the crew & make sure Ody was okay.

They. Did. Not. Know. He. Was. Chasing. Them.

While Ody does question the origin of the storm, (Is it nature or Divine or a blessing in disguise?), it's more idle speculation. That line exists more as a hint to the audience that something is afoot more than an indicator that Ody's figured out, out of nowhere with no context, that the god of the sea is hunting them. With the benefits of hindsight, we the audience know they wouldn't have died, but within the story, the characters didn't have any clue and I don't feel it's fair to blame Eury. 

Puppeteer

Eury tries to fess up immediately. Eury tries to tell Ody his mistake as soon as possible but Ody is, once again, not in a state to hear him out. That isn't either of their faults at all but it does erode their relationship further. It's unclear if he's seeking absolvement, atonement, or just reassurance, but what is clear is that the guilt festers until he blurts it out at the absolute worst time in Scylla. 

Eury gets a lot of flack for proposing they leave the men captured by Circe. Is it necessarily the morally correct choice to abandon their crew? No, and I won't say it is. But his decision is perfectly in line with his character. 

(Look at all we've lost and all we've learned.

Every single cost is so much more than what we've earned.

Think about the men we have left before there's none.

Let's just cut our losses, you and I, and let's run.)

He's begging & pleading for Ody to not through them up against another foe they can't win against. He's saying 'look, we've lost nearly everyone. It's okay if we're cowards here because we won't have anything left if we fail again.'

Now this is somewhat speculative on my part, but If Eury was really a coward or really didn't care about Ody, he probably could have convinced the crew left on the ship to cut and run while Ody confronted Circe alone. All he would have to do is use the same argument he tried on Ody. I think the narrative decision to make Eury's backing instrument the crew tells us pretty clearly that they'll side with him. It's shown most obviously in Mutiny, of course, but it's first demonstrated in Luck Runs Out.

Different Beast

Eury is technically not in this song except for the fact that he is. Because Eury reflecting the crew works both ways. He is the crew & the crew is him. Now the crew, including him, are all on board with Ody's change. Eury wouldn't have left the sirens to chase them or attack others either. He thinks their viewpoints are aligned again, not the Ody has gotten to the opposite extreme of 'only I have to survive.' Not Ody realizes this either.

Scylla

This is were Eury breaks. He blurts out the truth that's been eating him alive at the worst moment. He thinks he's in a good place to confess and try to talk to Ody again because as far as he knows, they're just sailing through a dark cavern. He has no idea Scylla is there until they're attacked. Even when Ody instructs him to light torches, he probably thinks it's because it's dark.

And then she starts eating the crew Ody deliberately made her target. Whether Eury was one of the intended targets doesn't matter, in my opinion, as much as Eury realizes that Ody's new philosophy for survival doesn't include the crew. 

I've seen speculation that Scylla has some sort of truth-compelling power but I believe it was terrible timing myself. The framing of Scylla leaves the audience speculating who she's talking to until it's revealed at the end that it's Ody. Her (breaking the bonds you have made) line comes after Eury's confession not because she's compelling the truth but because she knows what response Ody's gonna have. She knows him because only someone like her would brave her lair. (We're the same, you and I.)

Mutiny

This is by far the most complicated bit and I'm not going to pretend Eury isn't a bit of a hypocrite here. I think he would have made the same choice to sacrifice 6 men if it came down to it, since he was willing to leave some of them on Circe's Island, but I don't think Eury does. He thinks he's always made the most pragmatic, logical choices for the crew's overall survival. He sees Ody's compromised mental state in Luck Runs Out/Keep Your Friends Closer but he didn't necessarily see his own then or now.

So he rounds on Ody. Ody deliberately forced them onto a dangerous path that would see some of them dead without telling them the risks. Eury 'for the crew' lochus can't believe that after all the risks he's taken to save them all, Ody would suddenly decide they don't matter.

(If you want all the power, you must carry all the blame) is a line I've seen people use to argue Eury's hypocrisy but I've always interpreted it differently. He isn't saying 'You're the captain so everything that's happened is your fault,' he's saying 'If you want to keep secrets and throw your crew away, you can't blame them for fighting back.' I believe this to be the case because it comes after (You miss your wife so bad, you trade the lives of your own crew.) 

Between the two is Ody's line (Don't make me fight you, brother, you know you'd have done the same) and, as I said earlier, I firmly believe Eury would have done the same in Ody's place. Or would have less of an issue if they crew were informed before and drew lots or something. But he can't see his own hypocrisy. Whereas Ody was too compromised to see Eury's POV in Luck Runs Out, Eury is now too compromised to see Ody's.

How do we know this?

Because Mutiny begins to mirror Luck Runs Out. The crew parrots Eury's lines, fully and completely taking his side and after Ody passes out and they get to Helios's Island, the lyrics constantly call back to Luck Runs Out although not precisely in the same order. For example:

Luck Runs Out:

Please don't tell me you're about to do what I think you'll do.

You've heard the legends of the island in the sky, this proves they're true

We're in the home of the wind god

We don't know for sure

How many floating islands have you seen before?

This is the home of the wind god.

And what's your plan?

I'm gonna climb to the top and ask 'em for a hand.

Mutiny:

Please don't tell me you're about to do what I think you'll do.

Ody, we're never gonna get to make it home

You know it's true

You don't know that's true

This is the home of the Sun God

But if you kill his cattle, who knows what he'll send?

This is the home of the Sun God

I'm tired, my friend

But we're so close to home, this can't be where it ends.

-----

This continues the entire second half of Mutiny but I’m honestly not a skilled enough musician to recognize every little motif and note. But the two songs feel very similar except that now Eury is the one that can’t hear what Ody is telling him. I hesitate to include this information because it’s not explicitly stated in the musical but the reason he kills the cow in the original is because either the starving crew will survive and can build a temple to Helios in Ithaca or the gods will kill them quickly. Not only would starving be a slow, painful death but it's not a glorious end for soldiers and warriors.

Regardless of whether you choose to include this information in his motivation, it’s clear he’s done. He’s shattered and broken and Ody’s reassurance is too little, too late. The crew is, in his mind, either going to starve to death or die trying to get home and he’s quickly realizing he doesn’t know which is better. He hates that the situation and his relationship with Ody has come to this. He’s no longer angry, just resigned and exhausted. He doesn’t know how to solve their problems and can’t trust that Ody cares enough to try either. So why does he fall back in line so easily when Ody orders the crew to flee?

Because, despite everything, he wants to trust his friend. He wants to go back to when it was the three of them and they trusted each other with no reservations. Which brings us to his last lines in Thunder Bringer. 

Eury: Captain?

Ody: I have to see her.

Eury: But we’ll die.

Ody: I know.

I saw a lot of people getting particularly angry at this because he’d brought the wrath of Zeus down on them and is now begging Ody to sacrifice himself instead of the crew. But I don’t read it that way at all. We’ve heard him plead & beg. He pleads firstly Luck Runs Out and begs broken on his knees in Mutiny and this line doesn’t sound like either. 

This is resignation.

Mutiny shows us that he’s already given up. He’s ready to die. He’s not begging for his life. The crew questions Ody, reprising the chorus of Just A Man the same way they did when they questioned his decision to kill the Infant. Because that’s what Eury’s asking. 

Can you live with the fact you killed us?

Not because he wants to live for himself but because he wants to know if Ody can truly live with the choice he's already made in his heart. At the very end, he seeks reassurance that his last friend will be able to survive to make it home.

For all of them.

In conclusion, Eurylochus is a flawed but entirely human character with a very consistent internal logic throughout and he doesn't deserve to be painted as a conniving, fickle, cowardly friend to Ody because it's abundantly clear he loves the crew and his friend.

[kteezy997]

Beyond Business-part two//t.c.

Warnings: mention of deception, possibly toxic relationship, small argument

He was so close, leaning onto the table with his hands. You turned your head, your heart racing, thinking he’d do something crazy like kiss you. There’s no way he would do that, right?

You watched him look at the laptop screen for a few seconds, but it felt much longer before he spoke. “I think it’s time for a lunch break.” He stood up straight, “Ready?”

