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babybutchianthe · 10 months ago

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one end is one empire: monogamy in the nine houses

in Harrow The Ninth we are told the origins of lyctorhood lie in research conducted by john's disciples in the hopes of establishing how best to serve alongside their lord without needing him to confer immortality—those who became the first adepts and first cavaliers, then the first lyctors. we know that ultimately the design of lyctorhood was, in reality, a way for john to ensure his loved ones would be something he could touch, for them to become his hands and his fingers. the disciples' collective legacy lived on in two ways: the fruits of the lyctoral process, his saints, and the institution of the cavalier-necromancer bond throughout the nine houses.

as we see specifically highlighted in A Sermon on Cavaliers and Necromancers, this bond is a cultural fixture of house society and is emphasised not only as “one flesh, one end” but also as the essential equation of “the one binds to the other”; the sanctity of this bond lies in the framing of the two as being complementary halves, necromancer and cavalier forming one, and this sanctity being threatened by the disruption of the essential equation of one necromancer and one cavalier. a single cavalier paired with multiple adepts is placed under the logistical burden of supplying thanergy to, and protecting, multiple individuals whilst an abundance of cavaliers would leave the necromancer ill-equipped to perform necromantic feats that require intimate understanding of another's thanergy. the complementary difference of each is also their undoing as individuals: the necromancer's art is impossible without a swordswoman, and they are rejected by thalergy planets, while a lone cavalier without the care or craft of an adept is vulnerable “amid the bullet-filled barbarism of other planets”.

the bond is characterised as a joining of complementary halves, a union of the two incomplete to form a whole one. its nature is defind by each using “one flesh, one end” as a maxim for their passion for each other; the other is their ideal and their completeness. it is said to be the underpinning of house society—without the acknowledgement of the cavalier and necromancer's duties to each other, the sanctity of one binding to the other being upheld, and the continued reproduction of the bond the houses will fail in their mission to uphold the values of the god who became man and man who became god.

“Those who hold the sword must hold it for the necromancer. Those who were born with thanergetic nervous systems ply their art only by the grace of the sword. The necromancer is weak, and the sword is strong. The sword is weak, and the necromancer is strong. Our pleasure at the bond unbroken between necromancer and cavalier is a Nine Houses acknowledgement of the equality granted to us by God.” — Tamsyn Muir, A Sermon on Cavaliers and Necromancers

lyctorhood: the marriage of flesh and spirit

though it is made clear throughout the series that literal marriage of the two is considered to be taboo, grotesque and even traitorous to the ideals of the necrolord prime—in harrow the ninth, it is explicitly said that there are many strictures against a necromancer marrying their own cavalier—the bond between the necromancer and cavalier itself is an overt parallel to the christian concept of marriage: it is the joining of two incomplete, complementary halves to become one flesh in the name of god. house society is divided into adepts and non-adepts: those who bear necromantic characteristics that make them resemble the emperor, and those who do not, but can join with those that do and become as one flesh—one in his image, and one who can join with those that resemble him.

despite their supposed nature as complementary halves, incomplete as individuals, it is also made clear that the taboo against marriage and romantic entanglement is one born out of the necessity of keeping the bond a meeting of complementary forces united in the name of god rather than a codependent loss of self. the erasure of the difference between them violates the sanctity of their bond, diminishes each before society and god: the two are united as one flesh, but must remain unfused and defined as halves. the joining of necromancer and cavalier is one that necessitates their continued division.

She didn’t have to tell me in so many words what we both knew, that the relationship between cavalier and necromancer could so easily curdle into codependency . . . a loss of self on both sides. An obsessive fusion of halves, not two complementary forces. —Tamsyn Muir, As Yet Unsent

the reality of this, of course, is that the loss of self on both sides is an unequal one: the adept resembles john where her swordswoman doesn't, is the one to serve as her house's heir as opposed to the heir's bodyguard and representative in duels. the eighth—illustrated as the most devout and orthodox of the houses—is the one that best illustrates this imbalance through their use of soul siphoning, a temporary displacement of the cavaliers soul for the deriving of power through the ensuing void. the difference between necromancer and cavalier is their strength, and to forget it is to become diminished, their complementary forces lost to obsessive fusion.