You were brought back to your senses, “Yeah, um, what do you want me to go get today?” you asked, pushing your chair back and standing up as well.

“Actually, I thought we’d go out somewhere.”

"Oh." you said, shrugging, "Alright."

............

The lunch wasn't really anything special, he just took you to a sandwich shop where you sat in a booth and finished eating within ten minutes. But it was abnormal, considering the two of you had never gone out to lunch, or any other meal together. Typically, he would have you go pick up food from somewhere, mostly to give you a mental break from the workday, or you would order food to be delivered to his place.

After returning to his house, you decided to break the ice on a topic that he was dreading: the Golden Globes.

"So, have you been thinking about the Globes? Do you have an acceptance speech ready?"

"What are you talking about? I'm not gonna win." he slumped down in one of his comfy chairs in the living room.

"Timmy, you should have something prepared. I can help you write something."

"Yeah," he sighed, "I guess I should have something, just in case. That's your job for the rest of the day, write my speech." he smiled cheekily.

You giggled at his goofy face, "Okay, boss. You'll have to proofread so I don't leave anyone out on your thank you list. Should I mention Miss Jenner?” the last question was a bit of a joke. You didn't think Timmy would ever mention a significant other publicly, not even if he were married to someone for 10 years with children.

Timmy only rolled his eyes, “Yeah, no.” he said firmly, taking his phone out, looking at the screen.

“Are you guys…okay?” You knew this was a sensitive spot, but not sure exactly why.

“Yeah, we’re fine.” he said plainly. He did not want to talk about her.

You bit your lip, "Well, I will go get started on that speech, unless there's anything else you need me to work on?" you started to turn on your heel.

"No, nothing right now, y/n, thanks." he said to you, but kept his eyes on the phone.

You could not get your head around how nice he was being to you, not that he was ever particularly mean, except for the night before, but you were over that. But to actually thank you for just doing your job was not typical of him.

.........

Later on, evening hours were approaching, and it was nearly time for you to go home. You heard Timmy's footsteps trailing into the dining room. His phone was still in hand.

"She is wanting to text; I just don't have the energy tonight. Just keep her on the hook, make her think the relationship is secure." he said, attempting to hand the device over to you.

"Is the relationship not secure?" you asked, not sure if you should take the phone.

Tip-toeing around an answer, he shrugged, "Just say enough to make it so. You've done it for me before." he pointed out.

"I know...it just doesn't feel right. This is something you should be doing Timmy. What if she mentions something from a text that I sent, and you don't even know what she's talking about?"

"She won't. Don't worry about that, it's not that deep. Just send a few texts back and forth and it'll be done." his nonchalant attitude was a little unnerving.

You shook your head, "It just seems mean, like towards her. She is still just a girl, you know, I think she actually might like you, Timmy."

"It's not that serious, she knows that, but I need her to think that everything is fine."

"I don't want to lie for you anymore, Timmy."

"It's not lying." he insisted.

"It's not genuine. Even if you don't care about Kylie, she is still a person. She doesn't deserve to be deceived."

"I never said I didn't care."

"Well, you don't act like you do! What even is your relationship with her? You never say anything about her."

"You're my assistant, I don't have to talk about my love life with you." he gave you a dirty look.

You scoffed, "You have literally had me do your texting for you, and you want me to do it again! You are such a walking contradiction. I'm not doing it." You were extra firm in your last sentence.

"Whatever. I think it's about quitting time for you today anyway, y/n." he said, grabbing his phone back from you.

"Look, I'm sorry for yelling at you. But you have to admit that I'm right. That's not a way to treat someone. I shouldn't have done it before, but you're my boss and I guess at the time I just wanted to please you."

He nodded, taking a breath and a moment to reflect, "Yeah, well, I'm glad to have you to call me out on my bullshit." He then tapped your arm with his hand. "Okay, get out of here, kid."

You frowned, "Did you just call me 'kid'?"

"Yeah, what?" he frowned right back at you. The mood was lighter now.

"I'm only like a year and a half younger than you, old man, don't call me a kid." you joked, gathering up your things to leave. You liked the playful banter you and he shared sometimes.

"Fine, don't call me an ‘old man’ then." he chuckled. He followed you to the front door as you slung your purse over your shoulder.

“Well, goodnight, boss.” you said, facing him one last time after to opened the door.

He held the door, his arm resting above your head. “Okay, goodnight.” he smiled softly. “Drive safe.” he said simply, then leaned in to leave a peck on your cheek.

Your heart skipped a beat, you felt your cheeks flood pink immediately. The tiny spot that his lips had touched was inflamed. You didn’t know what else to do, so you stood there smiling like an idiot.

Timmy closed his eyes, shaking his head and pressing his lips together, “I’m sorry! I don’t know why I did that. I really don’t.” he was clearly embarrassed; he took about a half step backward. “Let’s just forget about that, okay?” he smiled innocently.

“Yeah, it’s okay.” you shrugged, putting your arms behind your back. “It didn’t bother me anyway.”

He grinned, “Good. See you tomorrow?”

“Yep, definitely. Don’t forget to read over that speech. You’re running out of time before the awards.”

He mock rolled his eyes, letting his head hang down in annoyance, not at you, but the awards. “Okay.” he whined.

“Bye Timmy.” you giggled, then walked out the door. You weren't sure why he was dreading the Golden Globes so badly.

January 7, 2025

@gatoenlaciudad @thebetawolfgirl @musicandbooksaremyhappyplace @softhecreator @tchalamss @lixzey @bitchyunknownuser @ducktapebar @aoi-targaryen @yukideadinside @elloise0 @thatoneweirdgirl17 @mel-vaz @sammy-halpert @iwishchalamet @that-one-fangirl69 @jindongdongie @briefkittenearthquake @imnotoverlyobsessive

[district4loading]

The CEO (WLW)

Twice Sana!Dom x Female Reader!Sub

6K Words

Content Warning: smut, some angst cause why not, a bit of an age gap, mentions of cheating, fingering, oral, strap

Minors DNI

A/N: There aren’t many times where I can see Sana being dominant but goddamn when I saw these pictures I doubted myself.

I started writing this last night and just finished today (It's 10 in the morning). I hope you bottoms enjoy!!!

Anon - "i know you said in your intro your mainly going to write bottom sana… but any plans of a top sana fic soon for the girlies >< love ur writing btw!"

-

Maybe this was like you

-

"How the hell did I end up here?"

That's what you ask yourself as you stare at the ceiling in this unfamiliar bedroom. You're on the bed half naked and there's this breeze coming from the vents that's got goosebumps forming on your arms. You contemplate getting up and putting your dress back on. It's frankly too expensive to be on the floor anyways, no matter how clean the porcelain tiles are.

But you stay there, trying—then giving up in the same instance—to hear what's being said on the other side of the door. Everything was going fine, she was kissing you and touching you everywhere you needed her to. Until her phone rang, then she muttered "I have to take this" and left you, in your panties in her enormous bed. Seriously, no single person needs a bed this huge.

Well, that's what materialism does to you.

You start to blame yourself, regretting coming here in the first place. It's the fact that you're a college student, the fact that she's got maybe eight years on you. Oh yeah, and maybe also the fact that you're her intern. Well more specifically an intern at the company she runs.

As an arts and design major, internships mattered. So why not apply for an internship at one of the most popular fashion brands in the country? That was your thought process. In the competitive field, among all the other applicants you were chosen for the position. Two weeks later you met the CEO Minatozaki Sana who you never thought could be so attractive in every way possible. Every time you saw her around--which wasn't much--she'd make your knees go weak with only a glance.

How'd you end up in her bed? You don't exactly know. Well, it was maybe six in the afternoon when you were heading out of the office. Then she stopped you and randomly asked if you'd like to get drinks and of course you agreed. Next thing you knew, you're in her penthouse and she's unzipping your dress.

Now you're starting to get frustrated and you sit up, wondering if she forgot that she had someone waiting for her. That's when you actually get a look at the view outside, through the floor to ceiling windows. "Damn" You mutter, actually getting up from the bed to look at the lights.

Because what else were you gonna do? Leave?

Then after what felt like a millennia, you hear the door open up behind you. "I'm sorry, it was really important..." She trails off, noticing how you've migrated from the bed "Enjoying the view I see" She puts her hands in her pockets and you turn around just in time to see it.

You mean to give her a nasty look because you're upset with her for making you wait so long. However, the moment you open your mouth the words get stuck in your throat almost immediately when you see her. She's got on the same thing she's had on all day, this all black Prada outfit and somehow you're still starstruck about how good it fits her.

She comes closer and gets her hands on your waist like they're meant to be there "Now, where were we?" she asks, dipping her head down to your neck and kissing the skin softly. In the time you were waiting, you nearly forgot how good her lips felt on your body. A soft moan slips from your mouth and you already need more.

This is so not like you, opening your legs for some CEO who'll probably kick you out in the morning. But somehow, you just can't resist her. You pull her body closer to you and you allow her to lead you to the bed. Now you're on you're back again and she's on top of you. "Did.. mm did you turn your phone off?" You ask between heavy breaths and whines, because she's sucking on your neck so hard she'll definitely leave a mark and it feels so good.

"Yeah" She pulls away and nods, looking into your eyes. Your hands gravitate to her face and you begin to feel her soft cheeks, you still can't believe she's real. You pull her down, in an attempt to put her lips on yours but she turns away before any of that could happen "I don't kiss, remember?"

You scoff and roll your eyes, having half a mind to push her over "Yeah but you'll give me hickeys, right? And you'll eat me out but kissing is too intimate i guess"

Sana sighs "If you're going to act like that then you can go" Is what she says, but she doesn't move. She stays there with her body on you, face just inches away from yours.

"Then get the fuck off of me" You try to get up but she holds you there and she gives you this look. Her eyes widen a bit and her eyebrows furrow as if she wasn't expecting you to actually challenge her. Then she scowls as she holds you still.

You swallow and you give her the same testing look but you stop squirming, figuring that you'd let her figure out what the hell she'll do next. Unexpectedly, Sana leans forward and connects your lips. It's almost embarrassing how fast you fall into it, into the butterflies and the hot feeling of it all. You kiss her back, she shoves her tongue into your mouth and you whimper when you feel her hand snaking its way down your body.

Sana chuckles into the kiss as her hand slips beneath the waistband of your panties. She breaks the kiss "Happy now?" She asks as her fingers come into contact with your arousal. The truth is, you're soaked, and you've been soaked ever since she got her phone call. So you buck your hips into her hand.

"Very happy" You respond with a broken gasp, your cheeks burning red as you feel her begin to circle your clit ever so slowly. She kisses your lips again, but it's only a short peck this time before she goes back to your neck.

She takes a deep breath in and sighs hotly into your skin, causing a chill to run down your spine "I hope you know... I don't normally do that, especially for a girl I barely know" She hums, putting more pressure and speed in her movements. Usually you'd say something clever but you can't, there couldn't possibly be anything clever that comes to your mind when all you can think about are how good her fingers would feel inside of you, rubbing against your walls and stretching your cunt as you cum over and over again.

Maybe this was like you

Instead of saying anything at all, you grab her shirt with one hand, then use the other to keep a firm grip on her wrist. It feels too good and you need to make sure she doesn't move or slow. Sana holds back a laugh as she realizes just how fucking needy you are. "Easy on the shirt, do you know how much this costs?" She mutters into your neck but you don't really care about that right now.

Sana starts rubbing up and down your slit in slow, deliberate movements and you nearly cry out in protest. That is, until you feel her long, slender finger prodding your entrance "Fuck.. please Sana" You whine, raising your hips into her hand "Please" You beg again and it actually sounds like you might sob if she's not inside of you in the next second.

"I was going to start off with one... but jesus baby you're so fucking wet for me I think you can take two" She takes your earlobe between her teeth and bites down gently, her tongue only grazing against the skin as she slides two fingers inside.

The stretch is immaculate, perfect even and her fingers fit so snug inside of you that you just might think you were made for her. "Oh my fucking god" Your jaw goes slack and your eyes squeeze shut. You can't even control it when you clench around the digits. You need them deeper. When she curls her fingers you allow a strangled sob to escape your throat cause it's been stuck there for a while and after that you start to let everything out.

She's doing it so well, like she's experienced. She's older so obviously she'd be good at this, you just weren't able to actually conceptualize it until now. You can feel your slick dripping and it's getting everywhere, seeping through the sheets and into the mattress. "Please don't stop... don't fucking - Ah!" You cry out, your hand still firm around her wrist.

Sana lifts her head a bit, her face is right in front of you and even though your eyes are shut, you can feel her gaze on you. She's breathing out of her mouth and before you know it, her lips are on yours again. Heat spreads throughout your body as you try your best to keep up with the kiss. The thing is, it's just too good. She's just too good. You couldn't even dream of making yourself feel this good with your own fingers.

As if she can read your mind, she begins to fuck you faster. Now you can't even kiss her back. You're just moaning into her mouth, your lips parted as she licks and kisses all over them. Soon enough she pulls away and kisses your cheek "You're falling apart baby, I wish you could see how pretty you look right now." She stops for a moment, then all you can hear are the sticky sounds coming from in between your legs "God, just fucking listen to that" You already know she has that fucking smirk on her face when she says it.

For a split second you think about how your panties are still on, and how badly they're ruined right now. Then you stop caring because the praise is driving you crazy. You know she must say this shit to every other girl she fucks, it's so obvious but you can't help but feel special when she says it to you. "I.. can't fucking.. believe.." You choke the words out like you've forgotten how to speak. You're a thousand degrees and Sana's making everything even hotter.

You don't know why, but you decide to open your eyes and the sight above you only makes you want to shut them all over again. She's so hot, almost too hot right now. She stares directly into your eyes "You're going to cum aren't you" You nod frantically as your legs begin to tremble "There you go, be a good girl and cum on my fingers, darling" and her voice is so perfectly raspy when she says it. You bring your hands up, then you wrap your arms around her to pull her as close as possible. Her mouth is near your ear again and all of the feelings are too much.

"I'm so fucking close" You whine long and loud and Sana hums directly into your ear.

"Do it" She grits through her teeth and that's when you cum.

Your body arches into hers but she holds you down, her fingers still moving wildly inside of you. "Fuck!" You moan, your body shaking and shuddering on the older woman's fingers. Then you go silent, your lips still parted as the pleasureful waves continuously wash over you and your mind goes completely blank. "Fucking hell" You sputter, finally allowing your muscles to relax.

When your arms loosen around Sana's body she smiles at you and kisses your lips again "I thought you said you don't kiss?" You smile back at her.

"I don't but-"

"But what?"

"But you made a big fuss about it so I did" Sana shrugs, kissing you one more time before kneeling so she can unbutton her top.

"So do you end up kissing every girl who makes a big fuss about it?"

"I don't" She slides the garment off, then tosses it to the side as if she didn't just talk to you about pulling it too hard. "But I don't know, you're different"

"Oh, please spare me the performative b.s. I know for a fact you say that shit to every other twenty year old you fuck"

Sana flinches at your crude word choice, then unzips her pants "For your information, I don't normally do this with college students" She slides them down her slim legs and crawls between your legs. You lean upwards and allow her to unclip your bra. "They're all usually ditzy party girls who don't know how to think for themselves. That's more of a turn off than anything"

"So what about me turned you on, Sana?"

"I've been watching you since you started working with the company. You're smart, opinionated, driven... and sexy. I like how you you're always on time, how you make yourself presentable no matter what, how you know what you're doing. You know what? I'd bet my net worth that you haven't been to a party in months" She reads you like a book, and the only thing you can think of is how sexy her voice sounds while she does it. "You're different, Y/n"

You know it's probably an act, you know she's just saying it to get you attached. But goddamn it, her voice sounds so genuine, so real, so attractive that you start actually believing it. She begins to kiss your body, down your neck, between your breasts and suddenly she's between your legs. You open them for her and she holds each one, looking into your eyes as she kisses your thighs. She leaves marks, sucking and kissing on your flesh and it's obvious that she wants you to beg.

So you do.