the cavalier's role in the lyctoral model is to be consumed, to become the furnace of their necromancer's lyctorhood. the body of a cavalier is a means to an end, the swordhand that is discarded once a necromancer can take up the weapon in their own, and their soul is a source of perpetual thanergy and a securement of legacy, immortality. a cavalier is trained to follow a half-step behind and wait upon their adept, to die for them if needs must, and is conditioned to accept that their duty is a sacrificial one. the cavalier facilitates the art and legacy of the adept; the adept is born into the art, and the cavalier is born into service in the name of that art.

the necromancer's role in the lyctoral model is to consume, to ply the art with the aid of their cavalier and to burn the cavalier to fuel the formation of their legacy, a literal immortality of self. their necromantic characteristics are seen to make them more like the emperor, as per A Sermon on Necromancers and Cavaliers, and drives expectant parents to concern themselves with ensuring that their children are born on a thanergetic planet or in proximity to thanergetic grave dirt. each house is ruled by a necromantic scion. the equality of cavalier and necromancer may be spoken of at length, but the supremacy of the necromancer in society is clear; the adept knows the art, is closer to god, due to being born with a gift only found on thanergetic worlds, the emperor's dominion. it is the necromancer who becomes the lyctor, and the cavalier who serves as their furnace.

you cannot separate the concept of lyctorhood from john and alecto, nor the concept of necromancer and cavalier—both concepts originated with john and alecto. in fact, lyctorhood was conceived as an emulation of their bond: “You let us think we’d cracked it [...] You had already done it yourself. But you had done it perfectly!!” “Then, when the disciples come to you and say the word Lyctor, she does not understand that they want the thing you did to her—she watches as you watch … watch them misunderstand the process.”

when john created alecto—his cavalier, the first cavalier—he ate soil, wrenched a rib from his own body, and conjured a labyrinthe to house her in: partook in her flesh and imprisoned her in a body composed of a comminglement of hers and his, hid him in her and her in him. a marriage of flesh and spirit. similarly, the petty lysis we are familiar with requires the literal consumption of the cavalier's flesh and the integration of their soul with the necromancer.

Then the LORD God said, “It is not good that the man should be alone; I will make him a helper fit for him.” — Genesis 2:18

those who hold the sword must hold it for the necromancer, just as the necromancer can only ply the art by the grace of the sword; a lyctor, a necromancer, can hold the sword for themselves, and ply the art by their own grace. a grace in the image of god.

john's saints invented the process that allowed them to go on to wield the sword and bring themselves closer to his image, but that process required the lives of their cavaliers. john ensured that it did. the echoes of this manipulation are what went on to form the basis for the necromancer-cavalier bond that permeates house society, and shaped the empire; just as he coerced his loved ones into becoming his fists and gestures, john instituted a societal binary composed of people in his image (necromancers) and a people who can live and die to serve them (cavaliers).

“But from the very beginning of creation, ‘God made them male and female. ‘That is why a man leaves his father and mother and is joined to his wife and the two become one flesh.’ And so they are no longer two but one flesh. Therefore, what God has joined together, let no one separate.” — Mark 10:6-Mark 10:9

the monogamous implication of one end

as we have explored, the bond of necromancer and cavalier is one modelled on that of the lyctors, itself modelled on that of john and alecto, and serves the twofold purpose of compensating for the physical infirmity of the necromancer and facilitating lyctorhood—the cavalier's duties are that of bodily service and sacrifice. it is a joining of complementary halves, inadequate in their individuality, the necromancer who resembles john and the cavalier who serves them and dies for them; it is defined by an essential equation, the one binding to the other—one flesh, one end, one empire.

in this way, it is a union that parallels the christian marriage in a number of respects: it is founded on the belief in an oppositional delineation of peoples into two immutable categories, benefits one of these to the detriment of the other in accordance with the will of god—specifically the category said to resemble him most closely, ensures that the beneficiary's legacy may continue through their union and the bodily labour of the other, and the arrangement is thought to be foundational to and uphold the godliness of the society. to sour the sanctity of marriage, of cavaliership, is to betray the ideals of god; the pursuit of true equality contradicts his design and is limited by societal strictures. their union is to each other, but they must not be codependent, must remain aligned with their roles, and must serve their emperor faithfully—to forget their difference and their roles is to diminish themselves.