"Sana.. please"

She smirks, then hums as if she doesn't know that you want her face buried in between your legs right now. "Want your mouth"

Sana slowly moves closer to your center and she sticks her tongue out. Then she nudges her head just a bit further and you can feel the muscle sliding up and down your slit. You bite your lip to stop yourself from moaning too loudly as her grip on your thighs tighten. It's a bit painful, the way her fingernails are digging into your skin but it turns you on. Only because her marks are going to stay there and in the morning, you'll be reminded of this moment when you see them.

"I'll admit, the first time I saw you, I couldn't wait till I could get my mouth on you" She mutters, then purses her lips to leave small kisses on your clit. "You taste just like I thought you would"

Your legs tremble a little, it's far too much. Her words and her plump lips are doing wonders for you right now. The hot pleasure almost taking your breath away. With a small whimper you say "please" cause you need more. You need her sucking and licking until you're falling apart all over again on her tongue.

"So impatient" She makes a 'tsk' noise with her mouth before taking your clit between her lips. She sucks, moving her jaw in an up and down motion and your vision goes blurry. You gasp and you reach your hand down to run them through her silky brown hair.

"Fuck - how are you so... fucking.. good" You whine, your hips begin to squirm. The pleasure is so overwhelming, but you're raising your hips and you're pushing her head down. You don't want her to move, she can't, not when she has you like this. So you keep her there the best you can. "please please please please please" You chant it like you're casting some sort of spell.

Then Sana fucking giggles, and you feel it. It's like a vibration that sends a shock through your veins and your reactive body shudders in response.

She keeps it up, using her mouth in ways you never knew were possible. Then your body's heating up again, faster this time as beads of sweat start to form on your forehead. You're completely flushed at this point and it's embarrassing but that doesn't matter because if she keeps this up you might actually..

Sana stops, allowing her tongue to lap up your wetness for a moment before she lowers her head. You're breathing heavily at this point, you were right at the edge and she just stopped. A frustrated sigh escaped your lips and you looked at her, about to ask her why she would stop and then you feel her tongue prodding your entrance.

Without warning she shoves it in and you stop breathing for a moment. "Fuck!" You choke, and Sana just tightens her grip on your thighs. She pulls you closer and gets her tongue that much deeper. It feels like absolute heaven, like you're right where you're meant to be.

She has your body fucking shaking and jerking on her tongue and she's smiling the whole time. Sana's turning you into an absolute mess and she's enjoying every single moment. Every single flick of her tongue had a specific purpose that made you see stars.

"Shit, I'm close" You warn and before you even know it, Sana's sliding herself off of the bed. "Where are you going" You sit up and there's a dazed look on your face as you try to figure it out on your own because of course she won't tell you.

You open your mouth to say something but you forget whatever it was that you were going to say when you see Sana walk out of her walk in closet with a toy in her hand. It's pink, and kind of translucent but it still makes your eyes widen.

A smile grows on your face as you watch her put it on carefully. She's deliberately being slow with it too, a smirk on her face as she tightens the straps well.

When it's finally on, Sana climbs onto the bed and in between your legs which you end up opening for her. She leans in and kisses you on your lips, nice and slow and there's nothing that feels better in this moment. Her soft lips make you feel like you're floating in space, the way it eliminates every other thought in your mind.

Then Sana buries her face in the crook of your neck, grabbing the toy with her hand to line it up. "I'll take care of you Y/n, I promise i'll have you screaming my name and cumming on this toy until you're begging me to stop" She almost growls the words into your skin, and you know she fucking means it.

"Please" Is the only word you utter before you feel the head of the dildo push past your entrance. Your eyes widen and you wrap your arms around Sana's body "Oh my fucking god" You try to moan but it comes out silent, like you've lost your voice.

She slides it in nice and slow, with gentle consideration but you're still wincing because it's fucking huge. You try to focus on your breathing and it works for a little bit, until she eases it in deeper and you forget everything. You're sure it's tearing you apart, but you can't help it when your legs wrap around her waist.

"You okay?" She raises her head and plants her fists into the mattress to hold herself up.

You swallow and nod your head, hoping she'll ignore the tears in your eyes because you've never felt so full. "I- Yeah.. just go slow please" 

The look Sana gives you is understanding and a small smile appears on her lips. She leans down and kisses you again but it's only a short peck for reassurance. Then she draws back and then rolls her hips forwards. It only goes in half way but the sound you make is nothing short of pure, raw lust. You grab onto her arms and close your eyes, digging your nails into her skin in an attempt to cope with the overwhelming stimulation.

Now she's thrusting in and out of you in a rhythm, her pace slow and steady. You appreciate that she's taking her time with you because you hadn't realized just how long it's been until now. "Look at me, princess" Sana says it softly but it's also demanding. So you do. She smiles a little "You have the prettiest eyes"

All you can really do is moan and it's embarrassing because she's telling you all the right things and now the monstrous stretch is starting to feel so good. Sana really did know how to fuck and you're already craving more. "Please.. faster" You beg, giving her the most pathetic set of pleading eyes.

She does as you say on command, fucking you faster and deeper. You feel the smooth silicone toy scrape against your walls with each movement she makes and you can feel yourself getting wetter because she's just hitting all the right spots inside.

Sana takes a moment to look down at where your bodies meet. "Look at that. You're fucking creaming for me" She announces, referring to the white ring of slick thats forming around the base of the toy. You can't see it, but you know it's a lot.

"Only for you" You say it like you've lost your goddamn mind. It's insane, this is the first time she's fucking you and the first time you've been to her place but you're already letting her claim you. It can't be good and you know it, but how are you supposed to think about that when she's eight inches deep inside of you and saying all the right things.

Then she slows down and eventually halts her movements. She repositions herself and leans upwards until she's sitting on her heels. Without pulling the toy out, Sana grabs the backs of your thighs and pushes them like she's trying to bend you in half. You're not even that flexible but she manages to get your knees to your chest. She leans over and holds herself up by your thighs. You can't help it when you squeal because the pressure hurts so fucking good.

You brace yourself as she moves her hips and it feels even better. This new angle allowed the toy to get that much deeper and it's making you feel like you wouldn't mind doing this over and over and over again with her. "You're.. fucking me.. so damn... good" You manage to say the words through your moans because you just have to let her know that she's destroying you.

As if she didn't already know that

Of course she gives you that smile and then she starts actually fucking pounding you. You don't know where all this raw force is coming from, she's a thin woman, slim arms with little muscle mass but somehow she's able to pin you down, fold you and fuck you like this. 

She's got it so fucking deep inside of you that you think you might cry. "Sana- fuck I can't- god you're so... I- please" Your breathing quickens. It's embarrassing how close she has you right now. "Fuck- if you keep.." You can't even finish your sentence, that's how bad she's wrecking you right now.

Sana gets the message, chuckling lowly at your struggles as she continues to fuck the shit out of you. You can hear how sloppy it is, that distinct sticky wet noise that's loud in your ears. It tells you just how wet and fucked up she's got you, it tells you that you'll probably be back at her door soon after this is over. It tells you that you might actually be hers sooner or later.

You gasp, then your hands are frantically looking for something to hold onto as your orgasm approaches hard and fast. "You're going to make me fucking cum" You warn, deciding to grab onto the duvet, because she's too far away for you to reach.

She hums and nods her head "That's right baby, cum for me again" She grunts and that's when your body begins to short circuit. She's using even more force now because your cunt is clenching tight around the girthy toy, making it harder for her to keep the same pace.

"I can't... I-" A loud moan follows your words and you finally fall off the edge. "Cumming" Is the only word you manage to say as it hits you like a truck. Your entire body trembles as she fucks you through it, never stopping her unrelenting pace. You freeze for a moment, eyes slamming shut just before everything crashes down. You begin gasping and gaping and Sana let's go of your thighs.

She spreads your legs open and falls between them, getting her lips on yours as fast as humanly possible. You're finally able to get your hands on her and your hold her close like she's gonna go away forever if you don't. You're eating each other alive, tongues dancing together as your saliva gets everywhere and the distinct flavor of your slick on her lips only adds to your arousal.

Sana breaks this kiss and gives you a smile "Again, i'm very sorry about the phone call. But I think that made up for it"

"Maybe"

Now you've got no clue what to do.

Should you leave? Should you stay? Should you ask her if she wants you to stay? You cringe at the last option.

You try to move from under her but Sana keeps you there "Stay" She asks, in such a cute voice as if she didn't just contort your body in a thousand different ways. So you stay there, and minutes pass and you wonder how long it'll be before she tells you to go. 

It takes a little while but soon she gets up and she leaves you laying there and you feel that cold breeze again. She's taking off the harness, taking her time and then you notice her gaze shift to the bedside table. "Is this yours?" She goes to pick something up.

At first you're a little confused, until you remember that you took your necklace off and put it there when she went to take her call. Now she's got the priceless item in her hand, holding it all wrong as she dangles it in front of her face. "Yeah" You get up and take it from her hands "Be careful, the clasp is broken" You say it harshly, but you don't exactly mean to.

"Sorry" She scratches the back of her head after you take it from her "Why don't you get it fixed?" She asks as she watches you struggle to put it on.

"Because the part is unique, there's only one and... it can't be fixed"

"Oh" She pauses, noticing the change in your relaxed demeanor. Something about you is colder and more tense. She tilts her head "So why don't you just get a new one... I'm sure there are nicer necklaces that-"

"It was a gift from my grandma, this was the last gift she gave me before she.." You can't even bring yourself to say the words as you absentmindedly hold the pendant between your fingers. It brings you comfort. "Sorry for ruining the mood" You sigh, trying to stop yourself from tearing up. Not here, in front of this woman who probably didn't give a fuck about you.

Sana sits next to you on the bed and she touches your thigh "No, don't be sorry. I was curious" You sniffle and nod your head. When you turn to look into her eyes, they look so gentle, so considerate in all the right ways. Maybe it's because you're in a vulnerable position right now or it's cause you just slept with her, but when she asks if you want to stay the night you don't even hesitate to say yes.

What have I gotten myself into now?

-

"Hey, Y/n? You're wanted in Miss Minatozaki's room" Your mentor, Jihyo pulls you aside. You try your best not to wince, keeping secrets was never your thing. Either way, you manage to hum and nod, hoping that she'd walk off but she doesn't "Hey wait, listen you know how she's the CEO of the company and everything right? I feel like she's taken more of an interest to you more than any other intern i've trained. You should definitely build off of her interest in you, show her that you'd be an asset to the company and hey maybe she could get you a comfy position here if you'd like to come back. Or if not, she can put in a good word so your job search goes well after you graduate"

You smile politely. 'Never in a million years' is what you want to say but instead you settle on "I'll be sure to do that"

It's your last week interning for the company and you're happy for that, happy to never have to step foot in this building again and hopefully never see Sana's face again. But you still have to answer to her so you decide to make it quick, taking the elevator to the 60th floor because of course her office is on the top floor.

You take a deep breath before opening the door to step inside. Sana looks up at you from her computer as you close the door behind you. "You know it's really low of you to get my mentor to send me up here to you" You cross your arms and you decide not to sit down, you didn't want to get yourself comfortable with her. Not again.

"Well how else am I supposed to get your attention if you've got me blocked on everything?"

"You're not supposed to. That's why I blocked you, because I don't want your attention" You can't help but lose your temper in front of her. It's crazy how she brings out the absolute worst in you.

Sana just sighs, "Look, you need to stop being so fucking childish and talk to me like an adult" You're at a loss for words, you genuinely cannot believe that you just heard her right. Your eye twitches just a bit and you begin to laugh "Y/n" She calls you, and she's serious about it too, but you can't help the giggles that escape your lips "Y/n" she says your name again sternly.

"I'm sorry" You begin to gain control of yourself "It's just funny to hear the cheater call me childish"

"You really don't have to be so loud"

After the first night you spent with Sana, you started doing things like that casually. Whether it was sneaking around the office or showing up to her place, you always found a way to hook up. Then it became something deeper and more romantic when she started buying you gifts, bringing you flowers and taking you out on dates. Sleeping over became a norm in your relationship and after maybe six weeks she was practically begging for you to get serious.

So despite everything in your living being telling you not to, you decided to try it out. The gifts were nice and so were the dates and not to mention all of the kisses and hugs. You had already fallen for her by then and in the blink of an eye everything shattered when you caught her with her assistant. You didn't stay for an explanation, shit you really didn't need to. The gross ass make out session they were having said enough.

So much for "I don't kiss"

You really beat yourself up over it, shit you were still in the process of beating yourself up over it. The wound was still fresh because it'd only been two weeks since. You should've known she was full of shit.

"Oh really? Which one do you think people would be more concerned about? The fact that you've been fucking the intern or the fact that you've been fucking your assistant?" You say it louder on purpose just to piss her off and Sana only huffs at you "Why did you call me up here?" You get straight to the point, because you didn't like for your time to be wasted.

"I want you to give me another chance"

You stare at each other for a few seconds and you almost laugh out loud again because she can't be serious right?

"No. Give me one good reason why I should?"

"Because I got you this" She opens a drawer in her desk and pulls something out, placing it on top of the wood and sliding it forward.

"Sana, you can't win me over with gifts. It's so disrespectful that you think i'm so easy-"

"Just, open it"

You walk over to her desk, sitting down in a chair as you unwrap the present-like box. "What the hell" You mutter as you go to open the box, there's a necklace in it but something about it is familiar. "Is this.." You gasp then put your hand over your mouth as you look at Sana "You got it fixed? I.. how? The part was one of a kind.." You glance back at the clasp, it looks brand new.

"I had some connections and you seemed really bummed about it, so I took it and I wanted to surprise you but then.." Sana suddenly feels uneasy about finishing the sentence. Your eyes begin to well up with tears as you gently pick up the necklace from the box.

Then she starts her apology "I'm really sorry about everything.. If it makes you feel any better I didn't actually fuck her- well I used to before we made things official but not after that! I swear you just walked in at a really bad time and she kissed me and I didn't push her away immediately but I promise we wouldn't have done anything else.. I was just being dumb"

She stumbles over her words in an attempt to make things better, to at least gain your forgiveness if not your trust. You couldn't even bring yourself to take your eyes off of the necklace, and you barely hear anything she's said but something in your heart softens for her. You wipe your tears and sniffle "Thank you so much" Is all you manage to say before you begin to break down.

Sana finally gets up, she wraps her arms around you and it feels so right. Now what are you supposed to do? Tell her to go fuck herself after she's done this? You can't bring yourself to even push her off of you, on the contrary you actually pull her closer. It takes a while, but she pulls away from the hug and you already miss it. "Sana.. I, I need time to think about everything"

You stand up, and put the box with the necklace in it on the table "Wait, at least take the necklace. It's yours"

Figuring there was no harm in it, you take the necklace and with that you walk out of the door.

To keep things short, it's probably the worst decision you've ever made.

[deadhands69]

*❆ White Elephant: Jututsu Kaisen ❆*

What happens when you select their white elephant gift? *This is absolute crack and in no way did I put any consideration into where in time it occurs/what side you’re on/why all of these people/curses somehow got along well enough for a holiday gathering together. **yes, i’m very aware of how out of context the header image is

Gojo: This one is wrapped… interestingly. It doesn’t look bad by any means, the shiny white paper is just folded in a way that feels like it should defy physics. Upon opening, a small strange object falls out. You’ve never seen anything quite like it and its presence weighs heavily on you. You’re about 90% sure that thing is cursed beyond reason and there’s absolutely no way you’re bringing it home with you.

Did he just forget and pick up the first thing he saw on his desk? Absolutely.

Itadori: You selected this one because you can tell someone put so much love into wrapping it. Sure, it looks a little sloppy with the twisted ribbon and fold marks on the cute snowman printed paper, but A+ for effort. When you open it, you find a silly coffee mug filled with random odds and ends. A cute keychain. Human Earthworm action figure. And an assortment of stickers. Overall, a pretty thoughtful gift.

Todo: With the nice reusable gift bag, this one caught your eye. Worst case, you still get a cool bag. Once you open it, you peel back the layers of protective paper to find - a framed photo of Nobuko Takada. What else did you expect? 

Maki steals it from you three turns later.