“Monogamy is formed, then, not as a relationship between just two people, but rather as a complex system of obligations and social and moral impositions - mainly governed by christian morality, in which the family is legitimized only by sacred marriage and by the values of capitalism, of propagating wealth from family generation to family generation and the maintenance of private properties – which has, as its scope, the guarantee of monopoly and concentration of wealth and power of the nobles to the detriment of division of inheritance with “bastard” children. In this way, it is clear that, even before capitalism, monogamy is necessary for the management and maintenance of this system, serving as a support for the reproduction of power mechanisms in the social body - especially in the beginning and expansion of the capitalist formation - mainly through the family. Capitalism invests itself in the life, affections and sexualities of the population in order to use them as State apparatuses for the maintenance of relations of production and power through compulsory monogamy.” — @zapatism, Capitalism and monogamy

the exploitative nature of christian monogamous marriage, its role in ensuring the supremacy of the man, how it ensures the propagation of his legacy, marriage's contribution to the maintenance of other social institutions such as the nuclear family, and the institution's legacy of socially coercive mononormativity are all literalised by lyctorhood throughout the series. the necromancer is male and cavalier female, both in the societal sense and in the biblical sense, and this dynamic is made clearest by how lyctorhood is perfectly emblematic of patriarchal monogamy, a social arrangement that benefits the necromancer and wholly subsumes the cavalier.

“It is based on the supremacy of the man, the express purpose being to produce children of undisputed paternity; such paternity is demanded because these children are later to come into their father’s property as his natural heirs. It is distinguished from pairing marriage by the much greater strength of the marriage tie, which can no longer be dissolved at either partner’s wish. As a rule, it is now only the man who can dissolve it, and put away his wife [...] The Greeks themselves put the matter quite frankly: the sole exclusive aims of monogamous marriage were to make the man supreme in the family, and to propagate, as the future heirs to his wealth, children indisputably his own. Otherwise, marriage was a burden, a duty which had to be performed, whether one liked it or not, to gods, state, and one’s ancestors.” — Frederick Engels, Origins of the Family, Private Property, and the State

gideon, camilla, and naberius all demonstrate how the cavalier is pushed to sacrifice and conditioned to accept the supremacy of their necromancer while their respective necromancers showcase how the necromancer is bred and coerced into accepting the expendability of their cavalier. gideon justifies her own suicide, camilla pleads with pyrrha to lie to palamedes about how their incomplete lysis is steadily killing her, and naberius is murdered by his own necromancer; ianthe justifies the murder of her own cavalier from birth as an acceptable payment made with the life of a man born to die for her ambitions, palamedes is forced to pursue a 'truer' form of lyctorhood in the hopes of preserving camilla, and harrowhark's refusal to accept gideon's life results in her own incomplete lysis that is reponded to via corrective violence performed by g1deon at the behest of john.

the violence we see play out throughout the series overtly demonstrates the way societally enforced monogamy can foster and justify abusive dynamics, extreme levels of codependence, and corrective violence in response to abnormality. simultaneously, we see how the conditions necessary for normalising the necromancer-cavalier within society are, at their core, eerily familar systems of oppression and the construction of false homogenities such as monogamy itself;¹ the continued reproduction on the bond, like so many false homogenities, is reliant on societally instituted exploitation, coercion, and corrective violence that will hit close to home for a queer audience.

the union of necromancer and cavalier is descended from lyctorhood and is akin to marriage in a mononormative society, while lyctorhood itself represents the very height of how christian marriage functions to reify male supremacy and it and the ideals that reinforce it (delineation of the population into two supposedly indelibly distinct, complementary, oppositional groups that are coerced into the formation of supposedly equal unions that favour one that is a beneficiary of widespread societal privilege) aid in the maintenace of patriarchy and the reproduction of normative arrangements that contribute to the continued existence of the systems individuals live under. cavaliership maintains necromancer supremacy just as christian ideas of monogamy and marriage maintain male supremacy. john gaius' post-resurrection reconstruction of christianity does not stop at imagery and terminology: he has recreated a distinctly christian take on patriarchy and monogamy, based on thanergetic nervous systems instead of sex.