Geto: The wrapping is immaculate. Crisply folded dark blue paper. Symmetrical gold bow on top. 10/10. It’s perfect. Of course, you had to choose this one. Peeling back the paper and digging into the box, a small glowing ball rolls out. In what he thought would be the funniest inside joke ever (coming from someone who doesn’t joke often), Geto left the curse you had all fought together for you to keep in a nice little orb. How sweet. There’s also a religious pamphlet and invitation to his cult’s gatherings. 

Jogo: The messy wrapping leaves something to be desired, but this one has a presence. When you peel back the green paper, you discover…one of sukuna’s fingers.

This does not feel like it should fit within the $25 spending limit, but whatever.

Nanami: This envelope almost went unnoticed until you saw it poking out from behind another gift. When you open it, you find a gift card for $25. Low effort but certainly useful.

Yuta: A small silver box with a cute blue bow. When you open it, you find a beautiful locket. That's from Yuta. Inside is a photo of Yuta. That's from Rika.

Maki: Green paper with a big red ribbon. This gift looks exactly like someone mimicked the most stereotypical Christmas wrapping they could manage (she did.) It’s hefty for its size. When you open it, you find a large bottle of Pinesol, a scrubbing brush, and some gloves with a note that ‘some of you need to pull your weight  more around here.’

Megumi: The wrapping is nice. Simple. Minimalistic. A red paper so dark it's nearly black. When you open the box, you find an assortment of new pens, pencils, lighters, and a phone charger. He wanted to introduce a surplus to the group in the hopes that now everyone will stop stealing his. (If you can’t tell, the Zenin clan isn’t so big on Christmas.)

Nobara: The gift bag is cute. A nice bow, shiny star covered paper. Great choice. When you pull out the tissue paper and look inside, you find a hammer. Also, a holiday scented candle - gotta cover all the bases.

Panda: Crinkled snowflake print wrapping paper and a few bits of fur in the tape holding it together, but overall something really draws you to this gift. When you open it, you know immediately it’s from Panda. One of those packaged gag gifts you’ll be able to use or re-gift next year for a laugh.

Choso: This is the largest box. It's wrapped up in candy cane patterned paper with big holes stabbed through the top and sides. "Don't shake it!" he screams from across the room when you pick it up. Ripping through the already mangled paper and opening the cratered box, you find a tiny stray kitten with a cute red bow tied around its neck in place of a collar. Awwweee.

Inumaki: This one is larger than most and surprisingly well wrapped in cute santa hat Pikachu paper. When you open it, you find the absolute weirdest garden gnome you’ve ever seen. It’s wonky, in an endearing/funny way. You genuinely wonder where it came from.

How tf did he wrap it so well with only o-[SPOILER SPOILER SPOILER]

Mahito: A transfigured human. It’s not wrapped or anything. He didn’t really understand the game.

Shoko: A cute gold box with a red ribbon tied around it. It feels lightweight but you’re sure there’s something good in there. When you untie it and peel off the paper, you find a pack of cigarettes and a scribbled note that says ‘happy holidays.’

Toji: A crumpled paper bag with the top rolled over. It’s the only one left and you’re feeling adventurous. Opening it, you find a roll of toilet paper (which you return to the bathroom from which it went missing.)

***Sukuna declined to participate. He says his mere presence is a gift to all of you mortals and you’ll be lucky if he graces you with that.

In the end:

The toilet paper has been returned and Gojo confiscated the transfigured human and finger. Well, he tried to. Sukuna's mouth appeared on Yuji's hand and ate both while they were being passed across the room.

This leaves us with:

Gojo's creepy cursed object (he swears it's safe)

Yuji's cute mug/Human Earthworm nicknacks

Todo's framed idol photo (Maki is glaring daggers at you for even considering it)

Geto's curse orb and religious materials (Gojo stole this one to take it out of rotation so they might be off-limits too)

Nanami's $25 Applebees gift card

A locket with Yuta's photo glued inside

Maki's cleaning supplies

Megumi's box of frequently borrowed items (each of which have now been transformed by Mahito to look like small people)

Nobara's hammer. And candle.

Panda's gag gift (Toge is trying to hide this and not make eye contact in the hopes that you will forget it exists)

Choso's kitten that everyone is keeping away from Mahito (Megumi already named it so good luck prying it out of his hands)

Toge's quirky gnome

Shoko's cigarettes (minus the two Nanami already smoked after stealing a lighter before Mahito could transfigure it)

You have one more steal left, what are you going home with?

m.list

[freckliedan]

please please please share details about your thoughts abt the week in november. i get emotional thinking abt their early years and your answer to that ask made my heart so warm i need to know more

(prev posts: one, two)

i don't have a ton more to say at the moment i'm sorry anon!! it's been awhile since @freckliephil & i talked about it. and she's 100% the source of my thoughts on this & i'll never be able to encapsulate it in words as well as she does :')

that said i'll still give it a shot!

do you ever think about how as much as dnp were absolutely uhauling it from day one they also took their time? people joke about dan's first trip being a sex marathon and there's definitely good fic about that but like. dan's uma thurman week tweets were clearly abt something new and special?

(& i'm not going to get into talking abt how penetrative sex isn't the only type of sex or the ultimate end goal but you can pretend i do that here).

anyways. uma thurman week was nearly 2 months after they met irl, yknow? and they'd spent as much time together in person as possible thru that stretch. but even the cherry tweets & then uma thurman tweets were several days into the visit in question. so like. it wasn't immediate! they weren't rushing into escalating physical intimacy!

they took their time and went at a pace that felt safe for dan which like. i cannot even begin to get into how huge it is that dan felt safe with phil both in his queerness and with physical touch. it's so overwhelming for me to think about.

like, i was abused at work for ~10 months as an adult; the person never laid a hand on me and i still have a complicated relationship with touch now. dan spent his entire childhood experiencing the abuse of intense bullying which INCLUDED a physical aspect.

i know not everyone responds to trauma in the same way but i don't think it's a stretch to say that dan almost certainly has had a much more complicated relationship with touch than i have or could even imagine as a result of his experiences. like we ALL knew he was triggered by having his neck touched before ever having the context of why.

back to the subject at hand i just like. it's just. dan felt safe with phil. to be himself and to touch and be touched. & it was more than just safe, it was good & felt good. they could laugh together. they took their time discovering what was pleasurable.

of course it was lifechanging. of course the feeling was too big to just hold in his body alone no wonder he tweeted like that.

of course it's still putting stars in their eyes fifteen years later.

[codenamesazanka]

AU idea. Spinner is the one who dies, and Shigaraki lives and gets the last words.

Spinner gets warped to the same rock Mic and Aizawa were on; dying, he asks them to give his last words to Shigaraki. Not very coherent, very rambling, a lot of it more airing out his regrets, but still last words:

Tell Shigaraki... I knew it wasn't... you. I'm sorry I didn't... that extra step. My life, my heart... empty. But following him... my first friend. Tell Shigaraki Tomura... 'You are my hero.'

After the war, Mic and Aizawa are somewhat of opposing opinions on whether to relay this to Shimura Tenko, who's in prison awaiting trial.

(Shimura still has AFO and OFA, but the combination of the two has "blocked" him from accessing any of it without decaying his body inside out, making him effectively quirkless)

Mic thinks they don't owe it to a Villain - he's grief-stricken and believes that Spinner and Shimura was responsible for breaking down Shirakumo, somehow. But Aizawa is more pensive - that Shirakumo gave his life to save Shimura, at the last second during the battle; and Iguchi Shuuichi would call the villain a 'friend'. Shirakumo was Mic and Aizawa's friend, whatever form he took, and given what he did, that's reason enough for them try. So in the end, Mic and Aizawa do go to see Shimura.

(All Might accompanies them; he calls Shimura 'Tenko', which Shimura does respond to).

Through the prison bars, Mic and Aizawa tells Shimura the circumstances around Spinner's death, and those last words... but Shimura is seemingly unmoved. Is that all Spinner said?

Mic gets upset, and he lays out all his frustration into Shimura. That's all he has to say? That was his follower's last words! Shirakumo died for this? Did Shimura ever cared for anything? He really is a monster who tried to destroy the world for nothing but some sick desire. How could anyone think Shimura is a Hero is beyond him.