Malachi 2:10

those born on the houses think themselves to be fundamentally different to those born outside them; within house society necromancers reign supreme, and cavaliers' status is married to that of their necromancer's. the prejudice we see directed toward zombies and wizards is onscreen and blatant, horrific at times, but justified by the nine houses being known for their imperialism and brutal tactics. the discrimination toward those who lay outside the houses is much less overt, but nonetheless felt. we know from the beginning of Gideon the Ninth that the empire has enemies yet they are not characterised, humanised, or acknowledged in much capacity—and this remains consistent throughout the series until Nona the Ninth.

it is here we see, in detail, the treatment of non-house citizens: frequent planetary resettlement, bombarding, brutal violence that churns out waves of traumatised refugees, and a complete lack of acknowledgement of their plights. they are beneath notice. we do not see them until we, the readers, are placed on the ground of one such occupied planet and privy to ianthe's boredom as she rattles off a laundry list of horrific implications regarding how any individual or group who violates these conditions renders the entire agreement null and void, and the population will consequently represent a legal entity that has damaged property, acted unlawfully, committed or been accessory to murder, and performed a coup.

the people born outside the empire are subject to continual mass punishment for being born on thalergy planets, for being the descendants of those who turned their back on earth, for resisting resettlement and occupation, for the crime of their existence. they are cattle, to be herded and exterminated with little fanfare. they are fundamentally different to those born on thanergetic planets; the necromancy-cavalier binary is what separates house citizens from animals.

"One flesh" is the underpinning of our whole Empire. We are born necromancers, or we are not; yet we are one. The non-necromancer will still have necromantic children. The necromancer will have parents who lacked the aptitude. The possibility is within us. We live under the thanergenic light of Dominicus, are born, grow, and die in his thanergetic Houses; the Resurrection made us so. We are fundamentally different to those born on thalergy planets outside the Empire. Our anxiety drives the expectant parent to arrange to give birth back home, or concern themselves with the baby's proximity to grave dirt sourced from home. Our necromantic characteristics make us more like the Emperor. As he was once man, and became God, and was God and became man, so were we dead and became alive; so were we alive and became dead. — Tamsyn Muir, A Sermon on Cavaliers and Necromancers

john is a queer indigenous man who has created a neochristofascist empire, locked in a state of perpetual warfare and expansion, that is geared toward the mobilisation of violence against a population in diaspora, in the name of vengeance for an indelible sin committed by their ancestors. those within this empire differentiate themselves from the barbaric people their society subjects to constant displacing violence via a belief in their closeness to god, a closeness based on their position in a social arrangement that closely adheres to christian patriarchy and mononormativity. he has implemented the kind of violence wielded against indigenous people the world over throughout history in the name of punishment; john has taken up the tools of christian hegemony to oppress the descendants of the trillionaires.

the root of the problem with the nine houses is that it is an empire with concentrated theocratic power fueled by exploitation, and that theocratic power is explicitly modelled on christianity and the patriarchy that implies. cavaliership is one such example of where that leads. john's aims may have been supposedly noble, but the material results of his actions are the recreation of the same systems of oppression that have been used against those like him for all of history, and the ones we chafe under even now. nobody with truly noble aims and a firm stance against oppression would take up the exact oppressive systems he was subject to and turn them against another; is vengeance a truly noble cause when it hinges on the same oppressions that led to the conditions of the inciting incident?

similarly, we see the ways these false homogenities are indeed false: the enactor of corrective violence—g1deon—is himself an incomplete lyctor and was romantically entangled with both wake and pyrrha; john could be similarly said to be a subversion of this monogamy, but i would argue his case is instead an illustration of male/necromancer supremacy—his affairs with his saints come after he uses his power over alecto, gained through their ur-necromancer/cavalier bond, to 'put away his wife' in the name of maintaining the approval of his lyctors. i can't really elaborate on this anymore beyond recommending @familyabolisher's analysis of how the multiplicity of cavalierhood as a subject position casts the spectre of potential incest where Kiriona and Alecto are concerned as it is very much in the same vein as this

#the locked tomb #meta #analysis #tlt meta #tlt analysis #nona the ninth spoilers #lyctorhood #cavaliership

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royal-bubble-tea · 9 months ago

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Heyo!!! I was wondering if you could write a FtM reader with a poly relationship with Hongjoong and Seonghwa, first its just general fluff that could lead up to smut. Do tyt with this!

Yes, of course. I loooove Matz 🤭

Ateez - poly Hoongjoong x Seonghwa (smut)

Hongjoong x Seonghwa x ftm! Reader

First of all Hoongjoong and Seonghwa absolutely adore you. When you came out to them, explaining how you felt Seonghwa had a hard time wrapping his head around the concept and the new changes your realisation and feelings brought. Back then you feared you might lose him after coming out and saying that you felt more like you are one of them. Hoongjoong on the other hand was super supportive. He immediatly asked you after your pronouns, how you want to be adressed in general, making your heart flutter at this display of love, affection and acceptance towards you. Hoongjoong also went on a shopping spree with you, deciding that you were in need of a new wardrobe to celebrate your new self. It was around that time that Seonghwa, tagging along and giving his creative input on certain outfits, realised that nothing major would change. He was still very much in love with you and Hoongjoong. You were the same person, same likes, dislikes, hobbies and interests that he adored. He told you as much after one of your little shopping trips. To say that all three of you started crying, overrun with emotions was an understatement. It was Yunho who later on found all three of you on the couch in the dorm huddled underneath one gaint blanket each with their own tub of ice cream watching a romcom. He just smiled at you giving a thumbs up happy with the overall situation.

You were rudely interrupted by your daydreaming by Seonghwa waving a hand in front of your face. "Are you even listening to me?", he asked with a pout on his face. You looked up to him with a smile. "I was listening to you ... for the most part.", you answered. His eyes became slits and you knew that you had to do something to safe the day, quick. "But how can I listen to you when you are standing right on front of me wearing outifts in which you look so god damn good." He rolled his eyes but you did not miss the colour painting his cheeks as he turned around to present another one to you. "Nice safe.", he eventually said. "I know. I'm kinda proud of myself for that one. But you really do look stunning.", you replied. He turned around again showing of his almost sheer black top. You grinned at him like a man possessed. "This looks really nice on you Hwa." You could tell by the way he moved and posed slightly that he was also very much in love with this top. "You know what would look even nicer?", he looks up at you with a questioning look, raising one eyebrow, "You in this shirt in my lap while I'm kissing you stupid", you slowly rise from your sitting position making your way over to him, "My hands underneath this flimsy top, teasing you for looking so delicious", your fingers play with the hem of the top before your hands find their way underneath resting on his well definded stomach. You lean in closer, nosing against his collarbone, the ghost of a kiss against his neck. You can hear and feel his shaky in- and exhale. His hands had made their way to your waist, resting there, anticipating your next move. "Can you imagine it. Maybe we can get Hoongjoong, get him to watch but not allowed to touch. You know how he gets when he does not get what he truly desires. How possessive he is." It is at this that Hwa looks at you confused and after a moment you catch up with his train of thought. "Where is Hoonjoong by the way?", you ask him. He looks at you with pretty much the same facial expression you are wearing right this moment. "I am not so sure. If he would be in the dorms, I am sure he would be here with us right now so that leaves only one other option." You both look at each other before sighning in defeat and saying in unision "The studio", with a look of resignation Seonghwa pulls away from you but before you two are completely separated he plants a kiss on your mouth making you grin like the idiot in love you truly are. He puts on more discrete clothes, grabs your hand and you both march out the door to KQ studio to get your adorable Minion home.