This rant brings a bit more life into Shimura, who darkly wonders that since they're the real Heroes, why couldn't they save Spinner, so that Spinner didn't have to rely on a monster like him?

Mic yells at Shimura that that was his fault, giving Spinner extra quirks; while Aizawa butts in to say they did try to help Spinner - they warped Spinner back to Central Hospital, but it was too late. Spinner was declared brain dead.

That was something Shimura didn't know, only having heard that Spinner did not survive the hospital attack. Shimura asks when exactly Spinner died, and All Might pipes up that it took a while, but a relative (Spinner's older sister, but in disguise) finally came to finalize decisions and pull the plug, though she did not claim the body. The village refused to let him get buried back 'home'. Currently Spinner's unclaimed urn is at a pauper's grave facility.

Same as Toga.

Mic backs off a little, after that. No matter how he feels about the League, that's a pitiful end.

Aizawa asks what Shirakumo... what Kurogiri and the League meant to Shimura.

Shimura says that Kurogiri called the League his (Shigaraki's) friends. Kurogiri was there when the League was formed. Kurogiri had watched over him for nearly 10 years. Toga once teased him about being lonely that Kurogiri got captured.

He had wanted his League to live as they pleased.

After a moment of silence, Shimura also says, more softly than he had ever spoken before, that Spinner was the one who got him to play PvP again. So when Spinner wanted to see the horizon again, he wanted to make that happen.

Mic says, And that's why he called you his Hero? What a dumb reason...

Shimura says, Between friends, isn't that reason enough?

.*.

Months later, All Might is at UA, meeting with Nedzu. Mic sees him, says hi, observes that All Might has been coming in a lot to meet with Nedzu.

Yes, All Might responds. There's lot of reconstruction left to do. To improve things. Heteromorph discrimination, quirk counseling, Tartarus reform, welfare...

Mic expresses surprise and admiration for how much All Might and Nedzu is tackling.

All Might says it's not actually him - he's been acting as a liaison for Tomura.

Mic: For Shimura?

All Might says he's since insisted on using the name Shigaraki Tomura again. Despite the death sentence... Tomura has been trying to make use of his remaining time. So he's been working with Nedzu, to share his experiences.

Mic: For something like prevention? What, is he trying to atone?

All Might says, Yes. Well—Tomura's own words were... 'The Villains still need a Hero of their own.' And that's what he'll do until the end of his life. He'll fight to destroy for the League until the very end.

Mic considers this. He still doesn't like Shimura or Shigaraki or whatever name he's going by. But Mic also thinks about Shirakumo giving his life for this.

With a huff, Mic wishes them best of luck. ganbare.

[am-i-the-asshole-official]

Aita because I asked my friend to not name his kid the same name as my abusive dad because it triggers me?

✨👶🏼 so I notice myself, sorry but I have a mental disability so my grammar isn't great. Sorry if I sound weird.

So let's just call my friend Fred (23,he/him, trans man)and I'll call my dad's name Sven. Fred has one other child(1,m) who I'll call Winston and Fred's newest child (Unborn lol, we know its another boy) is with one of his partners Brooke(22, They/She, transfem nb girl). I also offhandedly mention my partner Rosey(25, Any pronouns, Genderfluid) a few times, Fred's other partner Alan (20s?, He/him, Trans man), and lastly Me (24, He/she, Genderfluid).

Me and Fred have been bffs for like 7 or 8 years and I and Rosey are godparents to Winston and Fred got pregnant again. This time from one of his partners Brooke , Winston's other dad isnt in the picture. Me and Fred are super close (nearly dated at one point but it was before Fred and Brooke got together the first time and we are no longer interested in each other like that.) and I've been following both of Fred's pregnancies just to make sure everything is ok (I'm not encroaching, I just get text updates on appointments and stuff. Fred's first pregnancy was rough.).

Without going into a whole timeline, Fred and Brooke dated a couple years ago for about a year but Brooke raised a hand to hit Fred (never made contact nor any other physical abuse however they used it as a threat) and was controlling over him, they broke up and lost contact and over the last year/year and a half, rekindled and Brooke says they've changed and Fred trusts them again. I still don't like Brooke for obvious reasons but I'm being civil and trying to let them earn my trust again. So far their relationship is fine and it's not my place to muddle so until Fred sets off alarms that Brooke has gone back to their old ways, I'm trusting my friend's judgement. Brooke has been doing great through this pregnancy.

Fred knows the gest about what my dad put me through and how abusive he was to me. He knows I can't even be near cigarette smoke because it reminds me of him. However, Fred doesn't know his name. It's not because Fred doesn't want to, my dad's name just never came up and i didnt realize he didnt know his name till a few hours ago.

Me and Rosey sat in a call with Fred, Brooke and Alan while Fred and Brooke were brainstorming name ideas (They wanted our input). Brooke suggested the name Sven. I wanna be clear, Brooke doesn't know my dad's name either so I don't think this was a way of attacking me or something sinister. The name Sven is standing in for is a very common name in my country, though it's not popular for us gen Zers, it is common for my dad's generation.

I obviously froze up a bit due to the mention of his name and although Rosey tried to bring it up, Fred and his partners are kinda known for interrupting (Usually not viciously) and they didn't hear her. Fred and Brooke chatted happily about what a handsome name Sven was and how they might just decide to stick with it here and now but they wanted to hear other options. I waited out till the end of the call when Alan left (I don't know them so I didn't want to accidentally tell them personal things about my history of abuse) and told Fred that Sven was my dad's name.

Fred gasped and quickly said he wouldn't choose Sven and that he was sorry he forgot his name. Brooke however said that that was not a good enough reason to not consider a name they both dearly loved not 10 seconds ago. I tried to tell Brooke about why my dad was a bad person and some of the lighter things he'd done (not in a trauma dump explicit way, just in a he did *insert form of abuse* way) but they shut me down and said it was their kid to decide the name of. Fred told him he was also a vote in the name and he didn't want to upset me unnecessarily. Brooke said they were done with the conversation and Fred said they'd talk about it later. Fred then said to me and Rosey that he'd handle it and ended the call.

After about 30 mins, I got a couple of texts from Brooke and Alan that I was a jerk for trying to push my triggers onto other people and causing a fight between them and Fred and it wasn't my baby to name. (Alan doesn't live with Brooke and Fred so Brooke told Alan first what happened.) I decided not to answer for an hour or so because I was already worked up and they both essentially called me an asshole for overstepping. Fred just says hes gonna handle them but now I'm just confused.

I can see where I might of overstepped but I wasn't trying to be controlling and even if they would of picked Sven, i would of still respected it and tried my best to get over it as best i can. Was I pushing my problems on others or was I just letting a friend know what that name might be a bit painful for me when the name was just a suggestion? I don't think I'm TA but I wanna see if I'm missing something?

(I just realized rereading this that there is some important context to be added; Sven is not a sentimental name to Fred, Brooke or Alan. It's not a parents or grandparents name that might need carried on, it was just a name they liked. I checked with Fred to see if that explained Brooke's anger or something and Fred said no, they just liked Sven. There also hasn't been any hostility before this with Brooke or Alan so I'm not sure where all this anger came from.)

What are these acronyms?

[spectral-phases]

Another thing I need people to stop just saying like it's the truth is that Bruce picked up Tim as Robin immediately after Jason died, or that Tim forced his way into being Robin.

Now, of course, there is the caveat that Jason can come back into town thinking that it was the case, he was dead and Talia informed him of the changes in Gotham, so we don't know how accurately he was informed. Another caveat is that Tim can grow up thinking he forced his way into it because he does argue for it at a point, but I need no one else who had a fully developed mind and was there saying it. Okay? Okay.

So, let's tackle the first one. Jason Todd gets an official death certificate in the Daedalus and Icarus Annual explaining how he came back showing his date of death as 4/27/19xx (since comics are always meant to be contemporary unless stated otherwise, we can just ignore the year). The DC Encyclopedia had a death certificate too, but it had a lot of odd details, not least his height and weight being more in line for a 10 year old than a 15 year old (the Titans comic put his height at 5'4" when he died), so I'm going to use the comics certificates over that when they conflict, but the Batman Annual also lists his date of death as 4/27 (why is it a Gotham City Death Certificate when he died in Ethiopia? I have no clue).