At the studio you knock carefully at the dorr, waiting for Hoongjoong to react and open the door. But after waiting a couple of minutes with nothing happening Seonghwa pulls out his phone and gives him a call. You could hear Hoongjoongs whiny voice at the other end asking what you want. "We are standing right in front of your door so you better open up.", says Seonghwa. And you could already hear noises coming from the other side of the door. It sounded like Hoongjoong was franticly trying to reach the door. Which opened seconds later granting you the view of a rather wild looking Hoongjoong. His hair was a birds nest and his clothes looked like he had been sleeping in them for longer than comfortable. However you could also see the love in his eyes while he looked at you and Seonghwa. You take a step forward, circle your arms around his neck and give him a peck on his lips. "Took you long enough", you whispered. You can feel Seonghwa's warm body behind you as he put his arms around Hoongjoongs waist and pulled the two of you into a group hug. He leanes over your shoulder and kisses Hoongjoong as well. The capatains face turns a bright red and he ushers everyone inside his studio. You immideatly go to the couch in the corner and take a seat, patting the cushion next to you to signla the others to join you. Seogwha makes his way over pulling Hoongjoong with him. But before the tiny man can take a seat next to you he is being pulled in by Hwa and placed in his lap. His face turns red a gain and he hides his face in the crook of Seonghwa's neck. You coo at the adorable display and lean in to pepper kisses on every surface of his face that you can reach. Beside you Seonghwa is laughing at your antics. He places an arm around you and pulls you towards his chest, so that you and Hoongjoong a both comfortable and leans back. His hand glides up and down you side doing the same to Hoongjoong. He let's out a breath before adressing the smaller male. "We wanted to pick you so that we can all go home together. And please just come with us. No arguing for ten more minutes, okay? You have been in here for way to long. You need a break and the two of us miss you so much." Hoongjoong looks up at you and you look back with pleading eyes, Seonghwa mirrowing your expression. "Fine. Let me grab my things and let's head home.", he reluctantly agrees. You cheer in celebration and Seonghwa plants another long kiss on Hoongjoongs lips. The smaller not wanting to seperate that fast chases his lips. You watch them trade kisses, waiting for an opening which comes the moment Hoongjoong leans back on Seonghwa's lap to take a deep breath. You use this moment to gently grab his face and kiss him as well. His lips are slightly chapped as they move against yours. This does not stop you from continuing to kiss him. You move your lips against his, biting his bottom lip and feeling heat flutter in your stomach when you hear him moan at the action. You trace you tongue over the part of his lip that you have just bitten to sooth the bite. However, Seonghwa interrupts you before things can escalate. "You know the faster we get going, the faster we are home and can continue that in our much more comfortable bed." You both nod at him and begin moving at lightning speed to pack everything up. And next things you know you are already sitting in the car, virbrating out of your skin with exitement about what's to come.

The three of you make it to the front door with Seongwha barely being able to open the door, before Hoongjoong pushes inside, your hand in his and he pulls you along inside the dorm towards the bedroom. Finally inside, he pushes you on the bed. The two of you grinning at each other and giggling like sixth graders. Hoongjoong pushes himself up and situates himself between your spread legs. He gives you another peck on the lips before you throw your arms around his neck and pull him in to deepen the kiss. You both try dominate the kiss but Hoongjoong loses as soon as you bite his lip again. This time when you soothe your tongue over the bite you can feel his tongue pocking against yours. You can feel and hear him exhale before pushing your tongue into his mouth. Trying to map and remember every part there is. Hoongjoong now plaintly laying on top of you cradles your head in his hands. All of a sudden he takes a deep breath, you open one eye and see Seonghwa towering over the two of you. His face is flushed and you notice a prominent buldge in his pants. He has started to take Hoongjoong clothes of. He looks you in the eyes as if asking the silent question if this is alright with you and if you are comfortable to continue. You nod at him and start to underess Hoongjoong as well. The tiny Captain is laying between you trading kisses and losing his clothers faster than he notices. Soon he is naked on the bed in all of his glory. You let your hungry gaze follow his face, down his chest and delicious pecks to his plush thighs and hard cock. He pulls you into another deep kiss and you try to get a grip and locate Seonghwa to find out what he is doing not wanting him to feel left out. Soon you find out what he is doing as Hoongjoong first whines and then downright moans right into your mouth. His eyes rolling slighty back and he is trying to stable his breathing. You look over his shoulder at Seonghwa who winks at you. You follow the movement of his arm and realise that he started to stretch Hoongjoong. You turn your attention back to Hoongjoong. You try to kiss him in between deep breaths and one of your hands makes their way down his front to his flushed and hard cock. You begin to stroke him and his moans turn up significantly in volume. Seonghwa's arm is moving at an increased speed and you try to match his with the the movement of your hand. Hoongjoong starts to leak even more pre come and you lightly squeeze the head of his cock on every up stroke while also shoving you tongue into his mouth. Seonghwa is looking down at you two and is being mesmerized by the picture the two of you paint right in front of him. He leans down to bite and lick at Hoongjoong's neck while stroking his fingers over said mans prostate. Hoongjoong is no longer able to form any coherent thought, he is trashing between you two and with one final sharp inhale he comes with a cry. His body snaps like a bow string and he releases all over your hand.