(Batman Annual 25)

(New Titans Vol 1 55)

(DC Encyclopedia)

Tim Drake appears after Jason dies when Bruce Wayne is going a little crazy as Batman. He specifically shows up during a break week from school.

(Batman 1940 #441)

Given that he could only have a Break Week feasibly in November for teacher conferences, December for Christmas/New Year's, or March/April for Easter, and the greenery outside show that it's neither November nor December, he's therefore shown up for his Spring Break. Since that would never be after April 27th, then he has to be there at least the first Spring Break following Jason's death, so about a year later.

He shows up and begs Dick to become Robin again to save Bruce from himself.

(Batman 1940 #441)

You see, this is interesting. He's explaining all his best qualities, not as a way to say "I'm right for the job" but to awkwardly (as only Tim Drake can) explain how much Batman and Robin mean to him, and how much they've influenced his life, to show how committed he is to this idea to back-up his assessment that Batman needs Dick as Robin again.

Dick is very adamant in his refusal to step back into the Robin role.

(Batman 1940 #441)

Both Alfred and Dick(Maybe? unless it's just Alfred being the drama again, but Dick did leave his old Robin costume out on the side before leaving) suggest Tim should pick up the costume. And he does only hours later, when Dick and Batman's signals have disappeared after going to confront Two-Face. Tim is feeling guilt over Nightwing possibly being dead because he got involved, he's worried sick about his heroes, and Tim has to go help because he is not built for sitting back and worrying.

(Batman 1940 #442)

At this point, he does start trying to convince both himself and Batman that he should be Robin, but only seriously after Alfred and Dick start hyping Tim up as well. Bruce is not having it. Like. At all.

(Batman 1940 #442)

They go to track down Two-Face and the confrontation ends with Tim nearly getting crushed to death as a pile of cars in the junkyard are toppled over onto the Batmobile, where he's been instructed to wait.

(Batman 1940 #442)

The confrontation ends with Bruce punching Two-Face and telling him that he can't kill Batman or Nightwing (Or Robin?) Or Robin!

Afterwards, after all the adrenaline has worn off and they're back in the manor in their normal clothes, Tim starts to back off of being Robin. He's still super stoked for having had the chance to fight criminals with his heroes, he's 13, give him a break. Please and thank you.

At this point it is Alfred, Dick, and Bruce who cement Tim going into training to become Robin. Yes, because of his logic, but also, like. I think Bruce knows deep down he needs someone to work with just as much as everyone else does. And Tim already knows his secret, and this is the easiest way to keep him quiet. Also, Bruce. Fucking. Communicate better. Jesus.

(Batman 1940 #442)

And then Tim's training begins, but he won't become Robin until the following Christmas. And only after he saves Bruce because he's been captured by Scarecrow and is being tortured with fear toxin with Vikki Vale. Tim was ordered to stay home, but again, he is incapable to standing back and not helping when he thinks there's a problem (this is a good and heroic character trait). This time, he doesn't wear the costume because he can't bear the idea of failing in it, so he dons a ski mask and comes in, gets dosed with fear toxin while saving Batman and beating Scarecrow and runs away before the cops show. Tim believes this means he'll never be Robin, that Bruce will fire him from training, but at least Bruce is alive. When Tim explains this all to Bruce, Bruce says the rules are there for a reason, but sometimes it's okay to break them when justified and gives Tim a new Robin costume.

(Batman 1940 #457)

[1toreyouapart]

What It Cost

****THIS IS A FICTIONAL STORY BASED ON REAL PEOPLE. 18+ ONLY. I DO NOT OWN THE RIGHTS TO THE PEOPLE OR MUSIC MENTIONED IN THIS STORY OUTSIDE OF LILITH AND SADIE AND MAYBE A COUPLE OTHERS. DO NOT READ IF YOU’RE NOT UP FOR FANFIC INVOLVING REAL PEOPLE***

Terrible summary: Five years since she last spoke to him. Since she last saw him. Now his face and his voice is everywhere. She can't escape him.

Five years ago Noah destroyed her and the life they had built. Now he’s back and seeking to make amends. As much as she wants to say that it's too little too late, is it?

CW/TW: Angst, mention of addiction, cheating. Mention of character death. Language. Smut (later on). PinV, unprotected PinV (wrap it before you tap it, friends), oral (f&m receiving). All smutty warnings happen later on, so I’ll update TW/CW warning labels as those parts are written and posted. If I forget anything, please let me know so I can fix it! Thank you!

Masterlist

Part 10 - Lilith

Fingertips lightly trailed across her face. Over her eyebrow, down the side, across her jaw. Light as a feather they traced the bridge of her nose and she sighed. He used to wake her up just like this when they first got together. Featherlight touches across her skin. With a sigh she cracked one eye open, peering up at him.

"What are you doing?" she grumbled, voice still thick with sleep.

"Just looking at you." His voice was soft, mesmerized.

"Why? Weirdo."

With a sleepy sigh she reached her arms above her head, stretching. The two of them had spent hours talking, completely wrapped up in each other, before she finally passed out. They had talked about everything. From what had gone wrong and their own parts in it, to everything that had been right and what they'd done and accomplished in the last five years. That last part she had done most of the talking, with Noah just lying there, listening, asking the occasional question. She had tried to turn the conversation to him and he just kept circling it back around to her.

"Have you seen yourself? You're fucking perfect."

Lilith quickly pulled the blanket up over her head, hiding herself from his view as the blush erupted on her cheeks. There was no slow build up to it. Never had been for her. And she absolutely loathed it and how easily he could still make her blush.

"You're so stupid," she laughed. "I'm a mess!"

The blanket was flung off of her and his body covered hers instead, his head resting on her chest. His long arms wrapped around her, squeezing tightly. Should she still be here with him? Probably not. There was still a lot to figure out. But she would be lying if she said she hadn't missed this. Being woken up just like this most mornings.

"I don't know how to fix what I did." His voice was quiet, muffled against her chest.

"Maybe you can't." She ran her fingers through his hair, lightly scratching his scalp.

Maybe there was no fixing anything. Honestly, she wasn't even sure she wanted anything fixed right now. Or ever. Mended, sure. But fixed? What would that even take?

"Tell me what to do."

"I can't, Noah."

Lilith sighed, shifting a leg to wrap loosely around him. How many times had they laid exactly like this, just existing together? The exact position they found themselves in every time he had come back from tour. After every argument. Every minor disagreement. They would lay together just like this and shut out the entire world. Her heart aches at the memories, breath hitching.

"Do you work today?" He shifted, pressing his lips to the valley between her breasts. Soft and innocent.

"No."

"Stay here with me today? We can watch whatever you want. Order delivery." His soft, pleading voice nearly broke her heart. Something about the way he asked. Like he needed her with him.

She chewed on her bottom lip, mulling it over. What harm could it do to just spend the day with him? He really wasn't asking much. But still, part of her was unsure.

"Please? Can we just pretend? Just for today?"

His voice cracked, and any resolve she'd had before vanished. The Noah she now knew was different than the one she had known before. Vulnerable. Didn't hide what he was feeling. It was a bit of a shock, but also kind of refreshing. She couldn't count all the times he had hidden himself away from her rather than just letting her in.

"Yeah. We can do that."

Noah gripped her tighter, kissing that spot just between her breasts again before settling. That had always been his favorite place on her. Right there on her chest. Without fail his head always found its way to rest right there. She couldn't help but laugh at the memory of the first time he had done that. The way he had snuggled right in, kissing all over her chest.

"What's so funny?" He grumbled at her.

"You've changed but not that much. Always gotta have your head on tits."

"Come on! They're boobs! And they're great ones!" He laughed, tipping his head up to look at her. "But here," he moved one hand, placing it over her heart. "Right here I can hear your heart beating and that's far more comforting than you think."

Tags: @collisionofyourkissmakesitsohard @alwaysfightforwhoyouare