Both you and Seonghwa pepper is face with kisses, praising him for doing so well while letting him catch his breath. Once his eyes are no longer glazed over he begs for you and Seonghwa to take of your clothes as well. Not having to be asked twice you shed your clothes and Seonghwa turns Hoongjoong around so that he is laying on his belly. "Come on Joongi hands and knees." he says after slapping Hoongjoong on the ass. A handprint starts blossoming on the pale checks. You are so entranced by the view that you lean over and bite Hoongjoong in his plump buttcheeck. The latter mewls at you action but you soothe him with a hand and kisses all over his round bubble but and lower back. You lean back but before you can make your way to the head of the bed, Seonghwa grabs you by the jaw and pulls you in for a hungry kiss. His tongue tracing your lips, asking for entrance which you allow for a breath moment before pulling away. You kiss him one final time whispering "Make him feel so good, he never wants to leave this bed again.", against his lips. A fire is lit in Seongwha, he grabs Hoongjoongs hips and starts to push in. This is why you wanted to be at the head of the bed. To watch Hoongjoong's facial expression morph into absolut bliss. You can see him biting his lip in concentration, before his mouth falls open and heavy breaths leave him. The way his eyes roll back at a particular deep thrust from Seonghwa and how his fingers grip the sheets impossible tight. It is a sight how HJ turns from being in control and teasing Hwa into a subby mess, being overstimulated from having just come. But enjoying every second of it. He looks up at you and starts pawing at you hips. You raise an eyebrow in question. "Want to make you feel good as well.", comes the answer inbetween moans and shaky breaths. Above him Seonghwa coos at the two of you. His hair is plastered against his forhead. You can see drops of sweat descending down his neck. His chest is flushed from the action and his breathing hís heavy. But his eyes are so hungry as he locks eyes with you. "Want to make our angel feel good, Hoongjoong? Want to be a good little captain for us and make both of us feel good?", he teases Hoongjoong who nods frantically. You slide closer to Hoongjoong who tightly grabs your hips and puts his move over your heat. The feeling of his cute pink tongue and his heavy breaths against you skin cause you to throw your head back in pleasure. Hoongjoong encouraged by you actions redoubles his effort in pleasing you. All while Seonghwa is thrusting deep into him. His eyes are glazed over and the only thought in his mind is to be good for his two lovers. You weave your hands trough his hair and at one particular pleasurable movement from his tongue you grip his hair and pull on it. That was all Hoongjoong needed to reach his climax. He moans out loud, his eyes roll into the back of his head and you watch him as his whole body shakes. Seonghwa behind him not being any better, as he reached his orgasm as well because of Hoongjoong clenching around his dick like a vice and milking him of everything he was worth.

Hoongjoong flops back down onto the bed trying to regain a clear mind as you play with his hair and tell him what a good boy his is. From the corner of your eye you can see Seonghwa making his way over to you, tapping your hip and making you lay down flat next to Hoongjoong. You look up at him as he makes is way down your body until he reaches your core and starts blowing and licking you. You again throw you head back, grabbing for Hoongjoong's hand which he pulls close to his chest and starts peppering with kisses. Still having the mental image of Seonghwa and Hoongjoong orgasming just moments prior playing in you head is what tips you over as well. You moan both their names and snuggle close to Hoongjoong. Seonghwa gets up and leaves and shortly coming back with a wet rag to clean the two of you. He lays a blanket over you and cuddles up on your other side. Hoongjoongs eyes are already closed but he whispers a quiet "I love you both so much." To which you and Seonghwa reply with "I love you too." You take their hands and try to cuddle as close to them as you can. Hearing Seonghwas steady breaths and Hoongjoongs light snoring lulls you into sleep as well.

Well, that escalated quickly. First I wanted to write something short and sweet but I just ran with it while writing.

I hope you enjoy this story. Have a nice weekend.

And watch and support Ateez performing at Coachella this weekend. I am going to watch the Live Stream on Youtube and I am sooo excited!!!!!!

#ateez #ateez smut #hoongjoong smut #seonghwa smut #ateez headcanons #seongjoong #seongjoong smut #ateez imagines

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